The Child Catchers

When Jessie Hawkins’ adopted daughter told her she had another mom back in Ethiopia, Jessie didn’t, at first, know what to think. She’d wanted her adoption to be great story about a child who needed a home and got one, and a family led by God to adopt. Instead, she felt like she’d done something wrong. Adoption has long been enmeshed in the politics of reproductive rights, pitched as a “win-win” compromise in the never-ending abortion debate. But as Kathryn Joyce makes clear in The Child Catchers, adoption has lately become even more entangled in the conservative Christian agenda. To tens of millions of evangelicals, adoption is a new front in the culture wars: a test of “pro-life” bona fides, a way for born again Christians to reinvent compassionate conservatism on the global stage, and a means to fulfill the “Great Commission” mandate to evangelize the nations. Influential leaders fervently promote a new “orphan theology,” urging followers to adopt en masse, with little thought for the families these “orphans” may already have. Conservative evangelicals control much of that industry through an infrastructure of adoption agencies, ministries, political lobbying groups, and publicly-supported “crisis pregnancy centers,” which convince women not just to “choose life,” but to choose adoption. Overseas, conservative Christians preside over a spiraling boom-bust adoption market in countries where people are poor and regulations weak, and where hefty adoption fees provide lots of incentive to increase the “supply” of adoptable children, recruiting “orphans” from intact but vulnerable families. The Child Catchers is a shocking exposé of what the adoption industry has become and how it got there, told through deep investigative reporting and the heartbreaking stories of individuals who became collateral damage in a market driven by profit and, now, pulpit command. Anyone who seeks to adopt—of whatever faith or no faith, and however well-meaning—is affected by the evangelical adoption movement, whether they know it or not. The movement has shaped the way we think about adoption, the language we use to discuss it, the places we seek to adopt from, and the policies and laws that govern the process. In The Child Catchers, Kathryn Joyce reveals with great sensitivity and empathy why, if we truly care for children, we need to see more clearly.

Adoption has long been enmeshed in the politics of abortion. But as award-winning journalist Joyce makes clear, adoption has lately become entangled in the conservative Christian agenda.

Kathryn Joyce's fascinating introduction to the world of the patriarchy movement and Quiverfull families examines the twenty-first-century women and men who proclaim self-sacrifice and submission as model virtues of womanhood—and as modes of warfare on behalf of Christ. Here, women live within stringently enforced doctrines of wifely submission and male headship, and live by the Quiverfull philosophy of letting God give them as many children as possible so as to win the religion and culture wars through demographic means. From the Trade Paperback edition.

“A remarkably well-researched and accomplished book.” —The New York Times Book Review “A wrenching, riveting book.” —Chicago Tribune In this deeply moving and myth-shattering work, Ann Fessler brings out into the open for the first time the astonishing untold history of the million and a half women who surrendered children for adoption due to enormous family and social pressure in the decades before Roe v. Wade. An adoptee who was herself surrendered during those years and recently made contact with her mother, Ann Fessler brilliantly brings to life the voices of more than a hundred women, as well as the spirit of those times, allowing the women to tell their stories in gripping and intimate detail.

Filled with guilt over his younger sister's kidnapping, teenaged Fin tries to rescue her and in the process learns about a dark family secret.

Anyone who has read J.D. Salinger's New Yorker stories, particularly A Perfect Day for Bananafish, Uncle Wiggily in Connecticut, The Laughing Man, and For Esme--With Love and Squalor, will not be surprised by the fact that his first novel is full of children. The hero-narrator of THE CATCHER IN THE RYE is an ancient child of sixteen, a native New Yorker named Holden Caulfield. Through circumstances that tend to preclude adult, secondhand description, he leaves his prep school in Pennsylvania and goes underground in New York City for three days. The boy himself is at once too simple and too complex for us to make any final comment about him or his story. Perhaps the safest thing we can say about Holden is that he was born in the world not just strongly attracted to beauty but, almost, hopelessly impaled on it. There are many voices in this novel: children's voices, adult voices, underground voices--but Holden's voice is the most eloquent of all. Transcending his own vernacular, yet remaining marvelously faithful to it, he issues a perfectly articulated cry of mixed pain and pleasure. However, like most lovers and clowns and poets of the higher orders, he keeps most of the pain to, and for, himself. The pleasure he gives away, or sets aside, with all his heart. It is there for the reader who can handle it to keep.

An investigation into the symbol of Native heritage. In Ojibwe (or Chippewa in the United States) culture a dream catcher is a hand-crafted willow hoop with woven netting that is decorated with sacred and personal items such as feathers and beads. The Native American tradition of making dream catchers--hoops hung by the Ojibwe on their children's cradleboards to "catch" bad dreams--is rich in history and tradition. Although the exact genesis of this intriguing artifact is unknown, legend has it that a medicine woman forms a circle from a willow branch and, with sinew, borrows the pattern from a spider, weaves a web, and hangs it over the bed of a sick child who recovers by morning. In some versions dream catchers catch good dreams and let bad ones through, while others catch bad dreams and let good dreams through. This legend accompanies dream catchers offered for sale across North America and beyond. These themes, among others, are carried throughout this book which explores the appropriation of dream catchers by Native Americans of different nations, as well as the New Age movement. Dream Catchers also discusses the blending of two religious philosophies whereby Native and Christian icons are mixed. More than 40 color photographs feature contemporary dream catchers and artifacts with informative captions that identify and comment on the different patterns, their significance and history. Dream Catchers features the work of Native artist Nick Huard who creates dream catchers in his studio in Kahnawake outside of Montreal.

A compelling, dramatic narrative of how an American housewife discovered that the Guatemalan child she was about to adopt had been stolen from her birth mother, shedding light on the alarming and growing problem of international adoption fraud. Over the past five years, over 100,000 children were adopted into the United States, 20,000 of whom came from Guatemala. Finding Fernanda, a dramatic true story paired with investigative reporting, tells the side-by-side tales of an American housewife who adopts a two-year-old girl from Guatemala and the birth mother whose two children were stolen from her. Each woman gradually comes to realize her role in what was one of Guatemala's most profitable black-market industries: the buying and selling of children for international adoption. Finding Fernanda is an overdue, unprecedented look at adoption corruption--and a poignant, riveting human story about the power of hope, faith, and determination.