Mother S Tongue

A sensuous, textured novel of life in a refugee camp, long-listed for the Orwell Prize for Political Fiction On a hill overlooking a refugee camp in Sudan, a young man strings up bedsheets that, in an act of imaginative resilience, will serve as a screen in his silent cinema. From the cinema he can see all the comings and goings in the camp, especially those of two new arrivals: a girl named Saba, and her mute brother, Hagos. For these siblings, adapting to life in the camp is not easy. Saba mourns the future she lost when she was forced to abandon school, while Hagos, scorned for his inability to speak, must live vicariously through his sister. Both resist societal expectations by seeking to redefine love, sex, and gender roles in their lives, and when a businessman opens a shop and befriends Hagos, they cast off those pressures and make an unconventional choice. With this cast of complex, beautifully drawn characters, Sulaiman Addonia details the textures and rhythms of everyday life in a refugee camp, and questions what it means to be an individual when one has lost all that makes a home or a future. Intimate and subversive, Silence Is My Mother Tongue dissects the ways society wages war on women and explores the stories we must tell to survive in a broken, inhospitable environment.

A woman has brain surgery that lasts for fourteen hours, far longer than her surgeon expects. She survives the operation, but the first sentence she speaks after she gains consciousness is spoken in a dialect that nobody in the family understands. Like everyone in Hong Kong, the woman's family speaks Cantonese. Some older members also use Hakka, a dialect of the Guangdong Province. So when the woman starts talking in Chiu Chow, her family is worried. Is it possible for someone to lose the ability to speak a language she's been using for fifty years after undergoing brain surgery? The woman's daughter is not convinced this is simply a side effect of surgery, and decides to investigate the cause behind the mystery. Through her detective work, she discovers a chapter of her mother's life that has been hidden from her family. She learns from her mother's older brother that his sister spent her early childhood and adolescence in Chiu Chow, away from her family to escape war and starvation. The story's theme is about making life choices. What happened in this woman's past that is now blocking her language ability? Her daughter intends to find out the buried secrets in the fascinating novel Mother's Tongue: A Story of Forgiving and Forgetting. About the Author Susanna Ho teaches full-time at a university in Hong Kong. This is her first novel. Publisher's website: http: //sbprabooks.com/SusannaHo

An extremely funny history of so-called bad language by a European author. He asserts that Europeans try to get along but keep treading on each other's toes. In this tour of anger, exasperation, prejudice, irony and loathing as expressed in some 20 European tongues, we learn that what is invective in one country is sweet talk in another. A single currency in Europe? Yes. A common language? Not on your life. The Guardian review states that the book's "His gently comic tone recognizes how funny, how much of a release, much bad language can be." "Entertaining, widely informed."

SHORTLISTED FOR THE MINNESOTA BOOK AWARDS 2006. Poems in The Mother’s Tongue move in images of the living world that include plants and creatures both native and non-native to American landscapes. These poems move via persona and personal lyric through expressions of ambivalence about choosing the life of the body – of womanhood and motherhood – through the strange realm of pregnancy into the netherworld of the post-partum period and out into the world again, into the enlarged world, the world at war, the world of work and words. Finally these poems move to enter the world of women as transformed within the love of language – of recovered Ojibwe language and English renewed as first language in the mouths of infants. These are poems that urge women to discover the power of their own tongues as they teach speech – the sweet, salty, sour and bitter desires – the taste on the mother’s tongue.

Untying the Mother Tongue explores what it might mean today to speak of someone's attachment to a particular, primary language. Traditional conceptions of mother tongue are often seen as an expression of the ideology of a European nation-state. Yet, current celebrations of multilingualism reflect the recent demands of global capitalism, raising other challenges. The contributions from international scholars on literature, philosophy, and culture, analyze and problematize the concept of 'mother tongue', rethinking affective and cognitive attachments to language while deconstructing its metaphysical, capitalist, and colonialist presuppositions.

We are living in times where the issue of identity and difference has taken on a more defensive hue. The tide is turning towards an inward-looking nostalgia of sameness based on fear rather than on understanding. The experience of hearing another language, the way it is spoken, and being faced with the image of the other is now more complex, imbued with projections of powerlessness, fear, terrorism, and survival. The issue of identity appears to have become even more complex. All cultures are concerned with how we speak and communicate as this represents identity, history, and home. Communication is also essential for survival, both emotionally and socially. The speaking person is an individual but also part of a culture or cultures with dense collective and individual shapes. The issue of identity, that feeling of belonging, is essential, full of possibility, and, at times, very uncomfortable, as it touches the tensions between who we are and who we are becoming. This sits next to more complex historical experiences and memories of languages and cultures being changed or lost or banished due to the colonial, imperial, and regional moves of powerful nations in search of conquest and economic gain. This collection addresses how language affects therapists and their patients, and how it can be understood culturally and therapeutically. Drawn from talks given at the Multi-lingual Psychotherapy Centre (MLPC), the contributors not only bring a therapeutic slant but also their other roles as academics, writers, and artists. These reflections, memories, and stories give a glimpse of the multilingual journey the MLPC has been exploring for over twenty years, and leave much food for thought. The book contains contributions from Cedric Bouet-Willaumez, Giselle China, Patricia Gorringe, Natsu Hattori, Monique Morris, Esti Rimmer, and Edna Sovin.

Pioneering in the comparison of standard language teaching in Europe, the International Mother tongue Education Network (IMEN) in the last twenty-five years stimulated experts from more than fifteen European countries to participate in a range of research projects in this field of qualitative educational analyses. The volume "Research on mother tongue education in a comparative international perspective - Theoretical and methodological issues" documents theoretical principals and methodological developments that during the last decades shaped IMEN research and may enlarge the fundaments of comparative qualitative research in language education in a seminal way. The topics of this volume include: - IMEN's aims, points of departure, history and methodology; - research on the professional practical knowledge of MTE-teachers; - innovation, key incident analysis and international triangulation; - positioning in theory and practice. Also included: the IMEN bibliography 1984-2004 which supplies a complete picture of IMEN research activities from the beginning.

Mary Higgins Clark, Amy Tan, Joyce Carol Oates and Maya Angelou are among the gifted writers who share their personal reflections on mother in this exceptiolnal collection of fiction, essays and poetry. From a woman's choice to become a mother to the inner workings of a mother's relationship with her children, the full cycle of motherhood is brought to life in these touching works.