Motherhood remains a complex and contested issue in feminist research as well as public discussion. This interdisciplinary volume explores cultural representations of motherhood in various contemporary European contexts, including France, Italy, Germany, Portugal, Spain, and the UK, and it considers how such representations affect the ways in which different individuals and groups negotiate motherhood as both institution and lived experience. It has a particular focus on literature, but it also includes essays that examine representations of motherhood in philosophy, art, social policy, and film. The book’s driving contention is that, through intersecting with other fields and disciplines, literature and the study of literature have an important role to play in nuancing dialogues around motherhood, by offering challenging insights and imaginative responses to complex problems and experiences. This is demonstrated throughout the volume, which covers a range of topics including: discursive and visual depictions of pregnancy and birth; the impact of new reproductive technologies on changing family configurations; the relationship between mothering and citizenship; the shaping of policy imperatives regarding mothering and disability; and the difficult realities of miscarriage, child death, violence, and infanticide. The collection expands and complicates hegemonic notions of motherhood, as the authors map and analyse shifting conceptions of maternal subjectivity and embodiment, explore some of the constraining and/or enabling contexts in which mothering takes place, and ask searching questions about what it means to be a ‘mother’ in Europe today. It will be of interest not only to those working in gender, women’s and feminist studies, but also to scholars in literary and cultural studies, and those researching in sociology, criminology, politics, psychology, medical ethics, midwifery, and related fields.

Trauma and Motherhood in Contemporary Literature and Culture repositions motherhood studies through the lens of trauma theory by exploring new challenges surrounding conception, pregnancy, and postpartum experiences. Chapters investigate nine case studies of motherhood trauma and recovery in literature and culture from the last twenty years by exploring their emotional consequences through the lens of trauma, resilience, and “working through” theories. Contributions engage with a transnational corpus drawn from the five continents and span topics as rarely discussed as pregnancy denial, surrogacy, voluntary or involuntary childlessness, racism and motherhood, carceral mothering practices, surrogacy, IVF, artificial wombs, and mothering through war, genocide, and migration. Accompanied by an online creative supplement, this volume deals with silenced aspects of embodied motherhood while enhancing a better understanding of the cathartic effects of storytelling.

Working mothers today confront not only conflicting demands on their time and energy but also conflicting ideas about how they are to behave: they must be nurturing and unselfish while engaged in child rearing but competitive and ambitious at work. As more and more women enter the workplace, it would seem reasonable for society to make mothering a simpler and more efficient task. Instead, Sharon Hays points out in this original and provocative book, an ideology of "intensive mothering" has developed that only exacerbates the tensions working mothers face. Drawing on ideas about mothering since the Middle Ages, on contemporary childrearing manuals, and on in-depth interviews with mothers from a range of social classes, Hays traces the evolution of the ideology of intensive mothering--an ideology that holds the individual mother primarily responsible for child rearing and dictates that the process is to be child-centered, expert-guided, emotionally absorbing, labor-intensive, and financially expensive. Hays argues that these ideas about appropriate mothering stem from a fundamental ambivalence about a system based solely on the competitive pursuit of individual interests. In attempting to deal with our deep uneasiness about self-interest, we have imposed unrealistic and unremunerated obligations and commitments on mothering, making it into an opposing force, a primary field on which this cultural ambivalence is played out.

Spectral and monstrous mothers populate the cultural and literary landscape of the eighteenth century, overturning scholarly assumptions about this being an era of ideal motherhood. Although credited with the rise of domesticity, eighteenth-century British culture singularly lacked narratives of good mothers, ostensibly the most domestic of females. With startling frequency, the best mother was absent, disembodied, voiceless, or dead. British culture told tales almost exclusively of wicked, surrogate, or spectral mothers—revealing the defects of domestic ideology, the cultural fascination with standards and deviance, and the desire to police maternal behaviors. Monstrous Motherhood analyzes eighteenth-century motherhood in light of the inconsistencies among domestic ideology, narrative, and historical practice. If domesticity was so important, why is the good mother’s story absent or peripheral? What do the available maternal narratives suggest about domestic ideology and the expectations and enactment of motherhood? By focusing on literary and historical mothers in novels, plays, poems, diaries, conduct manuals, contemporary court cases, realist fiction, fairy tales, satire, and romance, Marilyn Francus reclaims silenced maternal voices and perspectives. She exposes the mechanisms of maternal marginalization and spectralization in eighteenth-century culture and revises the domesticity thesis. Monstrous Motherhood will compel scholars in eighteenth-century studies, women’s studies, family history, and cultural studies to reevaluate a foundational assumption that has driven much of the discourse in their fields.

From the author of How Should a Person Be? (“one of the most talked-about books of the year”—Time Magazine) and the New York Times Bestseller Women in Clothes comes a daring novel about whether to have children. In Motherhood, Sheila Heti asks what is gained and what is lost when a woman becomes a mother, treating the most consequential decision of early adulthood with the candor, originality, and humor that have won Heti international acclaim and made How Should A Person Be? required reading for a generation. In her late thirties, when her friends are asking when they will become mothers, the narrator of Heti’s intimate and urgent novel considers whether she will do so at all. In a narrative spanning several years, casting among the influence of her peers, partner, and her duties to her forbearers, she struggles to make a wise and moral choice. After seeking guidance from philosophy, her body, mysticism, and chance, she discovers her answer much closer to home. Motherhood is a courageous, keenly felt, and starkly original novel that will surely spark lively conversations about womanhood, parenthood, and about how—and for whom—to live.

From novels of the nineteenth century to films of the 1990s, American culture, abounds with images of white, middle-class mothers. In Motherhood and Representation, E. Ann Kaplan considers how the mother appears in three related spheres: the historical, in which she charts changing representations of the mother from 1830 to the postmodernist present; the psychoanalytic, which discusses theories of the mother from Freud to Lacan and the French Feminists; and the mother as she is figured in cultural representations: in literary and film texts such as East Lynne, Marnie and the The Handmaid's Tale, as well as in journalism and popular manuals on motherhood. Kaplan's analysis identifies two dominant paradigms of the mother as `Angel' and `Witch', and charts the contesting and often contradictory discourses of the mother in present-day America.

In paperback at last: Rivka Galchen’s beloved baby bible—slyly hilarious, surprising, and absolutely essential reading for anyone who has ever had, held, or been a baby In this enchanting miscellany, Galchen notes that literature has more dogs than babies (and also more abortions), that the tally of children for many great women writers—Jane Bowles, Elizabeth Bishop, Virginia Woolf, Janet Frame, Willa Cather, Patricia Highsmith, Iris Murdoch, Djuna Barnes, Mavis Gallant—is zero, that orange is the new baby pink, that The Tale of Genji has no plot but plenty of drama about paternity, that babies exude an intoxicating black magic, and that a baby is a goldmine.