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NATIONAL BESTSELLER • A “hilarious, heartbreaking, and edgy” (Newsweek) memoir on modern motherhood. In our mothers’ day there were good mothers, indifferent mothers, and occasionally, great mothers. Today we have only Bad Mothers: If you work, you’re neglectful; if you stay home, you’re smothering. If you discipline, you’re buying them a spot on the shrink’s couch; if you let them run wild, they will be into drugs by seventh grade. Is it any wonder so many women refer to themselves at one time or another as a “bad mother”? Writing with remarkable candor, and dispensing much hilarious and helpful advice along the way—Is breast best? What should you do when your daughter dresses up as a “ho” for Halloween?—Ayelet Waldman says it's time for women to get over it and get on with it in this wry, unflinchingly honest, and always insightful memoir on motherhood in today's world.
A simple argument guides this book: motherhood is the place in our culture where we lodge, or rather bury, the reality of our own conflicts. By making mothers the objects of both licensed idealization and cruelty, we blind ourselves to the world’s iniquities and shut down the portals of the heart. Mothers are the ultimate scapegoat for our personal and political failings, for everything that is wrong with the world, which becomes their task (unrealizable, of course) to repair. Moving commandingly between pop cultural references such as Roald Dahl’s Matilda to insights on motherhood in the ancient world and the contemporary stigmatization of single mothers, Jacqueline Rose delivers a groundbreaking report into something so prevalent we hardly notice. Mothers is an incisive, rousing call to action from one of our most important contemporary thinkers.
This Is A New Release Of The Original 1915 Edition.
The inspiration for the film starring Tilda Swinton and John C. Reilly, this resonant story of a mother’s unsettling quest to understand her teenage son’s deadly violence, her own ambivalence toward motherhood, and the explosive link between them remains terrifyingly prescient. Eva never really wanted to be a mother. And certainly not the mother of a boy who murdered seven of his fellow high school students, a cafeteria worker, and a much–adored teacher in a school shooting two days before his sixteenth birthday. Neither nature nor nurture exclusively shapes a child's character. But Eva was always uneasy with the sacrifices and social demotion of motherhood. Did her internalized dislike for her own son shape him into the killer he’s become? How much is her fault? Now, two years later, it is time for her to come to terms with Kevin’s horrific rampage, all in a series of startlingly direct correspondences with her estranged husband, Franklin. A piercing, unforgettable, and penetrating exploration of violence and responsibility, a book that the Boston Globe describes as “impossible to put down,” is a stunning examination of how tragedy affects a town, a marriage, and a family.
Winner of the Children’s Literature Association’s 2018 Edited Book Award Contributions by Robin Calland, Lauren Causey, Karen Coats, Sara K. Day, Lisa Rowe Fraustino, Dorina K. Lazo Gilmore, Anna Katrina Gutierrez, Adrienne Kertzer, Kouen Kim, Alexandra Kotanko, Jennifer Mitchell, Mary Jeanette Moran, Julie Pfeiffer, and Donelle Ruwe Living or dead, present or absent, sadly dysfunctional or merrily adequate, the figure of the mother bears enormous freight across a child's emotional and intellectual life. Given the vital role literary mothers play in books for young readers, it is remarkable how little scholarly attention has been paid to the representation of mothers outside of fairy tales and beyond studies of gender stereotypes. This collection of thirteen essays begins to fill a critical gap by bringing together a range of theoretical perspectives by a rich mix of senior scholars and new voices. Following an introduction in which the coeditors describe key trends in interdisciplinary scholarship, the book's first section focuses on the pedagogical roots of maternal influence in early children's literature. The next section explores the shifting cultural perspectives and subjectivities of the twentieth century. The third section examines the interplay of fantasy, reality, and the ethical dimensions of literary mothers. The collection ends with readings of postfeminist motherhood, from contemporary realism to dystopian fantasy. The range of critical approaches in this volume will provide multiple inroads for scholars to investigate richer readings of mothers in children's and young adult literature.
Mixed feelings about motherhood—uncertainty over having a child, fears of pregnancy and childbirth, or negative thoughts about one’s own children—are not just hard to discuss, they are a powerful social taboo. In this beautifully written book, Barbara Almond brings this troubling issue to light. She uncovers the roots of ambivalence, tells how it manifests in lives of women and their children, and describes a spectrum of maternal behavior—from normal feelings to highly disturbed mothering. In a society where perfection in parenting is the unattainable ideal, this compassionate book also shows how women can affect positive change in their lives.
