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In this co-edited volume, women educators figuratively gather in "the red tent" (Diamant, 1997) to share stories of the inseparability of what they do as mothers of daughters (and grandmothers of granddaughters) from their work as educators and social activists. By acting and speaking jointly and publicly about their varying "projects" of mothering and educating, this work celebrates mothers' and daughters' strengths and the bonds between them. This work considers the mother-daughter bond through maternal storytelling or narrative and the Motherline. The narratives foreground the theory that a strong mother-daughter connection leads to empowerment, and attempt to link that connection with education as grand/mother-educators and their grand/daughters weave their personal and professional lives into an ever-evolving tapestry. Drawing from a range of feminist theories in action, contributors to this volume offer stories of the Motherlines that illuminate the complexities of these powerful relationships. Using counter-narratives to patriarchal framings of family, this collection affirms the power of women educators telling and reading their stories as a means of self-discovery, empowerment, and, ultimately, cultural transformation.
Originally published: Los Angeles: J.P. Tarcher, 1992, under the title: Stories from the motherline.
After thirty years, Suzy McKee Charnas has completed her incomparable epic tale of men and women, slavery and freedom, power and human frailty. It started with Walk to the End of the World, where Alldera the Messenger is a slave among the Fems, in thrall to men whose own power is waning. It continued with Motherlines, where Alldera the Runner is a fugitive among the Riding Women, who live a tribal life of horse-thieving and storytelling, killing the few men who approach their boundaries. The books that finish Alldera's story, The Furies and The Conqueror's Child, are now available. Once you start, you won't want to stop until you've read the last word of the last book. Winner of the James Tiptree, Jr. Award At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Featuring the stories of fourteen Black women scholars, Black Womanist Leadership: Tracing the Motherline offers a culturally based model of Black women's leadership practices, and examines the mother-daughter transmission of these skills. The personal narratives fit into a storytelling tradition that reveals the ways Black mothers and women of the community—the Motherline—teach girls the "ways women lead." The essays present a range of different practical and theoretical issues of leadership and development, including mother nurture, emulation of and divergence from core values, internalized oppression, self determination, representation of the physical self, guardianship/governance of the body, cooperative economics, activism, contentiousness with or differentiation from the mother, and negotiation of leadership across public and private spheres. Together, they make a compelling argument for the necessity of continuing to teach the cultural and gender-specific resistance to oppression that has been passed along the Motherline, and to adapt this Motherline tradition to the lives and needs of women and girls in the 21st century.
When we allow ourselves to embrace both ordinary and extraordinary experiences, we can feel the divine anywhere. No matter where we are—on a walk in the woods, in a sacred building, or in a dusty refugee camp—signs of love abound. There is no secret formula to experiencing the sacred in our lives, it just takes practice and practicality. You’re invited to search this path with entrepreneur Becca Stevens as she explores what it means to be practically divine. Woven throughout the narrative are poetry and rants, as well as ruminations on her mother’s wit, wisdom, and passion. In Practically Divine, Becca shares how to live a life that’s practically divine by: Redefining old lies and stories, to learn from the past Appreciating the gifts that come from imperfections or trauma Using creativity to spark new revolutions Accepting the chaos of the unknown before us with courage Sharing in a feast of love, knowing there’s enough mercy and forgiveness Embracing the practically divine compels us to do something, anything, to share in the feast of love together. When we start from wherever we are, we can recognize the potential for humor, wonder, and freedom. Practically Divine teaches you to use your senses to transform information into holy compassion. When we open our hearts to it, we can experience the divine anywhere - like sacred breadcrumbs marking our path.
