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A brand-new collection of Caitlin's award-winning Times columns plus three major new pieces exclusive to this book - one of which is Caitlin's Moranifesto for a better world. As with Moranthology, Caitlin introduces every piece and weaves her writing together into a brilliant, seamless book. And, similarly to her last collection, Moranifesto is a characteristically fun and witty look at the news, celebrity culture and society.

1913 - Suffragette throws herself under the King's horse. 1969 - Feminists storm Miss World. Now - Caitlin Moran rewrites "The Female Eunuch" from a bar stool and demands to know why pants are getting smaller. There's never been a better time to be a woman: we have the vote and the Pill, and we haven't been burnt as witches since 1727. However, a few nagging questions do remain.... Why are we supposed to get Brazilians? Should you get Botox? Do men secretly hate us? What should you call your vagina?

A decade ago, Caitlin Moran thought she had it all figured out. Her instant bestseller How to Be a Woman was a game-changing take on feminism, the patriarchy and the general ‘hoo-ha’ of becoming a woman. Back then, she firmly believed ‘the difficult bit’ was over and her 40s were going to be a doddle. If only she had known: when middle age arrives, a whole new bunch of tough questions need answering.

As any feminist who talks about the problems of girls and women will know, the first question you will ever be asked is 'But what about MEN?' After eleven years of writing bestsellers about women and dismissing this question, having been very sure that the concerns of feminism and men are very different things, Caitlin Moran realised that this wasn't quite right, and that the problems of feminism are also the problems of, yes, men. So, what about men?

I’m Johanna Morrigan, and I live in London in 1995, at the epicentre of Britpop. I might only be 19, but I’m wise enough to know that everyone around me is handling fame very, very badly. My unrequited love, John Kite, has scored an unexpected Number One album, then exploded into a Booze And Drugs HellTM - as rockstars do. And my new best friend - the maverick feminist Suzanne Banks, of The Branks - has amazing hair, but writer’s block and a rampant pill problem. So I’ve decided I should become a 'Fame Doctor'. 

It’s 1990. Johanna Morrigan, 14, has shamed herself so badly on local TV that she decides that there’s no point in being Johanna anymore and reinvents herself as Dolly Wilde - fast-talking, hard-drinking Gothic hero and full-time Lady Sex Adventurer! She will save her poverty stricken Bohemian family by becoming a writer - like Jo in Little Women, or the Brontes - but without the dying young bit. By 16, she’s smoking cigarettes, getting drunk, and working for a music paper.

Possibly the only drawback about the best-selling How to Be a Woman was that its author, Caitlin Moran, was limited to pretty much one subject: being a woman. Moranthology is proof that Caitlin can actually be ‘quite chatty’ about many other things, including cultural, social and political issues which are usually the province of learned professors, or hot-shot wonks – and not a woman who once, as an experiment, put a wasp in a jar, and got it stoned.

Adapted and narrated by Caitlin Moran, this brand-new radio adaptation intersperses dramatised scenes from Moran's life (from her teenage years in a crowded council house in Wolverhampton, to setting out as a music journalist, to getting married and having children) with her thoughts on subjects that range from the necessity of big knickers to the experience of giving birth and having an abortion.

Un retrato perspicaz y atrevido de la masculinidad contemporánea. Cualquier feminista que haya dialogado ante el público sobre las frustraciones y los lastres innatos a la aventura de ser mujer habrá tenido que enfrentarse alguna vez a la pregunta: «¿Y los hombres qué?». Y si la feminista en cuestión lleva años intentando convencer a ese público de que las preocupaciones de ambos sexos son cosas muy distintas, su respuesta automática, muy probablemente, habrá sido algo como: «¿Por qué me sacan este tema? ¡Yo soy feminista! ¡Mi especialidad son las mujeres! No me ocupo de… los otros».

Caitlin Moranová před deseti lety předpokládala, že má všechny trable za sebou. Ve svém globálním bestselleru Jak být ženou se vypořádala s patriarchátem, feminismem a vším tím, co obnáší moderní „ženství“, a měl ji čekat spokojený dospělý život plný skvělého sexu a harmonického rodičovství. Nečekal. V nové knize se proto zaobírá výzvami, které v současnosti čekají na „zralé“ ženy a stává se tak naším břitkým průvodcem dospělostí i smířením s faktem, že seznam povinností, potřeb a potíží se bude jen prodlužovat.

¿Quién dijo que convertirse en una mujer de mediana edad iba a ser una tarea fácil? Caitlin Moran, que arrasó con aquel tronchante y lúcido manifiesto de feminismo asilvestrado titulado Cómo ser mujer, regresa con una secuela que desmonta la teoría de que segundas partes nunca fueron buenas, dada la espectacularidad de esta. Si en la anterior entrega hablaba la joven Caitlin, aquí es la cuarentona la que vuelve a la carga. Ahora las experiencias vitales son otras y han cambiado algunas prioridades y puntos de vista, pero la pluma con la que escribe sigue afiladísima.

Si eres una adolescente con unos kilos de más, te masturbas con sigilo para no despertar a tu hermano pequeño, vives en Wolverhampton, formas parte de una familia numerosa con una economía precaria, tienes un padre con aspiraciones nunca cumplidas de triunfar en la música, que abusa de la botella, y una madre depresiva, la vida puede ser un asco. Si para colmo haces el ridículo en la televisión local leyendo un poema, probablemente ha llegado el momento de tomar una decisión drástica. Empezando por cambiarte el nombre.

No hubo nunca mejor época que ésta para ser mujer: ahora existen el voto femenino y la píldora, y desde 1727 ya no envían a las mujeres a la hoguera por brujas. Pero ¿cómo ser mujer? Ésa es precisamente la gran, eterna pregunta a la que Caitlin Moran se propone responder en una obra que aborda a calzón quitado - a veces literalmente -, con inteligencia, desvergüenza e ironía y también una salvaje franqueza, los principales aspectos de la condición femenina.