Download Free Lost Daughters Book in PDF and EPUB Free Download. You can read online Lost Daughters and write the review.

The new edition of a modern classic by New York Times bestselling and award-winning author Mary Monroe! Everyone from Louisiana to Florida knows Mama Ruby—a small-town girl who became one of the South’s most notorious and volatile women. In this beautiful reissue, New York Times bestselling author Mary Monroe reveals how the indomitable heroine of her acclaimed classic The Upper Room continues to vex the family she’s left behind. Mama Ruby has died and Maureen Montgomery is finally taking charge of her own life. With her beautiful teenage daughter, Loretta, by her side, she returns to Florida and settles into a routine any other woman would consider bland. But for Maureen and her brother, Virgil, after Mama Ruby’s hair-trigger temper and murderous ways, bland is good. Yet Loretta has other ideas . . . Set on becoming rich and famous, Loretta convinces Maureen to let her start a modeling career with the help of a Miami photographer. But even as they move in promising new directions, they can’t escape Mama Ruby—including Virgil, who’s concealed one of her most shocking acts for most of his life. To make a future that’s truly hers, Maureen will have to take on a bit of Mama Ruby’s strength, forge new bonds—and face down the past.
In 1997 journalist Karin Evans walked into an orphanage in southern China and met her new daughter, a beautiful one-year-old baby girl. In this fateful moment Evans became part of a profound, increasingly common human drama that links abandoned Chinese girls with foreigners who have traveled many miles to complete their families. At once a compelling personal narrative and an evocative portrait of contemporary China, The Lost Daughters of China has also served as an invaluable guide for thousands of readers as they navigated the process of adopting from China. However, much has changed in terms of the Chinese government?s policies on adoption since this book was originally published and in this revised and updated edition Evans addresses these developments. Also new to this edition is a riveting chapter in which she describes her return to China in 2000 to adopt her second daughter who was nearly three at the time. Many of the first girls to be adopted from China are now in the teens (China only opened its doors to adoption in the 1990s), and this edition includes accounts of their experiences growing up in the US and, in some cases, of returning to China in search of their roots. Illuminating the real-life stories behind the statistics, The Lost Daughters of China is an unforgettable account of the red thread that winds form China?s orphanages to loving families around the globe.
Leda is a middle-aged, divorced mother devoted to her work as an English professor. After the departure of her grown-up daughters, she takes a holiday on the Italian coast. But after a few days things become unsettling; on the beach she encounters a family whose brash behaviour proves menacing. Leda is overwhelmed by memories of the difficult and unconventional choices she made as a mother and their consequences for herself and her family. The tale of a woman's rediscovery of herself soon becomes the story of a ferocious confrontation with the past. The Lost Daughter is a profound exploration of the conflicting emotions that tie women to their children. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan Novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Fragments, a selection of interviews, letters and occasional writings by Ferrante, will be published in early 2016. She is one of Italy's most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante's work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Award. 'Ferrante's gift for psychological horror renders it immediate and visceral.' New Yorker 'This superb and scary Italian writer...has blown the lid off tempestuous parent-child relations.' Seattle Times 'So refined, almost translucent, that it seems about to float away, in the end this piercing novel is not so easily dislodged from the memory.' Boston Globe 'It's Leda's voice that's hypnotic, and it's the writing that makes it that way. Ferrante can do a woman's interior dialogue like no one else, with a ferocity that is shockingly honest, unnervingly blunt.' Booklist 'Ferrante's prose is stunningly candid, direct and unforgettable. From simple elements, she builds a powerful tale of hope and regret.' Publishers Weekly ‘Ferrante’s uncompromising directness and her unflinching gaze cannot be faulted.’ Age/Sydney Morning Herald ‘With cold determination, Ferrante conveys both the selfishness and the courage that comes with admitting your own maternal shortcomings.’ New Zealand Listener
Lost Daughters movingly depicts the human toll exacted by the widespread belief in Recovered Memory Therapy. It portrays families devastated by daughters' RMT-inspired memories of childhood sexual abuse and their accusations against parents.
