Mad Mothers Bad Mothers And What A Good Mother Would Do

When a mother kills her child, we call her a bad mother, but, as this book shows, even mothers who intend to do their children harm are not easily categorized as "mad" or "bad." Maternal love is a complex emotion rich with contradictory impulses and desires, and motherhood is a conflicted state in which women constantly renegotiate the needs mother and child, the self and the other. Applying care ethics philosophy and the work of Emmanuel Levinas, Maurice Merleau-Ponty, and Simone de Beauvoir to real-world experiences of motherhood, Sarah LaChance Adams throws the inherent tensions of motherhood into sharp relief, drawing a more nuanced portrait of the mother and child relationship than previously conceived. The maternal example is particularly instructive for ethical theory, highlighting the dynamics of human interdependence while also affirming separate interests. LaChance Adams particularly focuses on maternal ambivalence and its morally productive role in reinforcing the divergence between oneself and others, helping to recognize the particularities of situation, and negotiating the difference between one's own needs and the desires of others. She ultimately argues maternal filicide is a social problem requiring a collective solution that ethical philosophy and philosophies of care can inform.

When a mother kills her child, we call her a bad mother, but, as this book shows, even mothers who intend to do their children harm are not easily categorized as ÒmadÓ or Òbad.Ó Maternal love is a complex emotion rich with contradictory impulses and desires, and motherhood is a conflicted state in which women constantly renegotiate the needs mother and child, the self and the other. Applying care ethics philosophy and the work of Emmanuel Levinas, Maurice Merleau-Ponty, and Simone de Beauvoir to real-world experiences of motherhood, Sarah LaChance Adams throws the inherent tensions of motherhood into sharp relief, drawing a more nuanced portrait of the mother and child relationship than previously conceived. The maternal example is particularly instructive for ethical theory, highlighting the dynamics of human interdependence while also affirming separate interests. LaChance Adams particularly focuses on maternal ambivalence and its morally productive role in reinforcing the divergence between oneself and others, helping to recognize the particularities of situation, and negotiating the difference between oneÕs own needs and the desires of others. She ultimately argues maternal filicide is a social problem requiring a collective solution that ethical philosophy and philosophies of care can inform.

Kirkus Reviews Best Book of the Year This “witty, engaging analysis” of female monsters in pop culture offers “provocative and incisive” commentary on society’s fear of female rage and power (Soraya Chemaly, author of Rage Becomes Her) Women have always been seen as monsters. Men from Aristotle to Freud have insisted that women are freakish creatures, capable of immense destruction. Maybe they are. And maybe that’s a good thing. Sady Doyle, hailed as “smart, funny and fearless” by the Boston Globe, takes readers on a tour of the female dark side, from the biblical Lilith to Dracula’s Lucy Westenra, from the T-Rex in Jurassic Park to the teen witches of The Craft. She illuminates the women who have shaped our nightmares: Serial killer Ed Gein’s “domineering” mother Augusta; exorcism casualty Anneliese Michel, who starved herself to death to quell her demons; author Mary Shelley, who dreamed her dead child back to life. These monsters embody patriarchal fear of women, and illustrate the violence with which men enforce traditionally feminine roles. They also speak to the primal threat of a woman who takes back her power. In a dark and dangerous world, Dead Blondes and Bad Mothers asks women to look to monsters for the ferocity we all need to survive. “Some people take a scalpel to the heart of media culture; Sady Doyle brings a bone saw, a melon baller, and a machete.” —Andi Zeisler, author of We Were Feminists Once

NATIONAL BESTSELLER • A “hilarious, heartbreaking, and edgy” (Newsweek) memoir on modern motherhood. In our mothers’ day there were good mothers, indifferent mothers, and occasionally, great mothers. Today we have only Bad Mothers: If you work, you’re neglectful; if you stay home, you’re smothering. If you discipline, you’re buying them a spot on the shrink’s couch; if you let them run wild, they will be into drugs by seventh grade. Is it any wonder so many women refer to themselves at one time or another as a “bad mother”? Writing with remarkable candor, and dispensing much hilarious and helpful advice along the way—Is breast best? What should you do when your daughter dresses up as a “ho” for Halloween?—Ayelet Waldman says it's time for women to get over it and get on with it in this wry, unflinchingly honest, and always insightful memoir on motherhood in today's world.

This book examines childbirth and parenting in horror texts. By analysing new texts, and re-analysing commonly used texts with new feminist methodology, this study provides a unique contribution to the fields of gender and horror studies.

In this taut and explosive debut novel, one lapse in judgement lands a young mother in a government reform program where custody of her child hangs in the balance.Frida Liu is struggling. She doesn't have a career worthy of her Chinese immigrant parents' sacrifices. She can't persuade her husband, Gust, to give up his wellness-obsessed younger mistress. Only with Harriet, their cherubic daughter, does Frida finally attain the perfection expected of her. Harriet may be all she has, but she is just enough.Until Frida has a very bad day.The state has its eyes on mothers like Frida. The ones who check their phones, letting their children get injured on the playground; who let their children walk home alone. Because of one moment of poor judgment, a host of government officials will now determine if Frida is a candidate for a Big Brother-like institution that measures the success or failure of a mother's devotion.Faced with the possibility of losing Harriet, Frida must prove that a bad mother can be redeemed. That she can learn to be good.A searing page-turner that is also a transgressive novel of ideas about the perils of "perfect" upper-middle-class parenting; the violence enacted upon women by both the state and, at times, one another; the systems that separate families; and the boundlessness of love, The School for Good Mothers introduces, in Frida, an everywoman for the ages. Using dark wit to explore the pains and joys of the deepest ties that bind us, Chan has written a modern literary classic.

This wide-ranging study offers a new understanding of Old Norse kinship in which the individual self was expanded to encompass its kin.

This book focuses on how the abject spectacle of the ‘monstrous feminine’ has been reimagined by recent and contemporary screen horrors focused on the desires and subjectivities of female monsters who, as anti-heroic protagonists of revisionist and reflexive texts, exemplify gendered possibility in altered cultures of 21st century screen production and reception. As Barbara Creed notes in a recent interview, the patriarchal stereotype of horror that she named ‘the monstrous-feminine’ has, decades later, ‘embarked on a life of her own’. Focused on this altered and renewed form of female monstrosity, this study engages with an international array of recent and contemporary screen entertainments, from arthouse and indie horror films by emergent female auteurs, to the franchised products of multimedia conglomerates, to 'quality' television horror, to the social media-based creations of horror fans working as ‘pro-sumers’. In this way, the monograph in its organisation and scope maps the converged and rapidly changing environment of 21st century screen cultures in order to situate the monstrous female anti-hero as one of its distinctive products.