I'm passionate about stories that portray women as full human beings managing their passions, challenges, and obligations with grit because I grew up surrounded by a phalanx of them. Those who add “wife” and “mother” to their plate fascinate me all the more, especially as I grow older and better understand the pressures heaped on women. I saw my mother, sister, grandmothers, and aunties in all their complexities, building themselves up as they built families and businesses, starting over when they had to, overcoming the seemingly insurmountable, challenging the status quo, and never giving up. I gravitate toward female characters who share that spirit or grapple with how to get it.
White Oleander, the 2002 film, was one of the most shocking and nuanced depictions of motherhood I had ever seen onscreen—I had to read the book. What most transfixed me about the story is, on the surface, Astrid’s mother and foster mothers had everything society tells you should make life a cakewalk: beauty, ingenuity, and, in one case, wealth.
But the truth is, they are all battling a host of demons, ultimately blessing and cursing Astrid with their flawed, life-worn wisdom. Even still, I love that author Janet Fitch never sacrifices the women to easy “bad mother” stereotypes. It’s clear each mother is mostly doing the best she knows how to outsmart a world riddled with traps.
White Oleander is a painfully beautiful first novel about a young girl growing up the hard way. It is a powerful story of mothers and daughters, their ambiguous alliances, their selfish love and cruel behaviour, and the search for love and identity.Astrid has been raised by her mother, a beautiful, headstrong poet. Astrid forgives her everything as her world revolves around this beautiful creature until Ingrid murders a former lover and is imprisoned for life. Astrid's fierce determination to survive and be loved makes her an unforgettable figure. 'Liquid poetry' - Oprah Winfrey 'Tangled, complex and extraordinarily moving' - Observer
What sticks with me most about this beautiful book is the fiercely tender bond between Dana Lynn and her mother, Gwen. Right from the opening lines, I was all in on their emotionally complex mother-daughter relationship. In some ways, Dana Lynn and her mom are like sisters, the two of them keeping a whopping secret for Dana Lynn’s father, and yet, they are always aware of their position as mother and daughter.
Gwen grieves the ways her husband’s secret plunders their daughter’s innocence, even as Dana Lynn struggles to make peace with what their world would look like if the truth were out. As a reader, I mourned with them and rejoiced, too, that they had each other.
From the New York Times Bestselling Author of An American Marriage
“A love story . . . Full of perverse wisdom and proud joy . . . Jones’s skill for wry understatement never wavers.” —O: The Oprah Magazine
“Silver Sparrow will break your heart before you even know it. Tayari Jones has written a novel filled with characters I’ll never forget. This is a book I’ll read more than once.” —Judy Blume
With the opening line of Silver Sparrow, "My father, James Witherspoon, is a bigamist," author Tayari Jones unveils a breathtaking story about a man's deception, a family's complicity,…
What I appreciate most about this story is that it offered me painstaking clarity on the emotional journey to and through motherhood. I was shaken by how quickly Nnu Ego went from sought-after bride to castoff to competitor for her husband’s affections—and how, through it all, her ability to bear children was the only metric society valued her for.
Even more harrowing to me was how thanklessly her daughters and sons treated her. This book gave me a wholly new appreciation for my mother and motherhood.
A feminist literary classic by one of Africa’s greatest women writers, re-issued with a new introduction by Stéphane Robolin.
First published in 1979, The Joys of Motherhood is the story of Nnu Ego, a Nigerian woman struggling in a patriarchal society. Unable to conceive in her first marriage, Nnu is banished to Lagos where she succeeds in becoming a mother. Then, against the backdrop of World War II, Nnu must fiercely protect herself and her children when she is abandoned by her husband and her people. Emecheta “writes with subtlety, power, and abundant compassion” (New York Times).
The vulnerability of both wives at the heart of this immersive novel squeezed my throat as I read. Both of them at the mercy of their fertility, I felt so much outrage for Satya, and I so wished I could jump into the pages and liberate Roop from the impossible situation she was plunged into.
It’s been over 20 years since I read this book, but I still think about it.
What the Body Remembers takes place in Rawalpindi, in the Indian state of the Punjab, in 1937 amid the mourning and mounting tension that precedes partition. Satya (whose name means Truth) has failed to give her well-born respected husband, Sardarji, a child. Sardarji, without hesitation or consultation, has found himself a youthful second wife, Roop (meaning body or form), a village girl whose mother died in childbirth, and whose father is deep in debt to him. Satya and Roop's enforced female partnership - by turns warring, sisterly, tender, rivalrous - forms a bitter axis around which the tragedy of this…
I could not put this book down—and not just because it’s 90 pages long. The letter format instantly drew me into this candid conversation between two old friends grappling with the fallout of their upended marriages.
I love that Ramatoulaye shows no hint of judgment toward Aissatou about the different choices each woman made when faced with similar circumstances. I also appreciated Ramatoulaye’s frank reflections on her daughter’s opinion of her.
Written by Mariama Ba and translated from the French by Modupe Bode-Thomas, So Long a Letter won the first Noma Award for Publishing in Africa, and was recognised as one of Africa's 100 Best Books of the 20th Century in an initiative organised by the Zimbabwe International Book Fair. This edition includes an introduction by Professor Kenneth W. Harrow of Michigan State University.
My book is about Kokui Nuga, a young Ghanaian woman traumatized by her father's flagrant philandering and by her mother and stepmother's jockeying for his divided heart. Kokui is desperate to escape the shadow of her parent's marriage and believes she has found her ticket out when she meets and marries a man headed for university in the States who seems nothing like her wealthy, domineering dad.
But not long after the couple moves to the U.S., she realizes she is pushing against much more than her parents' turbulent union: She's battling a web of traditions, systems, and attitudes that conspire to empower the men in her life at the expense and dignity of the women, and she’s fighting to find and value herself
He’s looking for the one thing she’s done with: family.
Brade Oliver arrives in Grand, Montana, looking for blood—and answers. Genetic tests reveal that his biological family may reside in the small, western town, and he’s on a mission to finally discover the one thing his adoptive family couldn’t give him: the truth.
Kendall McKinley craves a normal life, free of the demands, drama, and constraints of her dysfunctional family. Despite being focused on building her career and working on a restoration project, Kendall can’t help herself from noticing a handsome stranger the first night he arrives. But when Brade…
He’s looking for the one thing she’s done with: family.
Brade Oliver arrives in Grand, Montana, looking for blood—and answers. Genetic tests reveal that his biological family may reside in the small, western town, and he’s on a mission to finally discover the one thing his adoptive family couldn’t give him: the truth.
Kendall McKinley craves a normal life, free of the demands, drama, and constraints of her dysfunctional family. Despite being focused on building her career and working on a restoration project, Kendall can’t help herself from noticing a handsome stranger the first night he arrives. But when Brade…