A New York Times Notable Book The shocking truth about postwar adoption in America, told through the bittersweet story of one teenager, the son she was forced to relinquish, and their search to find each other. “[T]his book about the past might foreshadow a coming shift in the future… ‘I don’t think any legislators in those states who are anti-abortion are actually thinking, “Oh, great, these single women are gonna raise more children.” No, their hope is that those children will be placed for adoption. But is that the reality? I doubt it.’”[says Glaser]” -Mother Jones During the Baby Boom in 1960s America, women were encouraged to stay home and raise large families, but sex and childbirth were taboo subjects. Premarital sex was common, but birth control was hard to get and abortion was illegal. In 1961, sixteen-year-old Margaret Erle fell in love and became pregnant. Her enraged family sent her to a maternity home, where social workers threatened her with jail until she signed away her parental rights. Her son vanished, his whereabouts and new identity known only to an adoption agency that would never share the slightest detail about his fate. The adoption business was founded on secrecy and lies. American Baby lays out how a lucrative and exploitative industry removed children from their birth mothers and placed them with hopeful families, fabricating stories about infants' origins and destinations, then closing the door firmly between the parties forever. Adoption agencies and other organizations that purported to help pregnant women struck unethical deals with doctors and researchers for pseudoscientific "assessments," and shamed millions of women into surrendering their children. The identities of many who were adopted or who surrendered a child in the postwar decades are still locked in sealed files. Gabrielle Glaser dramatically illustrates in Margaret and David’s tale--one they share with millions of Americans—a story of loss, love, and the search for identity.
Micky Knight, a bayou-bred and out-of-the-closet New Orleans private investigator, takes on the cases of a widowed mother looking for her daughter and a tough gay boy hunting for his biological mother. When a young woman patient is murdered at Dr. Cordelia James’s clinic, it seems to be just a bizarre coincidence. But when another woman, also a patient, is murdered, these events reveal the frightening possibility that the crimes are more than just random chances. Even more alarming, the killer seems to know too much about the victims. As the killer circles ever closer to Micky—and the lost daughter she is trying to find—the coincidences become a grisly reality: the one characteristic all the victims share is that they dare to love other women. The fourth book in the Micky Knight mystery series.
"Using bedtime stories as cautionary tales, a Wrist Scholar relays the story of a fabled group of fathers coping with dead and missing daughters. When the girl sacrifices everything to send a final message to her father through her art and one lost girl is revealed to be not dead or missing but a daughter who has transitioned into a son, fathers are faced with the reality that their children's "play" is anything but. Caught in a strange loop that-like Escher's "Drawing Hands"-confuses the line between reality and artifice, folklore and scholarship, far past and near future, The Lost Daughter Collective illustrates how the stories we receive are shaped by those who do the telling. A story about the complex relationship between fathers and daughters as well as the ethics of storytelling, The Lost Daughter Collective is a gothic fairy tale fusing the fabulism at work in Donald Barthleme and Ben Marcus with the brevity and language play of Rikki Ducornet and Jenny Offill to raise questions about agency and authorship in our narratives"--
The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival
A Pulitzer-nominated author presents a heartbreaking true-life thriller that follows the disappearances of Chelsea King, a popular high school senior, and 14-year-old Amber Dubois, both of whom, beloved by their families and friends, met a brutal fate at the hands of a predator hiding in plain sight. Original.
"The best kind of story—one that will both break your heart and scare the hell out of you." —Jennifer McMahon, New York Times bestselling author of The Children on the Hill If you can hear the call of the water, It's already far too late. They say Cape Disappointment is haunted. That's why tourists used to flock there in droves. They'd visit the rocky shoreline under the old lighthouse's watchful eye and fish shells from the water as they pretended to spot dark shapes in the surf. Now the tourists are long gone, and when Meredith Strand and her young daughter return to Meredith's childhood home after an acrimonious split from her wife, the Cape seems more haunted by regret than any malevolent force. But her mother, suffering from early stages of Alzheimer's, is convinced the ghost stories are real. Not only is there something in the water, but it's watching them. Waiting for them. Reaching out to Meredith's daughter the way it has to every woman in their line for generations—and if Meredith isn't careful, all three women, bound by blood and heartbreak, will be lost one by one to the ocean's mournful call. Part queer modern gothic, part ghost story, They Drown Our Daughters explores the depths of motherhood, identity, and the lengths a woman will go to hold on to both.