In this taut and explosive debut novel, one lapse in judgement lands a young mother in a government reform program where custody of her child hangs in the balance.Frida Liu is struggling. She doesn't have a career worthy of her Chinese immigrant parents' sacrifices. She can't persuade her husband, Gust, to give up his wellness-obsessed younger mistress. Only with Harriet, their cherubic daughter, does Frida finally attain the perfection expected of her. Harriet may be all she has, but she is just enough.Until Frida has a very bad day.The state has its eyes on mothers like Frida. The ones who check their phones, letting their children get injured on the playground; who let their children walk home alone. Because of one moment of poor judgment, a host of government officials will now determine if Frida is a candidate for a Big Brother-like institution that measures the success or failure of a mother's devotion.Faced with the possibility of losing Harriet, Frida must prove that a bad mother can be redeemed. That she can learn to be good.A searing page-turner that is also a transgressive novel of ideas about the perils of "perfect" upper-middle-class parenting; the violence enacted upon women by both the state and, at times, one another; the systems that separate families; and the boundlessness of love, The School for Good Mothers introduces, in Frida, an everywoman for the ages. Using dark wit to explore the pains and joys of the deepest ties that bind us, Chan has written a modern literary classic.
***LONGLISTED FOR THE NATIONAL BOOK AWARD IN FICTION*** Named one of Time Magazine’s 100 Best Mystery and Thriller Books of All Time “An extraordinary and dazzlingly original work from one of our most gifted and interesting writers” (Emily St. John Mandel, author of The Glass Hotel). The Need, which finds a mother of two young children grappling with the dualities of motherhood after confronting a masked intruder in her home, is “like nothing you’ve ever read before…in a good way” (People). When Molly, home alone with her two young children, hears footsteps in the living room, she tries to convince herself it’s the sleep deprivation. She’s been hearing things these days. Startling at loud noises. Imagining the worst-case scenario. It’s what mothers do, she knows. But then the footsteps come again, and she catches a glimpse of movement. Suddenly Molly finds herself face-to-face with an intruder who knows far too much about her and her family. As she attempts to protect those she loves most, Molly must also acknowledge her own frailty. Molly slips down an existential rabbit hole where she must confront the dualities of motherhood: the ecstasy and the dread; the languor and the ferocity; the banality and the transcendence as the book hurtles toward a mind-bending conclusion. In The Need, Helen Phillips has created a subversive, speculative thriller that comes to life through blazing, arresting prose and gorgeous, haunting imagery. “Brilliant” (Entertainment Weekly), “grotesque and lovely” (The New York Times Book Review, Editor’s Choice), and “wildly captivating” (O, The Oprah Magazine), The Need is a glorious celebration of the bizarre and beautiful nature of our everyday lives and “showcases an extraordinary writer at her electrifying best” (Publishers Weekly, starred review).
Kirkus Reviews Best Book of the Year This “witty, engaging analysis” of female monsters in pop culture offers “provocative and incisive” commentary on society’s fear of female rage and power (Soraya Chemaly, author of Rage Becomes Her) Women have always been seen as monsters. Men from Aristotle to Freud have insisted that women are freakish creatures, capable of immense destruction. Maybe they are. And maybe that’s a good thing. Sady Doyle, hailed as “smart, funny and fearless” by the Boston Globe, takes readers on a tour of the female dark side, from the biblical Lilith to Dracula’s Lucy Westenra, from the T-Rex in Jurassic Park to the teen witches of The Craft. She illuminates the women who have shaped our nightmares: Serial killer Ed Gein’s “domineering” mother Augusta; exorcism casualty Anneliese Michel, who starved herself to death to quell her demons; author Mary Shelley, who dreamed her dead child back to life. These monsters embody patriarchal fear of women, and illustrate the violence with which men enforce traditionally feminine roles. They also speak to the primal threat of a woman who takes back her power. In a dark and dangerous world, Dead Blondes and Bad Mothers asks women to look to monsters for the ferocity we all need to survive. “Some people take a scalpel to the heart of media culture; Sady Doyle brings a bone saw, a melon baller, and a machete.” —Andi Zeisler, author of We Were Feminists Once
What visual tropes of race, death, and motherhood tell us about citizenship.