December 2016 Indie Next List
“Moran is a British journalist whose columns are known for covering a broad range of topics, from feminism and politics to fashion and TV. Some of those columns are reprinted in Moranifesto, a hilarious collection of opinion pieces that are Moran's personal manifesto for changing the world. The collection covers topics as diverse as the Syrian refugee crisis, cystitis, David Bowie, and why she no longer wears heels. As dissimilar as these themes may be, they are all tackled with the blunt humor for which Moran is known. Moranifesto is gloriously funny, feminist, and timely.”
— Agnes Galvin (E), Oblong Books And Music,LLC., Millerton, NY
The follow-up to Caitlin Moran's breakout hit, How to Be a Woman--A hilarious collection of award-winning columns, available to American readers for the first time ever.
Possibly the only drawback to the bestselling 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 that are usually the province of learned professors or hot-shot wonks--and not of a woman who once, as an experiment, put a wasp in a jar and got it stoned. Caitlin ruminates on--and sometimes interviews--subjects as varied as caffeine, Keith Richards, Ghostbusters, Twitter, transsexuals, the welfare state, the royal wedding, Lady Gaga, and her own mortality, to name just a few. With her unique voice, Caitlin brings insight and humor to everything she writes.
“Caitlin Moran is not only hilarious, sharply intelligent and so much more than a ‘shit Dickens or Orwell, but with tits’; she is one of the most astute social commentators hitting a keyboard today.”
-Abby O'Reilly, The Independent
“A brilliant follow-up to How to Be a Woman….If you are a fan of common sense, comic writing and pop culture, buy [Moranthology] immediately.”
-Roisin Ingle, The Irish Times
“[Moran’s] skill as an interviewer lies not in the killer question but in the way she conveys being there and messing it up. She is gleeful and rueful and on the money.”
-Claudia FitzHerbert, The Spectator