My Mothers Of 209

209—the place that was full of good food, laughter, and lots of people. I wish I had listened better and asked more questions, but now they’re gone. My story is about my mothers. All four of them are strong, giving, and tenacious women. Can you imagine knowing you’re dying and asking your best friend to take your child without giving financial support? I was that child, and I thank God I was given to the right mothers.

NATIONAL BESTSELLER "A phenomenal, human story. . . . I could not put this book down." —CLARA HUGHES An instant national bestseller, this raw and affecting memoir is the story of a mother and daughter who beat the odds together. Decades before Perdita Felicien became a World Champion hurdler running the biggest race of her life at the 2004 Olympics, she carried more than a nation's hopes—she carried her mother Catherine's dreams. In 1974, Catherine is determined and tenacious, but she's also pregnant with her second child and just scraping by in St. Lucia. When she meets a wealthy white Canadian family vacationing on the island, she knows it's her chance. They ask her to come to Canada to be their nanny—and she accepts. This was the beginning of Catherine's new life: a life of opportunity, but also suffering. Within a few years, she would find herself pregnant a third time—this time in her new country with no family to support her, and this time, with Perdita. Together, in the years to come, mother and daughter would experience racism, domestic abuse, and even homelessness, but Catherine's will would always pull them through. As Perdita grew and began to discover her preternatural athletic gifts, she was edged onward by her mother's love, grit, and faith. Facing literal and figurative hurdles, she learned to leap and pick herself back up when she stumbled. This book is a daughter's memoir—a book about the power of a parent's love to transform their child's life.

When star of Bravo’s The Real Housewives of Potomac Dr. Wendy Osefo was growing up, her mother was her everything. But when she became a mother herself, everything changed. In this “exquisitely-drawn portrait of the intense bond that only a mother can have with a daughter” (Katie Haufner, author of Mother Daughter Me), Wendy explores how her Nigerian upbringing has affected her life, her success, and her role as a parent. Wendy Osefo’s mother, Iyom Susan Okuzu, arrived in the United States from Nigeria with two things: a single suitcase and the fierce determination to make a better life for herself and her future family. And she succeeded: starting out working in a fast-food restaurant and ultimately becoming the director of nursing at a major metropolitan hospital. While Susan may have taken pride in triumphing over every financial and emotional challenge, in Nigerian culture, a parent is only as successful as his or her children. And so her daughter, with gratitude and appreciation for her mother’s sacrifices, worked hard to meet every demand Susan made of her. With four advanced degrees and a position at Johns Hopkins University as a professor—as well as being a highly sought-after political commentator, a cherished wife, and a loving mother of three—Dr. Wendy has given her mother bragging rights for life. But at what cost to herself? In Tears of My Mother, the star of The Real Housewives of Potomac describes growing up as a first-generation American, balancing two distinct cultures. And she takes a critical look at the paradox of her mother’s parenting: approval conditioned by achievement. As a teenager, Wendy struggled to carve out her own identity while still walking the narrow path of her mother’s expectations. Unwavering family loyalty and obedience gave Wendy the road map to making it in America, but it also drove a wedge between mother and daughter, never more so than when she began to build her own family. “A love letter to Dr. Osefo’s mother and first-generation immigrants all across America” (Library Journal), this book is for anyone who has faced conflict in the mother-daughter relationship or wondered how much of their own upbringing they want to pass on to the next generation.

Happiness and Healing are yours for the choosing. We've all been hurt by other people, we've hurt ourselves, and we've hurt others. And as a result, every single one of us ends up with some sort of hurt, hang-up, or habit. But the question we all face is, Where do we go from here? Life's Healing Choices offers freedom from our hurts, hang-ups, and habits through eight healing choices that promise true happiness and life transformation. Using the Beatitudes of Jesus as a foundation, Senior Pastor Rick Warren of Saddleback Church and John Baker, who is also a pastor at Saddleback, developed the eight choices shared in this book. In addition to practical, encouraging biblical teaching, each chapter includes two real-life stories of men and women whose lives have been transformed by living out the eight choices in this book. Through making each of these choices, you too will find God's pathway to wholeness, growth, spiritual maturity, happiness, and healing. You'll find real answers, real hope, and a real future one healing choice at a time.

