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Personal memoir using stories and biblical references to encourage people to live their lives and move through any obstacle placed in their way.
NATIONAL BESTSELLER "A phenomenal, human story. . . . I could not put this book down." —CLARA HUGHES An instant national bestseller, this raw and affecting memoir is the story of a mother and daughter who beat the odds together. Decades before Perdita Felicien became a World Champion hurdler running the biggest race of her life at the 2004 Olympics, she carried more than a nation's hopes—she carried her mother Catherine's dreams. In 1974, Catherine is determined and tenacious, but she's also pregnant with her second child and just scraping by in St. Lucia. When she meets a wealthy white Canadian family vacationing on the island, she knows it's her chance. They ask her to come to Canada to be their nanny—and she accepts. This was the beginning of Catherine's new life: a life of opportunity, but also suffering. Within a few years, she would find herself pregnant a third time—this time in her new country with no family to support her, and this time, with Perdita. Together, in the years to come, mother and daughter would experience racism, domestic abuse, and even homelessness, but Catherine's will would always pull them through. As Perdita grew and began to discover her preternatural athletic gifts, she was edged onward by her mother's love, grit, and faith. Facing literal and figurative hurdles, she learned to leap and pick herself back up when she stumbled. This book is a daughter's memoir—a book about the power of a parent's love to transform their child's life.
On a hot July night on Cape Cod, at the age of 14, Brodeur became a confidante to her mother's affair with her husband's closest friend. Malabar came to rely on her daughter to help, but when the affair had calamitous consequences for everyone involved, Brodeau was driven into a precarious marriage of her own, and then into a deep depression. In her memoir she examines how the people close to us can break our hearts simply because they have access to them, and the lies we tell in order to justify the choices we make. -- adapted from jacket
Rebellious generations and the emergence of new feminisms.
The Glass Castle meets The Battle Hymn of the Tiger Mother in this dazzlingly honest and provocative family memoir by former child actress and current Fox Business Network anchor Melissa Francis. When Melissa Francis was eight years old, she won the role of lifetime: playing Cassandra Cooper Ingalls, the little girl who was adopted with her brother (played by young Jason Bateman) by the Ingalls family on the world's most famous primetime soap opera, Little House on the Prairie. Despite her age, she was already a veteran actress, living a charmed life, moving from one Hollywood set to the next. But behind the scenes, her success was fueled by the pride, pressure, and sometimes grinding cruelty of her stage mother, as fame and a mother's ambition pushed her older sister deeper into the shadows. Diary of a Stage Mother's Daughter is a fascinating account of life as a child star in the 1980's, and also a startling tale of a family under the care of a highly neurotic, dangerously competitive "tiger mother." But perhaps most importantly, now that Melissa has two sons of her own, it's a meditation on motherhood, and the value of pushing your children: how hard should you push a child to succeed, and at what point does your help turn into harm?
Iris Krasnow -- mother, daughter, and best-selling Journalist -- tackles the toughest relationship in the lives of many grown women: the mother-daughter bond. With women's life expectancy inching up past eighty, you may be embroiled with your mother well past the time your own hair turns white. The good news: Living longer means more time to make peace -- and this book shows you how. Drawing on her own experience with her colorful eighty-four-year-old mother and the collective wisdom of more than one hundred other adult daughters, Krasnow offers a fresh perspective on how to overcome the anger, guilt, and resentment that can destroy a family. The time to repair the bond is now, she reminds us: You can't kiss and make up at her funeral. The key is to let go of the fantasy mom and embrace the flesh-and-blood woman, with all her flaws.
“[A] paean to feminism and the solidarity of womenkind. . . . This book is a celebration of women in their various roles: mother, sister, civil rights advocate, consumer advocate, first-class mechanic, politician—which Roberts’ own mother once was.” —Washington Post “The perfect combination of powerful feelings and a modulated style.” — Los Angeles Times From the much beloved Cokie Roberts comes a revised and expanded tenth-anniversary paperback edition of the #1 New York Times Bestseller We Are Our Mothers’ Daughters—complete with new profiles.
"No matter how wise a mother's advice is, we listen to our peers." At least that's writer Naomi Wolf's take on the differences between her generation of feminists -- the third wave -- and the feminists who came before her and developed in the late '60s and '70s -- the second wave. In Not My Mother's Sister, Astrid Henry agrees with Wolf that this has been the case with American feminism, but says there are problems inherent in drawing generational lines. Henry begins by examining texts written by women in the second wave, and illustrates how that generation identified with, yet also disassociated itself from, its feminist "foremothers." Younger feminists now claim the movement as their own by distancing themselves from the past. By focusing on feminism's debates about sexuality, they are able to reject the so-called victim feminism of Catherine MacKinnon and Andrea Dworkin. Rejecting the orthodoxies of the second wave, younger feminists celebrate a woman's right to pleasure. Henry asserts, however, that by ignoring diverse older voices, the new generation has oversimplified generational conflict and has underestimated the contributions of earlier feminists to women's rights. They have focused on issues relating to personal identity at the expense of collective political action. Just as writers like Wolf, Katie Roiphe, and Rene Denfeld celebrate a "new" feminist (hetero)sexuality posited in generational terms, queer and lesbian feminists of the third wave similarly distance themselves from those who came before. Henry shows how 1970s lesbian feminism is represented in ways that are remarkably similar to the puritanical portrait of feminism offered by straight third-wavers. She concludes by examining the central role played by feminists of color in the development of third-wave feminism. Indeed, the term "third wave" itself was coined by Rebecca Walker, daughter of Alice Walker. Not My Mother's Sister is an important contribution to the exchange of ideas among feminists of all ages and persuasions.
Becoming My Mother’s Daughter: A Story of Survival and Renewal tells the story of three generations of a Jewish Hungarian family whose fate has been inextricably bound up with the turbulent history of Europe, from the First World War through the Holocaust and the communist takeover after World War II, to the family’s dramatic escape and emmigration to Canada. The emotional centre and narrative voice of the story belong to Eva, an artist, dreamer, and writer trying to work through her complex and deep relationship with her mother, whose portrait she cannot paint until she completes her journey through memory. The core of the book is Eva’s riveting recollection of the last months of World War II in Budapest, seen through a child’s eyes, and is reminiscent in its power of scenes in Joy Kogawa’s Obasan. Exploring the bond between generations of mothers and daughters, the book illustrates the struggle between the need for independence and the search for continuity, the significant impact of childhood on adult life, the reshaping of personality in immigration, the importance of dreams in making us face reality, and the redemptive power of memory. Illustrations by the author throughout the book, some in colour, enhance the story.