You’ll recognize the female silhouette that leans against the title on the cover of Ariel Levy’s new book, Female Chauvinist Pigs. She’s the girl who in recent years has made the move from the mud flaps of big rigs right into pop culture, gracing trucker caps, baby tees, and gold necklaces as an emblem of sexy, empowered ­womanhood. Or at least that’s what she’d like you to believe. But Levy doesn’t buy it, and Female Chauvinist Pigs offers her opinions on why this new symbol of postfeminism—the girl gone wild, the party-like-a-porn-star striver, the woman who populates HBO’s “educational” reality shows like Cathouse and Pornucopia—isn’t nearly as groundbreaking as she thinks she is.

Reviewers have likened it to a dot-com Pretty Woman, but The Center of the World, the latest film from director Wayne Wang (Smoke, Blue in the Face, The Joy Luck Club), is a far more complex rumination on the intersections of sex, love, and commerce. Set in southern California, the story follows Florence (Kissed's Molly Parker), a rock 'n'roll drummer who earns a living offering up lap dances in a strip club, and Richard (Boys Don't Cry villain Peter Sarsgaard), the lonely, freshly minted computer millionaire who pays Florence $10,000 to spend a weekend with him in Las Vegas.

Michelle Tea loves words, and it shows. As one of the founders of San Francisco's brilliantly loopy poetry slam-cum-cabaret Sister Spit, the 28-year-old Tea's flair for whipping tales of life and love into hilarious dramalogues have made her a local favorite on the spoken-word scene, and her gleeful energy and tongue-twisty stylings come through just as loud on paper.