“You will devour these beautifully written—and very important—tales of honesty, pain, and resilience” (Elizabeth Gilbert, New York Times bestselling author of Eat Pray Love and City of Girls) from fifteen brilliant writers who explore how what we don’t talk about with our mothers affects us, for better or for worse. As an undergraduate, Michele Filgate started writing an essay about being abused by her stepfather. It took her more than a decade to realize that she was actually trying to write about how this affected her relationship with her mother. When it was finally published, the essay went viral, shared on social media by Anne Lamott, Rebecca Solnit, and many others. This gave Filgate an idea, and the resulting anthology offers a candid look at our relationships with our mothers. Leslie Jamison writes about trying to discover who her seemingly perfect mother was before ever becoming a mom. In Cathi Hanauer’s hilarious piece, she finally gets a chance to have a conversation with her mother that isn’t interrupted by her domineering (but lovable) father. André Aciman writes about what it was like to have a deaf mother. Melissa Febos uses mythology as a lens to look at her close-knit relationship with her psychotherapist mother. And Julianna Baggott talks about having a mom who tells her everything. As Filgate writes, “Our mothers are our first homes, and that’s why we’re always trying to return to them.” There’s relief in acknowledging how what we couldn’t say for so long is a way to heal our relationships with others and, perhaps most important, with ourselves. Contributions by Cathi Hanauer, Melissa Febos, Alexander Chee, Dylan Landis, Bernice L. McFadden, Julianna Baggott, Lynn Steger Strong, Kiese Laymon, Carmen Maria Machado, André Aciman, Sari Botton, Nayomi Munaweera, Brandon Taylor, and Leslie Jamison.

An insightful and wide-ranging look at one of America’s most popular genres of music, Walking the Line: Country Music Lyricists and American Culture examines how country songwriters engage with their nation’s religion, literature, and politics. Country fans have long encountered the concept of walking the line, from Johnny Cash’s “I Walk the Line” to Waylon Jennings’s “Only Daddy That’ll Walk the Line.” Walking the line requires following strict codes, respecting territories, and, sometimes, recognizing that only the slightest boundary separates conflicting allegiances. However, even as the term acknowledges control, it suggests rebellion, the consideration of what lies on the other side of the line, and perhaps the desire to violate that code. For lyricists, the line presents a moment of expression, an opportunity to relate an idea, image, or emotion. These lines represent boundaries of their kind as well, but as the chapters in this volume indicate, some of the more successful country lyricists have tested and expanded the boundaries as they have challenged musical, social, and political conventions, often reevaluating what “country” means in country music. From Jimmie Rodgers’s redefinitions of democracy, to revisions of Southern Christianity by Hank Williams and Willie Nelson, to feminist retellings by Loretta Lynn and Dolly Parton to masculine reconstructions by Merle Haggard and Cindy Walker, to Steve Earle’s reworking of American ideologies, this collection examines how country lyricists walk the line. In weighing the influence of the lyricists’ accomplishments, the contributing authors walk the line in turn, exploring iconic country lyrics that have tested and expanded boundaries, challenged musical, social, and political conventions, and reevaluated what “country” means in country music.

I had a little brother. His name was Tiny Tim. I put him in the bathtub To teach him how to swim. He drank all the water. He ate all the soap. He died last night With a bubble in his throat. Jump-rope rhymes, chanted to maintain the rhythm of the game, have other, equally entertaining uses: You can dispatch bothersome younger siblings instantly—and temporarily. You can learn the name of your boyfriend through the magic words "Ice cream soda, Delaware Punch, Tell me the initials of my honey-bunch." You can perform the series of tasks set forth in "Teddy Bear, Teddy Bear, turn around" and find out who, really, is the most nimble. You can even, with impunity, "conk your teacher on the bean with a rotten tangerine. " This collection of over six hundred jump-rope rhymes, originally published in 1969, is an introduction into the world of children—their attitudes, their concerns, their humor. Like other children's folklore, the rhymes are both richly inventive and innocently derivative, ranging from on-the-spot improvisations to old standards like "Bluebells, cockleshells," with a generous sprinkling of borrowings from other play activities—nursery rhymes, counting-out rhymes, and taunts. Even adult attitudes of the time are appropriated, but expressed with the artless candor of the child: Eeny, meeny, miny, moe. Catch Castro by the toe. If he hollers make him say "I surrender, U.S.A." Though aware that children's play serves social and psychological functions, folklorists had long neglected analytical study of children's lore because primary data was not available in organized form. Roger Abraham's Dictionary has provided such a bibliographical tool for one category of children's lore and a model for future compendia in other areas. The alphabetically arranged rhymes are accompanied by notes on sources, provenience, variants, and connection with other play activities.