Caroline Knapp addresses the following question: How does a woman know, and then honour, what it is she wants in a culture bent on shaping, defining and controlling women and their desires? She uses her own experiences as a powerful exploration of this issue.

    Now, a second thrilling tale of filial sleuthery, this time about her mother: voracious reader, music lover, passionate amateur actor. Also a woman, unhappily married to a closeted gay man, whose artistic aspirations simmered under the surface of Bechdel's childhood . . . and who stopped touching or kissing her daughter good night, forever, when she was seven. Poignantly, hilariously, Bechdel embarks on a quest for answers concerning the mother-daughter gulf. It's a richly layered search that leads readers from the fascinating life and work of the iconic twentieth-century psychoanalyst Donald Winnicott, to one explosively illuminating Dr. Seuss illustration, to Bechdel’s own (serially monogamous) adult love life. And, finally, back to Mother—to a truce, fragile and real-time, that will move and astonish all adult children of gifted mothers.

    In this stunningly unusual prose debut, Doireann Ni Ghriofa sculpts essay and autofiction to explore inner life and the deep connection felt between two writers centuries apart. In the 1700s, an Irish noblewoman, on discovering her husband has been murdered, drinks handfuls of his blood and composes an extraordinary poem. In the present day, a young mother narrowly avoids tragedy. On encountering the poem, she becomes obsessed with its parallels with her own life, and sets out to track down the rest of the story. A devastating and timeless tale about one woman freeing her voice by reaching into the past and finding another's.

    But we also believe it is often really hard to see all that beauty when we're in the midst of mothering. So often, we feel like we're spread too thin. We feel like we don't match up. Our hearts want to do more than our hands can manage. And every day, as we cycle through household duties, discipline, errands, conversations, teaching, and hundreds of unexpecteds, we're often left tired, worried, and in need of some extra inspiration and encouragement. Power of Moms is an online community of deliberate mothers. Since 2007, millions of mothers from all backgrounds who are striving to be the best they can be have gathered to our website to learn and grow together. Time and again, our posts receive comments that say something like, "I am going to print this out and put it on my nightstand so I can read it again and again." We've been concerned about those nightstands . . . getting all cluttered up with paper. So we've selected dozens of our most popular posts and compiled them neatly into this book "just for you." Becoming Our Best Selves Getting Through Hard Times Remembering the Meaning in Motherhood Shifting Our Perspectives Savoring the Moments This book isn't just a book. It's a tangible representation of a living, breathing community of mothers. Motherhood is the hardest job we'll ever love, and it's so much better when we're doing it together.

    In Sweden children play outside all year round, regardless of the weather, and letting young babies nap outside in freezing temperatures is not only common—it is a practice recommended by physicians. In the US, on the other hand, she found that the playgrounds, which she had expected to find teeming with children, were mostly deserted. In preschool, children were getting drilled to learn academic skills, while their Scandinavian counterparts were climbing trees, catching frogs, and learning how to compost. Worse, she realized that giving her daughters the same freedom to play outside that she had enjoyed as a child in Sweden could quickly lead to a visit by Child Protective Services. The brewing culture clash finally came to a head when McGurk was fined for letting her children play in a local creek, setting off an online firestorm when she expressed her anger and confusion on her blog. The rules and parenting philosophies of her native country and her adopted homeland were worlds apart. Struggling to fit in and to decide what was best for her children, McGurk turned to her own childhood for answers. Could the Scandinavian philosophy of “there is no such thing as bad weather, only bad clothes” be the key to better lives for her American children? And how would her children’s relationships with nature change by introducing them to Scandinavian concepts like friluftsliv (“open-air living”) and hygge (the coziness and the simple pleasures of home)? McGurk embarked on a six-month-long journey to Sweden to find out. There’s No Such Thing as Bad Weather is a fascinating personal narrative that highlights the importance of spending time outdoors, and illustrates how the Scandinavian culture could hold the key to raising healthier, resilient, and confident children in America.

    In the first anguished days, she began to create a record of her interior life as a mourner, trying to capture the paradox of grief-its monumental agony and microscopic intimacies-an endeavor that ultimately bloomed into a profound look at how caring for her mother during her illness changed and strengthened their bond. O'Rourke's story is one of a life gone off the rails, of how watching her mother's illness-and separating from her husband-left her fundamentally altered. But it is also one of resilience, as she observes her family persevere even in the face of immeasurable loss. With lyricism and unswerving candor, The Long Goodbye conveys the fleeting moments of joy that make up a life, and the way memory can lead us out of the jagged darkness of loss. Effortlessly blending research and reflection, the personal and the universal, it is not only an exceptional memoir, but a necessary one.

