I grew up in a family that was focused on people, poetry, and politics. My parents both worked with children with disabilities in Massachusetts and my mother ran a daycare center in our house. As a reader, student, poet, and then editor, I’ve drawn on those experiences and expectations, and have searched through books looking for their echoes. Since 2007, I've edited books at Yale University Press where I'm currently Senior Executive Editor. I have a BA from Cornell University and an MFA in Creative Writing from the Iowa Writers’ Workshop. I've also worked in various publishing roles at ICM, Continuum, and Harvard University Press.
This remarkable book is undoubtedly one of the most ambitious and omnivorous prose accounts of birth in the English language.
I encountered it early in my research on birth, when I was hungering for books that explored it as a topic of broad human concern and that went beyond the strictly personal. In critiquing the “institution” of motherhood, and the exploitation that has accompanied it for many women, Rich simultaneously unearths the power within birth – its fertile creativity – and imagines new ways of understanding it.
Rich is a wonderful stylist who uses what she calls an “odd-fangled” approach. I’ve loved this book for its “odd-fangledness” but also for how Rich combines critique with love, anger with reverence.
In Of Woman Born, originally published in 1976, influential poet and feminist Adrienne Rich examines the patriarchic systems and political institutions that define motherhood. Exploring her own experience-as a woman, a poet, a feminist and a mother-she finds the act of mothering to be both determined by and distinct from the institution of motherhood as it is imposed on all women everywhere. A "powerful blend of research, theory, and self-reflection" (Sandra M. Gilbert, Paris Review), Of Woman Born revolutionised how women thought about motherhood and their own liberation. With a stirring new foreword from National Book Critics Circle Award-winning writer…
First published in 1958, this is one of Hannah Arendt’s most influential books and in it she attempts to define the human condition in the aftermath of World War II, developing her concept “natality.”
It’s a challenging book that I’ve wrestled with and argued with and never forgotten. It includes some of her most powerful and frequently cited passages about birth. Lately, I’ve been returning to its opening pages, in which she discusses the launch of Sputnik into space.
She saw this launch not as an exciting technological breakthrough, but as a fateful repudiation of our earthly existence, an existence that was defined by birth with possibilities and limitations.
The past year has seen a resurgence of interest in the political thinker Hannah Arendt, "the theorist of beginnings," whose work probes the logics underlying unexpected transformations-from totalitarianism to revolution.
A work of striking originality, The Human Condition is in many respects more relevant now than when it first appeared in 1958. In her study of the state of modern humanity, Hannah Arendt considers humankind from the perspective of the actions of which it is capable. The problems Arendt identified then-diminishing human agency and political freedom, the paradox that as human powers increase through technological and humanistic inquiry, we are…
No writer has gone deeper into birth’s problems and generative possibilities than Toni Morrison.
Childbirth frames her work from beginning to end; her first novel (The Bluest Eye) begins in a failed pregnancy and her last novel (God Help the Child) ends in a hopeful one. This mid-career novel, perhaps her most celebrated, has at its center one of the most memorable and beautiful birth scenes ever written. As a reader, I encountered that beauty within the fraught context Morrison frames it.
Morrison depicts birth under duress, a treatment that paradoxically allows her to see in birth an unrivalled richness and even freedom.
'Toni Morrison was a giant of her times and ours... Beloved is a heart-breaking testimony to the ongoing ravages of slavery, and should be read by all' Margaret Atwood, New York Times
Discover this beautiful gift edition of Toni Morrison's prize-winning contemporary classic Beloved
It is the mid-1800s and as slavery looks to be coming to an end, Sethe is haunted by the violent trauma it wrought on her former enslaved life at Sweet Home, Kentucky. Her dead baby daughter, whose tombstone bears the single word, Beloved, returns as a spectre to punish her mother, but also to elicit her…
This brilliant book, first published in 1818, is one of our earliest and most famous birth narratives written by a mother.
Mary Shelley’s mother, Mary Wollstonecraft, died giving birth to her, and four of her five children died as infants. She wrote Frankenstein while pregnant, as a “dilation” that happened amid those devastations, and it is eerily prophetic of our moment.
In the book, an ambitious scientist, intent on discovering the source of life, reanimates a corpse in his workshop, only to discover with horror as his creation comes to life, that he has created a monstrous being who will ultimately destroy him.
As AI advancements proceed with alarming speed, the book challenges us anew to re-examine what it means to create another sentient being.
One of the BBC's '100 Novels That Shaped Our World'
'That rare story to pass from literature into myth' The New York Times
Mary Shelley's chilling Gothic tale was conceived when she was only eighteen, living with her lover Percy Shelley on Lake Geneva. The story of Victor Frankenstein who, obsessed with creating life itself, plunders graveyards for the material to fashion a new being, but whose botched creature sets out to destroy his maker, would become the world's most famous work of horror fiction, and remains a devastating exploration of the limits of human creativity. Based on the third…
This book features somewhat marginally in my book, but my copy of it is dog-eared and never far from my reading pile and it deserves a place in my top five.
The book chronicles the twelve-month period of one of Louise Erdrich’s pregnancies and experiences of new motherhood and it is rich in insight and full of marvelous turns of phrase. I particularly admire the book’s stylistic freedom (Erdrich drops in recipes for fennel risotto without much explanation).
That freedom, both precise and dynamic, seems to capture some truth about birth as an experience: its exact demands and vigorous movement.
New York Times bestselling and award-winning author Louise Erdrich’s moving meditation on the experience of motherhood—the first nonfiction work by one of the most acclaimed authors of our time.
Louise Erdrich’s first major work of nonfiction, The Blue Jay’s Dance, brilliantly and poignantly examines the joys and frustrations, the compromises and insights, and the difficult struggles and profound emotional satisfactions the acclaimed author experienced in the course of one twelve-month period—from a winter pregnancy through a spring and summer of new motherhood to her return to writing in the fall. In exquisitely lyrical prose, Erdrich illuminates afresh the large and…
Birth is one of the most fraught and polarized issues of our time, at the center of debates on abortion, gender, work, and medicine. But birth is not solely an issue; it is a fundamental part of the human condition, and, alongside death, the most consequential event in human life. Yet it remains dramatically unexplored. Although we have long intellectual traditions of wrestling with mortality, few have ever heard of natality, the term political theorist Hannah Arendt used to describe birth’s active role in our lives. In this ambitious, revelatory book, I begin with Arendt’s definition of natality as the “miracle that saves the world” to develop an expansive framework for birth’s philosophical, political, spiritual, and aesthetic significance.
My book is fantastical historical fiction about two characters who're wrestling with the monstrosity of their grief.
It takes you into London high society, where Ambrose tries to forget about how much he misses Bennett and how much he dreads becoming as cold as their Grandfather. It takes you to the family's country manor house, where Mattie isolates and old ghosts start to come out of the woodwork.
It's a story about loss and depression; it's a story about friends who don't let you walk through the valley of death alone.
Ambrose Bancroft returns to London society with his younger sister, hoping they'll leave ghosts of memory behind. They have only each other left. While Ambrose attempts to draw Mattie out, dragging her to balls and threatening to seek suitors for her, his sister recoils from his meddling. Finally, when Ambrose compels her to attend art class before she's ready, Mattie paints something horrific enough to banish them from society in public disgrace.
At Linwood Manor, Mattie and Ambrose aren't as alone as they think. Taking advantage of Mattie's desperate need to find freedom, a vanishing room lures Ambrose's sister into…
