Queer Postcolonial Narratives and the Ethics of Witnessing is a critically engaged exploration of power and its relation to ethics and bodies. By revisiting and revising Judith Butler's and Homi Bhabha's queer and postcolonial theories of literary performance, McCormack expands current understandings of the performative workings of power through an embodied, multisensory ethics. That remembering is an embodied act which necessitates an undoing of one's sense of self captures how colonial and familial histories silenced by hegemonic structures may only emerge through opaque bodily sensations. These non-institutionalised forms of witnessing serve both to reconfigure theories of performativity, by re-situating the act of witnessing as integral to the workings of power, and to interrogate the current emphasis on speech in trauma studies, by analysing the multifarious, communal and public ways in which memories emerge. In Queer Postcolonial Narratives and the Ethics of Witnessing the body is reinstated as central to both the workings of and the challenges to colonial discourses"--
When parents must rely on public assistance and family shelters to provide for their children's most basic needs, they lose autonomy. Within a system of public assistance that already stigmatizes and isolates its beneficiaries, their family lives become subject to public scrutiny and criticism. They are parenting in public. This book is an in-depth examination of the realities of life for parents and their children in family shelters. The author uses the Massachusetts family shelter system to explore the impact of asset and deficit-oriented help-giving approaches as they are experienced by mothers and service providers. The format of the book is unique. Following each chapter are the "reflections" of a mother who has parented in a shelter, a front-line worker, and a shelter director. The author and contributors propose a "Power With" policy and practice framework that runs counter to the prevailing "Power Over" cultural policy trends. Contributors include Rosa Clark, Brenda Farrell, Deborah Gray, Michele Kahan, Margaret A. Leonard, Mary T. Lewis, Nancy Schwoyer, and Elizabeth Ward.
Parris McKay goes to France in search of her mother, but the meeting opens old wounds for both. Parris finds solace in two new friends who, like her, are coming to terms with a legacy of long-buried secrets.
This Family Tree with its tangled roots and strong, sturdy trunk blossoms out to encompass a full splendor of branches, leaves, and twigs. It stands in a meadow full of life experiences with its rocks of hardships and flowering with beautiful memories. Surrounded by a grove of friendships and acquaintances that have protected and assisted in its life, it stands in its ever-growing majestic splendor reaching towards God’s heaven and eternal life.
Taken from the best of Donna Magazine that can be found at: http: //kakonged.wordpress.com on the Internet comes a book that you can take with you anywhere
A timely, accessible introduction to Margaret Atwood's most recent novels and enduring themes In 2017, the Hulu adaptation of Margaret Atwood's The Handmaid's Tale introduced the acclaimed and bestselling Canadian author to a new generation and reminded Atwood's long-established readers of her uncanny prescience. Understanding Margaret Atwood provides an overview of the author's life, descriptions and analyses of the key themes present in her most recent novels, signposts to the connections and intertextual references between them, and attention to their critical reception. Following a biographical overview, author Donna M. Bickford studies The Handmaid's Tale (1985) and its sequel The Testaments (2019), retellings of The Odyssey in The Penelopiad (2005) and The Tempest in Hag Seed (2016), the MaddAddam trilogy (2003, 2009, 2013), and The Heart Goes Last (2015). Written in clear language and a style appropriate both for scholars and for new students of Atwood, Bickford locates Atwood's recent works in the literary, political, and social context. Atwood is the author of more than fifty books of fiction, essays, and poetry, which have collectively sold more than eight million copies worldwide; has received numerous awards and accolades, including multiple Booker Prizes and a PEN Center USA Lifetime Achievement Award; and is a Fellow of the Royal Society of Canada.
For Diana Pearson, typical housewife and primary caregiver of two, motherhood never quite lived up to its pre-conception hype. Left alone due to her husband Carl's hectic schedule as a criminal attorney, Diana's journey on the mommy track consisted of laundries, play-dates, and coffee-clutching. None of this felt right to Diana, who suffered from a sinus infection that had a half-life of radioactive material and which kept her in bed, although not for the purposes her sex-starved husband had in mind. "Go to work and buy me a mommy," she told Carl one morning; his response caused her heart to palpitate in what her doctor had previously diagnosed as a panic attack. Jon was eight, and Ali, six; was she really ready to leave the protective status of dependent on her husband's tax return? How would she make it home on time for the school bus? she worried, until Carl convinced her to take the "perfect" part-time job, and suddenly she worried she would never make it home at all.
Scrima-Black shares 13 lessons she learned as the CEO of her family dealing with topics from the journey into motherhood to trusting her "mother's instinct" to raising children with opposite personalities to creating lasting family memories. The lessons/memoirs are written with humor and candor, recognizing that each mom must follow her own unique path, ultimately making choices which reflect who she is at any given moment in her life.
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