Anna Jarvis (1864-1948) organized the first official Mother's Day celebration in Grafton, West Virginia in 1908 and then spent decades promoting the holiday and defending it from commercialization. She designed her Mother's Day celebration around a view of motherhood and domesticity, envisioning a day venerating the daily services and sacrifices of mothers within the home. This publication explores the complicated history of Anna Jarvis's movement to establish and control Mother's Day, as well as the powerful conceptualization of this day as both a holiday and a cultural representation of motherhood.

Reclaiming Home, Remembering Motherhood, Rewriting History: African American and Afro-Caribbean Women’s Literature in the Twentieth Century offers a critical valuation of literature composed by black female writers and examines their projects of reclamation, rememory, and revision. As a collection, it engages black women writers’ efforts to create more inclusive conceptualizations of community, gender, and history, conceptualizations that take into account alternate lived and written experiences as well as imagined futures. Contributors to this collection probe the realms of gender studies, postcolonialism, and post-structural theory and suggest important ways in which to explore connections between home, motherhood, and history across the multifarious narratives of African American and Afro-Caribbean experiences. Together they argue that it is through their female characters that black women writers demonstrate the tumultuous processes of deciphering home and homeland, of articulating the complexities of mothering relationships, and of locating their own personal history within local and national narratives. Essays gathered in this collection consider the works of African American women writers (Pauline Hopkins, Toni Morrison, Jessie Redmon Fauset, Audre Lorde, Lalita Tademy, Lorene Cary, Octavia Butler, Zora Neale Hurston, and Sherley Anne Williams) alongside the works of black women writers from the Caribbean (Jamaica Kincaid and Gisèle Pineau), Guyana (Grace Nichols), and Cuba (María de los Reyes Castillo Bueno).

The explosion of print culture that occurred in the United States at the turn of the twentieth century activated the widespread use of print media to promote social and political activism. Exploring this phenomenon, the essays in Modern Print Activism in the United States focus on specific groups, individuals, and causes that relied on print as a vehicle for activism. They also take up the variety of print forms in which calls for activism have appeared, including fiction, editorials, letters to the editor, graphic satire, and non-periodical media such as pamphlets and calendars. As the contributors show, activists have used print media in a range of ways, not only in expected applications such as calls for boycotts and protests, but also for less expected aims such as the creation of networks among readers and to the legitimization of their causes. At a time when the golden age of print appears to be ending, Modern Print Activism in the United States argues that print activism should be studied as a specifically modernist phenomenon and poses questions related to the efficacy of print as a vehicle for social and political change.

Theologian Erin S. Lane overturns dominant narratives about motherhood and inspires women to write their own stories. Is it possible to do something more meaningful than mothering? As a young Catholic girl who grew up in the American Midwest on white bread and Jesus, Erin S. Lane was given two options for a life well-lived: Mother or Mother Superior. She could marry a man and mother her own children, or she could marry God, so to speak, and mother the world’s children. Both were good outcomes for someone else’s life. Neither would fit the shape of hers. Interweaving Lane’s story with those of other women—including singles and couples, stepparents and foster parents, the infertile and the ambivalent—Someone Other Than a Mother challenges the social scripts that put moms on an impossible pedestal and shame childless women and nontraditional families for not measuring up. You may have heard these lines before: “Motherhood is the toughest job.” This script diminishes the work of non-moms and pressures moms to make parenting their full-time gig. “It’ll be different with your own.” This script underestimates the love of nonbiological kin and pushes unfair expectations onto nuclear families. “Family is the greatest legacy.” This script turns children into the ultimate sign of a woman’s worth and discounts the quieter ways we leave our mark. With candor and verve, Someone Other Than a Mother tears up the shaming social scripts that are bad for moms and non-moms alike and rewrites the story of a life well-lived, one in which purpose is bigger than body parts, identity is fuller than offspring, and legacy is so much more than DNA.