    She crisscrossed America and beyond with her daughter in tow, history shadowing their steps, always intensely aware of how they were perceived, not just as mother and child but as black women. From the San Francisco of settlers’ dreams to the slave-trading ports of Ghana, from snow-white Maine to a festive yet threatening bonfire in the Virginia pinewoods, Dungy finds fear and trauma but also mercy, kindness, and community. Penetrating and generous, this is an essential guide for a troubled land.

    A prize-winning, successful novelist in her 30s, McCracken was happy to be an itinerant writer and self-proclaimed spinster. But suddenly she fell in love, got married, and two years ago was living in a remote part of France, working on her novel, and waiting for the birth of her first child.This book is about what happened next. In her ninth month of pregnancy, she learned that her baby boy had died. How do you deal with and recover from this kind of loss? Of course you don't--but you go on. And if you have ever experienced loss or love someone who has, the company of this remarkable book will help you go on.

      From the moment a mother holds her newborn son, his eyes tell her that she is his world. But often, as he grows up, the boy who needs her simultaneously pushes her away. Calling upon thirty years of experience as a pediatrician, Meg Meeker, M.D., a highly sought after national speaker, assistant professor of clinical medicine, and mother of four, shares the secrets that every mother needs to know in order to strengthen—or rebuild—her relationship with her son.   Boys today face unique challenges and pressures, and the burden on mothers to guide their boys through them can feel overwhelming. This empowering book offers a road map to help mothers find the strength and confidence to raise extraordinary sons by providing encouragement, education, and practical advice about   • the need for mothers to exercise courage and be bolder and more confident about advising and directing their boys • the crucial role mothers play in expressing love to sons in healthy ways so they learn to respect and appreciate women as they grow up • the importance of teaching sons about the values of hard work, community service, and a well-developed inner life • the natural traps mothers of boys often fall into—and how to avoid them • the need for a mother to heal her own wounds with the men in her life so she can raise her son without baggage and limitations • the best ways to survive the moments when the going gets tough and a mom’s natural ways of communicating—talking, analyzing, exploring—only fuel the fire   When a mother holds her baby boy for the first time, she also instinctively knows something else: If she does her job right and raises her son with self-esteem, support, and wisdom, he will become the man she knows he was meant to be.Praise for Strong Mothers, Strong Sons   “Solid, practical advice for women on how to properly nurture their sons.” —Kirkus Reviews  Praise for Meg Meeker, M.D.  Strong Fathers, Strong Daughters   “Dr. Meeker’s conclusions are timely, relevant, and often deeply moving. No one interested in what girls experience growing up in our culture today—and the impact that parents, especially fathers, have on the experience—can afford to miss reading this book.”—Armand M. Nicholi, Jr., M.D., professor of psychiatry, Harvard Medical School   “Reassuring and challenging . . . a helpful road map for concerned fathers [that] tackles difficult issues.” —National Review   Boys Should Be Boys   “If you want to raise a boy you’ll be proud of, read Boys Should Be Boys.”—Dave Ramsey, author of The Total Money Makeover   “Filled with inspirational vignettes, Boys Should Be Boys empowers parents to stay involved and protect their sons’ innocence. It’s a wonderfully written and eye-opening book—a must-read.”—Neil Bernstein, Ph.D., author of There When He Needs You   The 10 Habits of Happy Mothers   “Offers practical ways to help you let go of ‘mom guilt’ in order to become a happier, healthier woman.” —Parent & Child   “Just about any mom, or dad, can find useful wisdom in this book.”—Associated Press

    It is the story of how one woman learned that a responsible mother is not one who slowly dies for her children, but one who shows them how to fully live. It is the story of navigating divorce, forming a new blended family, and discovering that the brokenness or wholeness of a family depends not on its structure but on each member’s ability to bring her full self to the table. And it is the story of how each of us can begin to trust ourselves enough to set boundaries, make peace with our bodies, honor our anger and heartbreak, and unleash our truest, wildest instincts so that we become women who can finally look at ourselves and say: There She Is.

