Every day, human beings tell and are told stories, sometimes in obvious ways, sometimes not. Most of our communication with each other, direct or indirect, involves narrative production and reception. Narrative is constitutive of human being. However, whose narratives are heard? Feminists argue that the relations between language, knowledge, gender and power, particularly the question as to whether man-made and controlled language is a material fit to receive and convey woman’s stories, are critical issues, because historically, patriarchy has worked to silence women’s dialogue. Male knowledge, unsurprisingly, created and continues to create unrepresentative maternal narratives which lead to unreal expectations of mothers and motherwork. It is, therefore, disconcertingly significant for mothers that neither mothers nor their motherwork have been considered worthy of historical record; nor are historical records usually written from a mother’s perspective. Hence, the narrative research in this book, which gives recognition to motherhood, mothers and/or the work they do, is valuable. It adds to the rapidly accumulating maternal research—research that is now available for the historical record. Mothers are speaking up, developing a canon of literature/research narrated in maternal language and claiming maternal knowledge and power.

In a magical blend of humor and spiritual wisdom, Mare Cromwell illuminates the overwhelming love Earth Mother has for us in Messages from Mother…. Earth Mother. Chatty, opinionated and profoundly compassionate, Earth Mother discusses the environment (her body!), love, war and soul-woundedness, with specific messages for her sons and her daughter two-leggeds. Reviewers are calling the book a blend of prophecy, hope and inspiration packaged in novel and entertaining ways. If we could listen to Earth Mother, perhaps these are the messages we would be hearing as she so yearns for us to reconnect with her.

We live in a world, according to N. Katherine Hayles, where new languages are constantly emerging, proliferating, and fading into obsolescence. These are languages of our own making: the programming languages written in code for the intelligent machines we call computers. Hayles's latest exploration provides an exciting new way of understanding the relations between code and language and considers how their interactions have affected creative, technological, and artistic practices. My Mother Was a Computer explores how the impact of code on everyday life has become comparable to that of speech and writing: language and code have grown more entangled, the lines that once separated humans from machines, analog from digital, and old technologies from new ones have become blurred. My Mother Was a Computer gives us the tools necessary to make sense of these complex relationships. Hayles argues that we live in an age of intermediation that challenges our ideas about language, subjectivity, literary objects, and textuality. This process of intermediation takes place where digital media interact with cultural practices associated with older media, and here Hayles sharply portrays such interactions: how code differs from speech; how electronic text differs from print; the effects of digital media on the idea of the self; the effects of digitality on printed books; our conceptions of computers as living beings; the possibility that human consciousness itself might be computational; and the subjective cosmology wherein humans see the universe through the lens of their own digital age. We are the children of computers in more than one sense, and no critic has done more than N. Katherine Hayles to explain how these technologies define us and our culture. Heady and provocative, My Mother Was a Computer will be judged as her best work yet.

While scholarship on Caribbean women’s literature has grown into an established discipline, there are not many studies explicitly connected to the maternal subject matter, and among them only a few book-length texts have focalized motherhood and maternity in writings by Caribbean women. Reading/Speaking/Writing the Mother Text: Essays on Caribbean Women’s Writing encourages a crucial dialogue surrounding the state of motherhood scholarship within the Caribbean literary landscape, to call for attention on a theme that, although highly visible, remains understudied by academics. While this collection presents a similar comparative and diasporic approach to other book-length studies on Caribbean women’s writing, it deals with the complexity of including a wider geographical, linguistic, ethnic and generic diversity, while exposing the myriad ways in which Caribbean women authors shape and construct their texts to theorize motherhood, mothering, maternity, and mother-daughter relationships.

Based on the wildly popular Instagram account @CrazyJewishMom, Kate Siegel's essay collection about life with the woman who redefined the term "helicopter mom." There is nothing more wonderful than a mother’s love. There is also nothing more annoying. Who else can proudly insist that you’re perfect while simultaneously making you question every career, fashion, and relationship decision you have ever made? No one understands the delicate mother-daughter dynamic better than Kate Siegel—her own mother drove her so crazy that she decided to broadcast their hilarious conversations on Instagram. Soon, hundreds of thousands of people were following their daily text exchanges, eager to see what outrageous thing Kate’s mom would do next. Now, in Mother, Can You NOT?, Kate pays tribute to the woman who invented the concept of drone parenting. From embarrassing moments (like crashing Kate's gynecological exams) to outrageous stories (like the time she made Kate steal a cat from the pound) to hilarious celebrations (including but not limited to parties for Kate's menstrual cycles), Mother, Can you NOT? lovingly lampoons the lengths to which our mothers will go to better our lives (even if it feels like they’re ruining them in the process).

MOM: did you spill ice on the floor? DAUGHTER: it was an accident. MOM: so were you. Whether it is a dad not knowing how to work the phone or trying to sound "hip," a mom accidentally sending a "sext" to her own son, or parents posing a clever retort that puts their kid in his place, parents and their kids send each other the craziest texts. Crazy Things Parents Text features the best all-new user submitted parent texts from the web sensation, www.crazythingsparentstext.com. Inside you'll find countless hours of LOL, LMFAO, and WTF across hundreds of hilarious texts. And remember kids, keep texting. And parents, keep texting crazy things. We love it, and it makes us love you more.

In Biblical Hebrew texts, individuals and groups are referred to according to specific rules and conventions. How are participants introduced into a text and traced further? When is this done by means of proper names, when by nouns, and when by pronominal elements? In this book, examples from many Biblical passages illustrate the patterns involved. These rules help to solve problems of participant reference in controversial passages. But it is not enough to know who are the participants; one needs to establish why they are referred to the way they are. Main characters in a text are referred to differently from others. Certain devices of participant reference help to indicate paragraph boundaries. Unusual references to participants aim to be noticed and have rhetorical impact. Proper names may occur where one would have expected a pronominal element (or vice versa). Participants may be mentioned in an unexpected order. Special attention is given to such unusual reference devices and the rhetorical strategies involved: climax, suspense and implicit comment. In a translation, these strategies should still be as clear as they are in the source text. So how have reference devices been handled in ancient and modern translations?