In this collection, contributors reject the narrative that suggests that the pain of mothers must never be exposed. They allow their pain to wander outside the frame of the requisite pathos; individual pieces reveal pain to be a complex and intersectional practice that encompasses denial and disenfranchisement where pain is birthed and named; disorientation leading to a search for stable ground; destabilization that inspires non-normative mothering; and discovery as an active stance that transforms intergenerational pain. As contributors take up the challenge of unravelling their stories, they reach for a life-sustaining and hopeful shift in consciousness that allows them to listen to what pain has to offer without judgment; to imagine and create a different future for themselves, their children, and the world; and to let go of maternal pain and suffering as a way of being. Readers will be inspired by raw honesty, authenticity, and willingness to embrace story as a gift to self.

Matricentric feminism seeks to make motherhood the business of feminism by positioning mothers' needs and concerns as the starting point for a theory and politic on and for the empowerment of women as mothers. Based on the conviction that mothering is a verb, it understands that becoming and being a mother is not limited to biological mothers or cisgender women but rather to anyone who does the work of mothering as a central part of their life. The Mother Wave, the first-ever book on the topic, compellingly explores how mothers need a matricentric mode of feminism organized from and for their particular identity and work as mothers, and because mothers remain disempowered despite sixty years of feminism. The anthology makes visible the power of matricentric feminism as it is theorized, enacted, and represented to realize and achieve the subversive potential of mothers and their contributions to feminist theory and activism. Contributors share the impact and influence of matricentric feminism on families and children, culture, art/literature, education, public policy, social media, and workplace practices through personal reflections, scholarly essays, memoir, creative non-fiction, poetry, and photography. The mother wave of matricentric feminism invites conversations with others and offers a praxis of feminism that aims to coexist, overlap, and intersect with others.

Dr. Andrea O'Reilly is internationally recognized as the founder of Motherhood Studies (2006) and its subfield Maternal Theory (2007), and creator of the concept of Matricentric Feminism, a feminism for and about mothers (2016) and Matricritics, a literary theory and practice for a reading of mother-focused texts (2021). With this collection O'Reilly continues the conversation on the meaning and nature of motherhood initiated by Adrienne Rich in Of Woman Born close to fifty years ago. In In (M)other Words, O'Reilly shares 25 of her chapters and articles published between 2009-2024 to examine the oppressive and empowering dimensions of mothering and to explore motherhood as institution, experience, subjectivity, and empowerment. The collection considers the central themes and theories of motherhood studies including normative motherhood, feminist mothering, maternal regret, matricentric pedagogy, young mothers, academic motherhood, matricentric feminism, matricritics, motherhood and feminism, the motherhood memoir, the twenty-first-century motherhood movement, mothers and daughters, mothers and sons, pandemic mothering, and the motherline.

In this book, Jonah Corne and Monika Vrečar offer a conceptually innovative reexamination of Yiddish cinema, a crucial yet little-known diasporic phenomenon that enjoyed its "golden age" in the mid- to late 1930s. Yiddish cinema, they argue, exhibits a distinctive fascination with media forms, technologies, and institutions, and with relationality writ large. What stands behind this communication obsession, as it might be understood, is the films' engagement both with Judaic ideals and with a series of Jewish sociohistorical predicaments of troubled communication (immigration, displacement, the breakdown of tradition, and so on) that the films seek to reflect. Accordingly, the authors create a resonant conversation between Yiddish cinema, populated by an endless procession of disconnected characters ardently striving to rejoin the world of communication, and the brilliant yet underappreciated ideas of pioneering Czech-Jewish media theorist Vilém Flusser (1920–1991), who escaped Nazi persecution and built the first part of his intellectual career in Brazil. Indeed, the authors claim that the popular art of Yiddish cinema articulates in dramatic terms a version of the central Flusserian hypothesis that "the structure of communication is the infrastructure of human reality" and, by doing so, embodies a remarkable Jewish media theory "from below." Films discussed include The Wandering Jew (1933), The Dybbuk (1937), Where is My Child? (1937), A Little Letter to Mother (1938), Kol Nidre (1939), Motel the Operator (1939), Tevye (1939), The Living Orphan (1939), and Long Is the Road (1948).

The book aims to broaden understanding of the diverse positions and meanings of motherhood by investigating understudied and marginalized mothers (rural itinerant, African American, and Irish Catholic American) between 1920 and 1960. Fuelled by anxieties around feminism, a perception of men’s loss of status and masculinity, racial tensions, and fears about immigration, "antimaternalism" discourse blamed mothers for a wide range of social ills in the first half of the 20th Century. Mothering, Time, and Antimaternalism considers the ideas, practices, and depictions of antimaternalism, and the ways that mothers responded. Religion, class, race, ethnicity, gender, and immigration status are all analysed as factors shaping maternal experience. The book develops the historical context of American motherhood between 1920 and 1960, examining how changing ideas – scientific motherhood, time efficiency, devaluation of domesticity, racial and religious bias - influenced the construction and experiences of motherhood. This is a fascinating and important book suitable for students and scholars in history, gender studies, cultural studies and sociology.

A simple argument guides this book: motherhood is the place in our culture where we lodge, or rather bury, the reality of our own conflicts. By making mothers the objects of both licensed idealization and cruelty, we blind ourselves to the world’s iniquities and shut down the portals of the heart. Mothers are the ultimate scapegoat for our personal and political failings, for everything that is wrong with the world, which becomes their task (unrealizable, of course) to repair. Moving commandingly between pop cultural references such as Roald Dahl’s Matilda to insights on motherhood in the ancient world and the contemporary stigmatization of single mothers, Jacqueline Rose delivers a groundbreaking report into something so prevalent we hardly notice. Mothers is an incisive, rousing call to action from one of our most important contemporary thinkers.

In this collection, authors transgress and uphold their maternal integrity as they dance at the edge of comfort and take up the challenge of exploring the boundaries of maternal practice– their own, their mothers, and those found in literature, media, or popular culture. These mothers assume a hopeful stance; actively choose courage over comfort; push through what is fun, fast, or easy, and show how they come to mother outside the lines in all its simplicity and complexity. As they bust outdated, tired, and ambiguous boundaries, they find and (re)set new boundaries that restore dignity and self-respect for themselves, their children, their families, and for the matricentric feminist collective, particularly those whose voices may continue to be silenced and marginalized by structures and limits beyond their control. Thirteen stories are threaded together to form a compelling tale showing how and why some mothers, when faced with ambiguous and untenable boundaries, resist the urge to accept the assumed, the unpredictable, even the demanded– whether they be internal or external, visible or invisible, real or imaginary.