    It was a shock to Williams to discover that her mother had kept journals. But not as much of a shock as what she found when the time came to read them.  “They were exactly where she said they would be: three shelves of beautiful cloth-bound books . . . I opened the first journal. It was empty. I opened the second journal. It was empty. I opened the third. It too was empty . . . Shelf after shelf after shelf, all of my mother’s journals were blank.” What did Williams’s mother mean by that? In fifty-four chapters that unfold like a series of yoga poses, each with its own logic and beauty, Williams creates a lyrical and caring meditation of the mystery of her mother's journals. When Women Were Birds is a kaleidoscope that keeps turning around the question “What does it mean to have a voice?”

    For several years, Lamb has taught writing to a group of women prisoners at York Correctional Institution in Connecticut. In this unforgettable collection, the women of York describe in their own words how they were imprisoned by abuse, rejection, and their own self-destructive impulses long before they entered the criminal justice system. Yet these are powerful stories of hope and healing, told by writers who have left victimhood behind. In his moving introduction, Lamb describes the incredible journey of expression and self-awareness the women took through their writing and shares how they challenged him as a teacher and as a fellow author. Couldn't Keep It to Myself is a true testament to the process of finding oneself and working toward a better day.

    Childhood tells the story of a misfit child's single-minded determination to become a poet; Youth describes her early experiences of sex, work, and independence. Dependency picks up the story as the narrator embarks on the first of her four marriages and goes on to describe her horrible descent into drug addiction, enabled by her sinister, gaslighting doctor-husband.Throughout, the narrator grapples with the tension between her vocation as a writer and her competing roles as daughter, wife, mother, and drug addict, and she writes about female experience and identity in a way that feels very fresh and pertinent to today's discussions around feminism. Ditlevsen's trilogy is remarkable for its intensity and its immersive depiction of a world of complex female friendships, family and growing up--in this sense, it's Copenhagen's answer to Elena Ferrante's Neapolitan Novels. She can also be seen as a spiritual forerunner of confessional writers like Karl Ove Knausgaard, Annie Ernaux, Rachel Cusk and Deborah Levy. Her trilogy is drawn from her own experiences but reads like the most compelling kind of fiction.Born in a working-class neighborhood in Copenhagen in 1917, Ditlevsen became famous for her poetry while still a teenager, and went on to write novels, stories and memoirs before committing suicide in 1976. Having been dismissed by the critical establishment in her lifetime as a working-class, female writer, she is now being rediscovered and championed as one of Denmark's most important modern authors, with Tove fever gripping readers.

    Performing as a living statue in a wedding dress, she wordlessly asked thousands of passersby for their dollars. When she became a singer, songwriter, and musician, she was not afraid to ask her audience to support her as she surfed the crowd (and slept on their couches while touring). And when she left her record label to strike out on her own, she asked her fans to support her in making an album, leading to the world's most successful music Kickstarter.Even while Amanda is both celebrated and attacked for her fearlessness in asking for help, she finds that there are important things she cannot ask for-as a musician, as a friend, and as a wife. She learns that she isn't alone in this, that so many people are afraid to ask for help, and it paralyzes their lives and relationships. In this groundbreaking book, she explores these barriers in her own life and in the lives of those around her, and discovers the emotional, philosophical, and practical aspects of The Art Of Asking.Part manifesto, part revelation, this is the story of an artist struggling with the new rules of exchange in the twenty-first century, both on and off the Internet. The Art Of Asking will inspire readers to rethink their own ideas about asking, giving, art, and love.

    A searingly candid memoir." -- Kirkus "Far from your cookie-cutter story of addiction . . . [I'm Just Happy to Be Here] describes Hanchett's journey to recovery and sobriety in imperfect and unconventional ways." -- Bustle In this unflinching and wickedly funny memoir, Janelle Hanchett tells the story of finding her way home. And then, actually staying there. Drawing us into the wild, heartbreaking mind of the addict, Hanchett carries us from motherhood at 21 with a man she'd known three months to cubicles and whiskey-laden domesticity, from judging meth addicts in rehab to therapists who "seem to pull diagnoses out of large, expensive hats." With warmth, wit, and searing B.S. detectors turned mostly toward herself, Hanchett invites us to laugh when we probably shouldn't and to rejoice at the unconventional redemption she finds in desperation and in a misfit mentor who forces her to see the truth of herself. A story of ego and forced humility, of fierce honesty and jagged love, of the kind of failure that forces us to re-create our lives, Hanchett writes with rare candor, scorching the "sanctity of motherhood," and leaving beauty in the ashes.