New York Times best seller Ever since Gabrielle Stanley Blair became a parent, she’s believed that a thoughtfully designed home is one of the greatest gifts we can give our families, and that the objects and decor we choose to surround ourselves with tell our family’s story. In this, her first book, Blair offers a room-by-room guide to keeping things sane, organized, creative, and stylish. She provides advice on getting the most out of even the smallest spaces; simple fixes that make it easy for little ones to help out around the house; ingenious storage solutions for the never-ending stream of kid stuff; rainy-day DIY projects; and much, much more.
More than eighty designs--iconic, archaic, quotidian, and taboo--that have defined the arc of human reproduction. While birth often brings great joy, making babies is a knotty enterprise. The designed objects that surround us when it comes to menstruation, birth control, conception, pregnancy, childbirth, and early motherhood vary as oddly, messily, and dramatically as the stereotypes suggest. This smart, image-rich, fashion-forward, and design-driven book explores more than eighty designs--iconic, conceptual, archaic, titillating, emotionally charged, or just plain strange--that have defined the relationships between people and babies during the past century. Each object tells a story. In striking images and engaging text, Designing Motherhood unfolds the compelling design histories and real-world uses of the objects that shape our reproductive experiences. The authors investigate the baby carrier, from the Snugli to BabyBjörn, and the (re)discovery of the varied traditions of baby wearing; the tie-waist skirt, famously worn by a pregnant Lucille Ball on I Love Lucy, and essential for camouflaging and slowly normalizing a public pregnancy; the home pregnancy kit, and its threat to the authority of male gynecologists; and more. Memorable images--including historical ads, found photos, and drawings--illustrate the crucial role design and material culture plays throughout the arc of human reproduction. The book features a prologue by Erica Chidi and a foreword by Alexandra Lange. Contributors Luz Argueta-Vogel, Zara Arshad, Nefertiti Austin, Juliana Rowen Barton, Lindsey Beal, Thomas Beatie, Caitlin Beach, Maricela Becerra, Joan E. Biren, Megan Brandow-Faller, Khiara M. Bridges, Heather DeWolf Bowser, Sophie Cavoulacos, Meegan Daigler, Anna Dhody, Christine Dodson, Henrike Dreier, Adam Dubrowski, Michelle Millar Fisher, Claire Dion Fletcher, Tekara Gainey, Lucy Gallun, Angela Garbes, Judy S. Gelles, Shoshana Batya Greenwald, Robert D. Hicks, Porsche Holland, Andrea Homer-Macdonald, Alexis Hope, Malika Kashyap, Karen Kleiman, Natalie Lira, Devorah L Marrus, Jessica Martucci, Sascha Mayer, Betsy Joslyn Mitchell, Ginger Mitchell, Mark Mitchell, Aidan O’Connor, Lauren Downing Peters, Nicole Pihema, Alice Rawsthorn, Helen Barchilon Redman, Airyka Rockefeller, Julie Rodelli, Raphaela Rosella, Loretta J. Ross, Ofelia Pérez Ruiz, Hannah Ryan, Karin Satrom, Tae Smith, Orkan Telhan, Stephanie Tillman, Sandra Oyarzo Torres, Malika Verma, Erin Weisbart, Deb Willis, Carmen Winant, Brendan Winick, Flaura Koplin Winston
Undo Motherhood explores the reasons why a significant number of women around the world today regret becoming mothers. The women in this project love their children and are excellent mothers when judged according to society's standards, and yet they hate the oppressive mother role that robbed them of their own existence and suffer through it in silence, feeling it to be the worst mistake they have made. In this book, Diana Karklin combines two narrative languages: her photography and her interviews with women. It is divided into seven chapters: anger, fear, isolation, exhaustion, guilt, resignation and acceptance. The last chapter stresses the importance of accepting regret in order to be able to deal with it in a constructive way without harming the children. Diana chose to present the seven stories from seven different countries as separate booklets - each with a 'closed' cover - in a slipcase, to highlight the loneliness of these mothers trapped in their homes and condemned to silence. As much as Diana would want to see them as a collective voice, the reality is different. ,,An honest, courageous, and radical book that without passing judgement gives a voice to women struggling with the experience of a social role that they do not want, experiencing guilt and the burden of moral expectations. A book that allows us to explore the other dimension of motherhood, a dimension that is always hidden in the shadow. It is necessary to look at motherhood as it is in all its aspects, in order to free it from prejudices, and to present vital options to both mothers and children who find themselves in this situation," --Ana Casas Broda, photographer and author of Kinderwunsch, that explores the complexity of motherhood and the relationship with her two sons.
It takes more than a baby to make a mother, and mothers make more than babies. Bringing together a range of international studies, Motherhoods, Markets and Consumption examines how marketing and consumer culture constructs particular images of what mothers are, what they should care about and how they should behave; exploring how women's use of consumer goods and services shapes how they mother as well as how they are seen and judged by others. Combining personal accounts from many mothers with different theoretical perspectives, this book explores: How advertising, media and consumer culture contribute to myths and stereotypes concerning good and bad mothers How particular consumer choices are bound up with women’s identities as mothers The role of consumption for women entering different phases of their mothering lives: such as pregnancy, early motherhood, and the "empty nest"
LONGLISTED FOR THE 2022 PEN/FAULKNER AWARD FOR FICTION "Claire Oshetsky’s novel is a marvel: its language a joy, its imagination dizzying." —Rumaan Alam, New York Times bestselling author of Leave the World Behind An exhilarating, provocative novel of motherhood in extremis Tiny is pregnant. Her husband is delighted. “You think this baby is going to be like you, but it’s not like you at all,” she warns him. “This baby is an owl-baby.” When Chouette is born small and broken-winged, Tiny works around the clock to meet her daughter’s needs. Left on her own to care for a child who seems more predatory bird than baby, Tiny vows to raise Chouette to be her authentic self. Even in those times when Chouette’s behaviors grow violent and strange, Tiny’s loving commitment to her daughter is unwavering. When she discovers that her husband is on an obsessive and increasingly dangerous quest to find a “cure” for their daughter, Tiny must decide whether Chouette should be raised to fit in or to be herself—and learn what it truly means to be a mother. Arresting, darkly funny, and unsettling, Chouette is a brilliant exploration of ambition, sacrifice, perceptions of ability, and the ferocity of motherly love.
