All About My Mother: A Beloved Daughter’s Memoir is the intriguing story of J.S. Quinn, who died in 1997, 25 days before her 19th birthday. This memoir was written by her mother to show that a child’s love can survive death, and it also shows the promise of a life barely begun. Since she passed, J.S. has been witnessing her mother's grieving, right up to the present day. She tells the strategies her mother uses to help cope, including reading, writing, and listening to music. J.S.’s mother was abandoned as a baby in 1946 at a Catholic orphanage in England. J.S. relates the childhood she spent with her three brothers and her single mother, who is of mixed heritage. In the early years, her mother worked three jobs, but still had time to keep her four children busy with activities while pursuing her education to become a teacher. J.S.’s death at 18 took a deep toll on her brothers and her mother, a British teacher currently living in Thailand, who cites her grieving process and why she wrote the book. “It is really an accumulation of short stories, the first of which I wrote in March 2006 as an account of my daughter's last flashes of her life as she was dying. It lifted the gloom on nine years of aching grief. I have had such a blessed life, even with the loss of my daughter. The only obstacle was trying to stay true to my daughter's sentiments and voice.”
about my mother
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Since she's been ill, Lalla Fatma has become a frail little thing with a faltering memory. Lalla Fatma thinks she's in Fez in 1944, where she grew up, not in Tangier in 2000, where this story begins. She calls out to family members who are long dead and loses herself in the streets of her childhood, yearning for her first love and the city she left behind. By her bedside, her son Tahar listens to long-hidden secrets and stories from her past: married while still playing with dolls and widowed for the first time at the age of sixteen. Guided by these fragments, Tahar vividly conjures his mother's life in post-war Morocco, unravelling the story of a woman for whom resignation was the only way out. Tender and compelling, About My Mother maps the beautiful, fragile and complex nature of human experience, while paying tribute to a remarkable woman and the bond between mother and son. 'Ben Jelloun is arguably Morocco's greatest living author, whose impressive body of work combines intellect and imagination in magical fusion' Guardian 'In any language, in any culture, Tahar Ben Jelloun would be a remarkable novelist' Sunday Telegraph 'One of Morocco's most celebrated and translated writers' Asymptote 'A traditional storyteller whose tales have the status of myth ... An important writer.' Times Literary Supplement
A Message from Mike Rowe, the Dirty Jobs Guy: Just to be clear, About My Mother is a book about my grandmother, written by my mother. That’s not to say it’s not about my mother—it is. In fact, About My Mother is as much about my mother as it is about my grandmother. In that sense, it’s really a book about “mothers.” …It is not, however, a book written by me. True, I did write the foreword. But it doesn’t mean I’ve written a book about my mother. I haven’t. Nor does it mean my mother’s book is about her son. It isn’t. It’s about my grandmother. And my mother. Just to be clear.—Mike A love letter to mothers everywhere, About My Mother will make you laugh and cry—and see yourself in its reflection. Peggy Rowe’s story of growing up as the daughter of Thelma Knobel is filled with warmth and humor. But Thelma could be your mother—there’s a Thelma in everyone’s life. Shes the person taking charge—the one who knows instinctively how things should be. Today Thelma would be described as an alpha personality, but while growing up, her daughter Peggy saw her as a dictator—albeit a benevolent, loving one. They clashed from the beginning—Peggy, the horse-crazy tomboy, and Thelma, the genteel-yet-still-controlling mother, committed to raising two refined, ladylike daughters. Good luck. When major league baseball came to town in the early 1950s and turned sophisticated Thelma into a crazed Baltimore Orioles groupie, nobody was more surprised and embarrassed than Peggy. Life became a series of compromises—Thelma tolerating a daughter who pitched manure and galloped the countryside, while Peggy learned to tolerate the whacky Orioles fan who threw her underwear at the television, shouted insults at umpires, and lived by the orange-and-black schedule taped to the refrigerator door. Sometimes, we’re more alike than we know. And in case you’re wondering, Peggy knows a thing or two about dirty jobs herself…
A tent was set up and a triangular table was placed in the middle of the tent. There were one hen and one cock on the table with a big bowl of rice and the smell of burning incense. The bride and the groom in traditional wear stood opposite each other, but the table was placed between them. The usher of the ceremony told the bride to bow to the groom, and in return the groom had to bow in courtesy to the bride. The rite of bowing one after the other would be the peak of the ceremony, and then the reception would be held. Mother and Father became husband and wife right after the wedding ceremony. Then their future was up to them.
