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This is the complete story, a new edition of No Mama, I Didn't Die. I am Devy Bruch, born Nell Howell in Tennessee, 1937. As an infant, I was stolen from my mother, Lena Mae Howell, just eight hours after she gave birth. I was then sold to a wealthy family through an illegal 'adoption' by Georgia Tann and the Tennessee Children's Home Society. Lena Mae was a very young woman at the time and was told she had given birth to a boy, who had died during delivery. My mother never saw me, nor held me. Many decades later, she went to her grave still suspecting that her baby may have survived. She had heard me cry. She knew in her heart that I could be alive, but she had nowhere to turn. One cold December day, just before Christmas, a chauffeur driven limousine with a nurse and Georgia Tann delivered me to my new home. The year was 1937 and I was a sickly, five-pound weakling, six weeks of age. I had been delivered to my adoptive parents totally sight unseen, until that knock on the door - "Here is your baby." The years between my illegal adoption and finding my true origins were many faceted, as one climbing up a totem pole, falling down and getting back up to the top over and over and over again. At 71 years of age, I learned the truth of my life. I learned about my natural mother, Lena Mae Howell and my natural father, Gaston Gann. I learned I had 2 sisters and a brother (deceased) and a real, caring, loving family. Nothing in my life has affected me so deeply. It has turned my life around. I now realize that I spent many years craving a big family. I always opened up my home to everyone, and provided a warm, cozy place for people to enjoy good food and drink. This was my way of creating family. I reached out to my confidants, my friends, and invited them into my heart, but all in their own way, drifted apart from me. The feat of abandonment was present in my life, but no more. The Howells of Tennessee are my people, my blood, my family. The love they have given me and the knowledge that we are one has brought me a joy and fulfillment I never imagined was possible. There is no denying my roots; the resemblance to them is unmistakable.
Devy Bruch, adopted in the late 1930s from the infamous Tennessee Children's Home Society, has lived a life of both privilege and despair. She searched for her biological family for the first seven decades of her life. In 1937, as an infant, she was stolen from her mother by the infamous Georgia Tann, bundled up, and sold to a wealthy couple from Pennsylvania. In her youth, Devy attended exclusive private schools, spent weekends at the Naval Academy, and experienced a debutante season befitting a fine upbringing. Then, as a young woman, she was plunged into deep despair when her husband left her with four young children and no income. She survived through her inner strength, determination, and spirituality. At the age of seventy-one, Devy made the decision to investigate her adoption and found that she had a sister that destiny had denied her for decades. She learned of the heinous truth of her origins-that of a small, sickly baby stolen from her birth mother and sold for profit during the depression. Now life has brought her full circle to enjoy both her own family and the birth family she finally discovered late in life.
Every loss mama deserves to be reminded she is the mother of all mothers.
ALICE FEENEYS NEW YORK TIMES AND INTERNATIONAL BESTSELLER “Boldly plotted, tightly knotted—a provocative true-or-false thriller that deepens and darkens to its ink-black finale. Marvelous.” —AJ Finn, author of The Woman in the Window My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?
A memoir by American former actress and singer Jennette McCurdy about her career as a child actress and her difficult relationship with her abusive mother who died in 2013
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
Echoes of the fatal shots fired in Dallas on November 22, 1963 reverberate in this collection of seven stories set in Louisiana during the civil rights era. For a varied cast of characters--the artist in the title story who tells the tale of his sojourn at LSU during Kennedy's "brief and shining moment" through a retrospective of his paintings; the schoolteacher soon to be married grieving with her mother over the shattered dream of a charmed and happy First Family's life; the disabled man witnessing the killing of Oswald on the TV screen with a growing premonition of the coming darkness in the world; the lawyer, son of a Southern-born mother and a Yankee father, reliving the loss of his beloved wife in mourning the nation's loss; the African-American wife of a preacher praying to the ghost of her dead mother for solace; the woman who, in moving her family away, feels the place reach out and pull them back; the young couple transplanted from the Midwest entranced by the fairy-tale beauty and amusements of their new life who become caught up in the social upheaval of the times--the violent death of our youngest President is a crucible for the dawning of historical consciousness in the wake of the nation's loss of innocence. An Afterword traces the genesis and the thirty-three-year journey to the publication of this book of stories.
A heart-warming and hilarious family memoir of growing up as one of eleven siblings raised by a single dad in Northern Ireland at the end of the Troubles. Séamas O’Reilly’s mother died when he was five, leaving him, his ten (!) brothers and sisters, and their beloved father in their sprawling bungalow in rural Derry. It was the 1990s; the Troubles were a background rumble, but Séamas was more preoccupied with dinosaurs, Star Wars, and the actual location of heaven than the political climate. ­ An instant bestseller in Ireland, Did Ye Hear Mammy Died? is a book about a family of loud, argumentative, musical, sarcastic, grief-stricken siblings, shepherded into adulthood by a man whose foibles and reticence were matched only by his love for his children and his determination that they would flourish. “In this joyous, wildly unconventional memoir, Séamas O'Reilly tells the story of losing his mother as a child and growing up with ten siblings in Northern Ireland during the final years of the Troubles as a raucous comedy, a grand caper that is absolutely bursting with life.”―Patrick Radden Keefe, NYT bestselling author of Say Nothing and Empire of Pain One of NPR’s Best Books of the Year
Lincoln Prairie Homicide Detective Marti MacAlister does not get along with her new boss. Lieutenant Gail Nicholson disapproves of what she calls Marti's sloppy work habits, and regards her success as a fluke rather than the result of hard work and skill. Marti thinks the woman just may be feeling overly competitive with her, as one of the only other women on the job, and a black woman at that, but Marti knows she must put up with her boss's ill will or else she could be out of job. When a homeless woman turns up dead, Lt. Nicholson dismisses the case. After all, being a suburb of Chicago, Lincoln Prairie has its share of homeless citizens, and another dead one-especially in the winter-ranks pretty low on the lieutenant's radar screen. She's more worried about an assault on a city alderman. But unable to let the woman's death go, Marti takes it upon herself to figure out the truth, even if it costs Marti her job. Could this homicide be part of a larger pattern? Can Marti find the killer before another person turns up dead? The twelfth book in Eleanor Taylor Bland's acclaimed series, A Cold and Silent Dying is a suspenseful, compelling, compassionate story.
This book is a powerful discussion of the novels, short stories, and poems of William Faulkner. Intended for both the general reader as well as those already fully acquainted with his work, My Mother is a Fish illustrates the wisdom and genius of this great modernist of classical twentieth century American Literature. Janet C. Nosek provides a personal commentary on quotations and short passages that show the wide range of style, language, themes, and connections found in Faulkner's fiction. Both instructive and entertaining, this book will be of great interest to literary scholars and a helpful ancillary text as well.