Grand, sensational, and exotic, Art Deco design was above all modern, exemplifying the majesty and boundless potential of a newly industrialized world. From department store window dressings to the illustrations in the Sears, Roebuck & Co. catalogs to the glamorous pages of Vogue and Harper's Bazar, Lucy Fischer documents the ubiquity of Art Deco in mainstream consumerism and its connection to the emergence of the "New Woman" in American society. Fischer argues that Art Deco functioned as a trademark for popular notions of femininity during a time when women were widely considered to be the primary consumers in the average household, and as the tactics of advertisers as well as the content of new magazines such as Good Housekeeping and the Woman's Home Companion increasingly catered to female buyers. While reflecting the growing prestige of the modern woman, Art Deco-inspired consumerism helped shape the image of femininity that would dominate the American imagination for decades to come. In films of the middle and late 1920s, the Art Deco aesthetic was at its most radical. Female stars such as Greta Garbo, Joan Crawford, and Myrna Loy donned sumptuous Art Deco fashions, while the directors Cecil B. DeMille, Busby Berkeley, Jacques Feyder, and Fritz Lang created cinematic worlds that were veritable Deco extravaganzas. But the style soon fell into decline, and Fischer examines the attendant taming of the female role throughout the 1930s as a growing conservatism challenged the feminist advances of an earlier generation. Progressively muted in films, the Art Deco woman—once an object of intense desire—gradually regressed toward demeaning caricatures and pantomimes of unbridled sexuality. Exploring the vision of American womanhood as it was portrayed in a large body of films and a variety of genres, from the fashionable musicals of Josephine Baker, and Fred Astaire and Ginger Rogers to the fantastic settings of Metropolis, The Wizard of Oz, and Lost Horizon, Fischer reveals America's long standing fascination with Art Deco, the movement's iconic influence on cinematic expression, and how its familiar style left an indelible mark on American culture.
Your Invitation Awaits… You’ve tried harder. You’ve been more intentional. You’ve done everything “right.” In your search for meaning and purpose, you’ve placed your hope in many different things—only to find yourself at a turning point, quietly asking, Is this it? Is this all there is? If the direction of your life is leading you away from peace, contentment, and true fulfillment, Emily Lex has some great news to share with you: God is offering you a better way. A way of real rest. A way of quiet confidence. A way to free yourself from expectations. A way to become the person he created you to be. A way to learn his unforced rhythms of grace. Do you breathe a sigh of hope when you hear this holy and gentle invitation from Jesus? “Come to me… Keep company with me and you’ll learn to live freely and lightly.” If so, then you are ready to accept his offer to recover and renew your life. Start your journey today.
Monitoring mothers: a recent history of following the doctor's orders -- The science: does breastfeeding make smarter, happier, and healthier babies? -- Minding your own (risky) business: health and personal responsibility -- From the womb to the breast: total motherhood and risk-free children -- Scaring mothers: the government campaign for breastfeeding -- Conclusion: whither breastfeeding?
The absence of a child or loss of a pregnancy is a void and, frequently, a profound loss experienced as a failure, a lack, a shame, something that needs to be fixed or hidden, even when it is a choice. For the most part, there is no frame, no structure, no rituals, no celebration, no acknowledgment, often even no words. It has no name, no category. The pain, loneliness and awkwardness can be unimaginable until it happens to you.What if "not children" isn't really that unusual? What if the vast majority of women have had, are having, or will have some experience of what we call missed motherhood in their lifetime, whether or not they ever have children?Based on available statistics, it appears that is the case-that as many as 75% of women in America have had or will have one or more experiences of missed motherhood at some time in their lives through miscarriage, adoption, abortion, infertility or the choice to be childfree. This is a stunning percentage! If this is true, the experience of missed motherhood appears to be as common an experience as being a mother. As a society, we need to name and include missed motherhood as part of the cultural norm, to bring it out into the open and offer effective steps for grieving and healing that go beyond what each woman can accomplish on her own. When we do this, each of us can move forward in life with passion and enthusiasm.
The removal of Aboriginal and Torres Strait Islander children from their families gained national attention in Australia following the Bringing Them Home Report in 1997. However, the voices of Indigenous parents were largely missing from the Report. The Inquiry attributed their lack of testimony to the impact of trauma and the silencing impact of parents’ overwhelming sense of guilt and despair; a submission by Link-Up NSW commented on Aboriginal mothers being “unwilling and unable to speak about the immense pain, grief and anguish that losing their children had caused them.” This book explores what happened to Aboriginal mothers who had children removed and why they have overwhelmingly remained silent about their experiences. Identifying the structural barriers to Aboriginal mothering in the Stolen Generations era, the author examines how contemporary laws, policies and practices increased the likelihood of Aboriginal child removal and argues that negative perceptions of Aboriginal mothering underpinned removal processes, with tragic consequences. This book makes an important contribution to understanding the history of the Stolen Generations and highlights the importance of designing inclusive truth-telling processes that enable a diversity of perspectives to be shared.