Named Honor Book of the Year by the Children’s Literature Association Winner: 2003 Canadian Jewish Book Award for scholarship on a Jewish subject Finalist: 2003 Alberta Book Awards Scholarly Book of the Year How do children’s books represent the Holocaust? How do such books negotiate the tension between the desire to protect children, and the commitment to tell children the truth about the world? If Holocaust representations in children’s books respect the narrative conventions of hope and happy endings, how do they differ, if at all, from popular representations intended for adult audiences? And where does innocence lie, if the children’s fable of Roberto Benigni’s Life is Beautiful is marketed for adults, and far more troubling survivor memoirs such as Anita Lobel’s No Pretty Pictures: A Child of War are marketed for children? How should Holocaust Studies integrate discourse about children’s literature into its discussions? In approaching these and other questions, Kertzer uses the lens of children’s literature to problematize the ways in which various adult discourses represent the Holocaust, and continually challenges the conventional belief that children’s literature is the place for easy answers and optimistic lessons.
Some 400,000 hip fractures occur every year, the vast majority among the elderly; all too often these fractures are associated with death or severe disability. After her mother's double hip fracture, Luisa Margolies immersed herself in identifying and coordinating the services and professionals needed to provide critical care for an elderly person. She soon realized that the American medical system is ill prepared to deal with the long-term care needs of our graying society. The heart of My Mother's Hip is taken up with the author's day-to-day observations as her mother's condition worsened, then improved only to worsen again, while her father became increasingly anxious and disoriented. As both a devoted daughter and a skilled anthropologist, Margolies vividly renders her interactions with physicians, nurses, hospital workers, nursing home administrators, the Medicare bureaucracy, home care providers, and her parents. In the Lessons chapter that follows each episode, she discusses in a broader context the weighty decisions that adult children must make on their parents' behalf and the emotional toll their responsibility takes. Here she addresses the complex practical issues that commonly arise in such situations: understanding the consequences of hip fracture and its treatment, preparing health care proxies and advanced directives, enabling elders to remain at home, and the heartbreaking dilemma of prolonging life. Like many adult children, Margolies learned her lessons about eldercare in the midst of crises. This book is intended to ease the information-gathering and decision-making processes for others involved in eldercare.
Journalist H.J. Cummins grew up thinking her mother never liked her. In search of answers, she learns about her mother's traumatic past in Germany under Hitler, under the economic and personal hardship where survival comes at the expense of joy and security. Through Cummins's studies in history and psychology, she breaks the cycles of miscommunication.
Anna Ornstein is a Holocaust survivor. After emigrating to the U.S., she seldom spoke of the experiences she suffered while a young girl. Thirty years ago at Seder, her family - children and grandchildren - asked her for a glimpse from her past. In an evocative, understated passage, she shared a bit of the tragedy she saw through the eyes of a child. On every Seder since that day, she has added to this tradition with another chapter.
I wrote this as a tribute to my mother, a humble and gently unassuming housewife and mother who loved and understood everything about life and all of its great mysteries. Although Alzheimer’s disease relentlessly and ruthlessly ravaged both her mind and body, her soul remained untouched and pure. This book chronicles her struggles, which certainly impacted the lives of everyone for both the better and the worse. In the end, though, her final lasting lesson was that even in sickness, she still was able to reveal to her loved ones the beauty that surrounds each of us. We learned from her, and for this, we each became better human beings. I wish to share that message of comfort and hope with you, dear reader.
Collects essays and letters from thirty-three women writers about the bond between mothers and daughters.