For fans of Harriet Evans, Lucinda Riley and Rowan Coleman; a sweeping family drama about secrets, sacrifice and love, spanning from the 1950s to present day. All families have secrets. 89-year-old Jeannette never meant to keep the truth from her family. But when a near fatal fall sends her to live with her granddaughter Amy, she finds herself revisiting a past that's been hidden for too many years. Amy, however, has always been good at keeping secrets. When ex-partner Nick shows up, she's forced to admit that some things just can't stay hidden forever. Judith is starting from scratch - again. The master of reinvention, Amy's mother has been seeking happiness in all the wrong places. This time though, she might just find it a lot closer to home than she ever believed she would... As Jeannette's 90th birthday party approaches, all three women discover they have more in common than they first thought, and the secrets from the past may be the key to unlocking the future. Three women. Three generations. One legacy they all share... From the winner of the Gingerbread and Trapeze New Writer Award.
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
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.”
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…
Following the tragic death of her beloved son, Manuela goes to Barcelona in search of the father. But before she can exorcise her guilt she gets caught up in the lives of three women: Agrado, a long-lost transexual friend; Rosa, a young nun in search of love; and, Huma Rojo, the famous actress Manuela's son so admired.
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.
In My Mother’s House depicts a profound, intergenerational struggle between a powerful, politically engaged mother, Rose, and her spiritually inclined poet and writer daughter, Kim. Framing this collision are two other generations. There is Rose’s mother from the shtetl, a broken woman regularly beaten by her husband but the source of the family’s stories. And Kim’s daughter, a second-generation, fully assimilated girl of eight at the time the book begins. Four generations, from the shtetl to an affluent intellectual household in Berkeley, California, the story is a historical record and reckoning between the old activist left and a beginning feminist movement. The double narrative allows Kim to explore the evolving relationship between mother and daughter, who, through their storytelling, are brought to a profound understanding and reconciliation.