Traces Morrison's theory of African American mothering as it is articulated in her novels, essays, speeches, and interviews. Mothering is a central issue for feminist theory, and motherhood is also a persistent presence in the work of Toni Morrison. Examining Morrison's novels, essays, speeches, and interviews, Andrea O'Reilly illustrates how Morrison builds upon black women's experiences of and perspectives on motherhood to develop a view of black motherhood that is, in terms of both maternal identity and role, radically different from motherhood as practiced and prescribed in the dominant culture. Motherhood, in Morrison's view, is fundamentally and profoundly an act of resistance, essential and integral to black women's fight against racism (and sexism) and their ability to achieve well-being for themselves and their culture. The power of motherhood and the empowerment of mothering are what make possible the better world we seek for ourselves and for our children. This, argues O'Reilly, is Morrison's maternal theory—a politics of the heart. "As an advocate of 'a politics of the heart,' O'Reilly has an acute insight into discerning any threat to the preservation and continuation of traditional African American womanhood and values ... Above all, Toni Morrison and Motherhood, based on Andrea O'Reilly's methodical research on Morrison's works as well as feminist critical resources, proffers a useful basis for understanding Toni Morrison's works. It certainly contributes to exploring in detail Morrison's rich and complex works notable from the perspectives of nurturing and sustaining African American maternal tradition." — African American Review "O'Reilly boldly reconfigures hegemonic western notions of motherhood while maintaining dialogues across cultural differences." — Journal of the Association for Research on Mothering "Andrea O'Reilly examines Morrison's complex presentations of, and theories about, motherhood with admirable rigor and a refusal to simplify, and the result is one of the most penetrating and insightful studies of Morrison yet to appear, a book that will prove invaluable to any scholar, teacher, or reader of Morrison." — South Atlantic Review "...it serves as a sort of annotated bibliography of nearly all the major theoretical work on motherhood and on Morrison as an author ... anyone conducting serious study of either Toni Morrison or motherhood, not to mention the combination, should read [this book] ... O'Reilly's exhaustive research, her facility with theories of Anglo-American and Black feminism, and her penetrating analyses of Morrison's works result in a highly useful scholarly read." — Literary Mama "By tracing both the metaphor and literal practice of mothering in Morrison's literary world, O'Reilly conveys Morrison's vision of motherhood as an act of resistance." — American Literature "Motherhood is critically important as a recurring theme in Toni Morrison's oeuvre and within black feminist and feminist scholarship. An in-depth analysis of this central concern is necessary in order to explore the complex disjunction between Morrison's interviews, which praise black mothering, and the fiction, which presents mothers in various destructive and self-destructive modes. Kudos to Andrea O'Reilly for illuminating Morrison's 'maternal standpoint' and helping readers and critics understand this difficult terrain. Toni Morrison and Motherhood is also valuable as a resource that addresses and synthesizes a huge body of secondary literature." — Nancy Gerber, author of Portrait of the Mother-Artist: Class and Creativity in Contemporary American Fiction "In addition to presenting a penetrating and original reading of Toni Morrison, O'Reilly integrates the evolving scholarship on motherhood in dominant and minority cultures in a review that is both a composite of commonalities and a clear representation of differences." — Elizabeth Bourque Johnson, University of Minnesota Andrea O'Reilly is Associate Professor in the School of Women's Studies at York University and President of the Association for Research on Mothering. She is the author and editor of several books on mothering, including (with Sharon Abbey) Mothers and Daughters: Connection, Empowerment, and Transformation and Mothers and Sons: Feminism, Masculinity, and the Struggle to Raise Our Sons.
"My mother never writes. So when the mail arrived that day, I was not expecting to find a letter from her. There was no warning." Between generations of women, there are always secrets--relationships kept hidden, past events obscured, true feelings not spoken. But sometimes the truth is so primal it must be told. Now, with haunting lyricism and emotional clarity, Arlene Chai has written an exquisite novel about a family of women who break their silence. At the center of The Last Time I Saw Mother is the singular story of a woman who suddenly learns she is not who she thinks she is. Caridad is a wife and mother, a native of the Philippines living in Sydney, Australia. Out of the blue Caridad's mother summons her home. Although she is not ill, Thelma needs to talk to her daughter -- to reveal a secret that has been weighing heavily on her for years. It is a tale that Caridad in no way suspects. She stopped asking questions about the past long ago; her mother's constant reluctance to answer finally subdued her curiosity. Now, it is through the words of Thelma, her aunt Emma, and her cousin Ligaya, that Caridad will learn the startling truth and attempt to recapture what has been lost to her. Arlene Chai tells their versions of the story in their own voices, each one distinct, moving, and magical. As each woman tells her part of their family's hidden history, Caridad hears at last the unspoken stories--the joys and sorrows that her parents kept to themselves, and the never forgotten tragedy of the war years, when Japan's brutal occupation and civilian deprivations helped destroy a country and its history. The Last Time I Saw Mother is about mothers and daughters. It is about a cultural identity born of Spanish, Chinese, and Filipino influence. And it is about the healing power of truth. Arlene Chai is one of the most stunning new novelists in years. She takes us to a place we have never been before.
In late April 2017, Laura Apol’s twenty-six-year-old daughter, Hanna, took her own life. Apol had long believed in the therapeutic possibilities of writing, having conducted workshops on writing-for-healing for more than a decade. Yet after Hanna’s death, she had her own therapeutic writing to do, turning her anguish, disbelief, and love into poems that map the first year of loss. This collection is the result of that writing, giving voice to grief as it is lived, moment by moment, memory by memory, event by event. While most writing about loss does so from a distance, Apol chooses instead to write from inside those days and months and seasons, allowing readers to experience alongside the poet the moments, the questions, and the deep longings that shape the first grief-year.
Essays explore a wide range of contemporary feminist mothering practices.
Who is She, this Sister from Below? She's certainly not about the ordinary business of life: work, shopping, making dinner. She speaks from other realms. If you'll allow, She'll whisper in your ear, lead your thoughts astray, fill you with strange yearnings, get you hot and bothered, send you off on some wild goose chase of a daydream, eat up hours of your time. She's a siren, a seductress, a shapeshifter . . . Why listen to such a troublemaker? Because She is essential to the creative process: She holds the keys to the doors of our imaginations and deeper life the evolution of Soul.