For more than a century, American communities erected monuments to western pioneers. Although many of these statues receive little attention today, the images they depict—sturdy white men, saintly mothers, and wholesome pioneer families—enshrine prevailing notions of American exceptionalism, race relations, and gender identity. Pioneer Mother Monuments is the first book to delve into the long and complex history of remembering, forgetting, and rediscovering pioneer monuments. In this book, historian Cynthia Culver Prescott combines visual analysis with a close reading of primary-source documents. Examining some two hundred monuments erected in the United States from the late nineteenth century to the present, Prescott begins her survey by focusing on the earliest pioneer statues, which celebrated the strong white men who settled—and conquered—the West. By the 1930s, she explains, when gender roles began shifting, new monuments came forth to honor the Pioneer Mother. The angelic woman in a sunbonnet, armed with a rifle or a Bible as she carried civilization forward—an iconic figure—resonated particularly with Mormon audiences. While interest in these traditional monuments began to wane in the postwar period, according to Prescott, a new wave of pioneer monuments emerged in smaller communities during the late twentieth century. Inspired by rural nostalgia, these statues helped promote heritage tourism. In recent years, Americans have engaged in heated debates about Confederate Civil War monuments and their implicit racism. Should these statues be removed or reinterpreted? Far less attention, however, has been paid to pioneer monuments, which, Prescott argues, also enshrine white cultural superiority—as well as gender stereotypes. Only a few western communities have reexamined these values and erected statues with more inclusive imagery. Blending western history, visual culture, and memory studies, Prescott’s pathbreaking analysis is enhanced by a rich selection of color and black-and-white photographs depicting the statues along with detailed maps that chronologically chart the emergence of pioneer monuments.

The National Shrine in Washington, DC has been deeply loved, blithely ignored, and passionately criticized. It has been praised as a "dazzling jewel" and dismissed as a "towering Byzantine beach ball." In this intriguing and inventive book, Thomas Tweed shows that the Shrine is also an illuminating site from which to tell the story of twentieth-century Catholicism. He organizes his narrative around six themes that characterize U.S. Catholicism, and he ties these themes to the Shrine's material culture--to images, artifacts, or devotional spaces. Thus he begins with the Basilica's foundation stone, weaving it into a discussion of "brick and mortar" Catholicism, the drive to build institutions. To highlight the Church's inclination to appeal to women, he looks at fund-raising for the Mary Memorial Altar, and he focuses on the Filipino oratory to Our Lady of Antipolo to illustrate the Church's outreach to immigrants. Throughout, he employs painstaking detective work to shine a light on the many facets of American Catholicism reflected in the shrine.

For more than a century, American communities erected monuments to western pioneers. Although many of these statues receive little attention today, the images they depict—sturdy white men, saintly mothers, and wholesome pioneer families—enshrine prevailing notions of American exceptionalism, race relations, and gender identity. Pioneer Mother Monuments is the first book to delve into the long and complex history of remembering, forgetting, and rediscovering pioneer monuments. In this book, historian Cynthia Culver Prescott combines visual analysis with a close reading of primary-source documents. Examining some two hundred monuments erected in the United States from the late nineteenth century to the present, Prescott begins her survey by focusing on the earliest pioneer statues, which celebrated the strong white men who settled—and conquered—the West. By the 1930s, she explains, when gender roles began shifting, new monuments came forth to honor the Pioneer Mother. The angelic woman in a sunbonnet, armed with a rifle or a Bible as she carried civilization forward—an iconic figure—resonated particularly with Mormon audiences. While interest in these traditional monuments began to wane in the postwar period, according to Prescott, a new wave of pioneer monuments emerged in smaller communities during the late twentieth century. Inspired by rural nostalgia, these statues helped promote heritage tourism. In recent years, Americans have engaged in heated debates about Confederate Civil War monuments and their implicit racism. Should these statues be removed or reinterpreted? Far less attention, however, has been paid to pioneer monuments, which, Prescott argues, also enshrine white cultural superiority—as well as gender stereotypes. Only a few western communities have reexamined these values and erected statues with more inclusive imagery. Blending western history, visual culture, and memory studies, Prescott’s pathbreaking analysis is enhanced by a rich selection of color and black-and-white photographs depicting the statues along with detailed maps that chronologically chart the emergence of pioneer monuments.