Statistics say that one in 10 women has no intention of taking the plunge into motherhood. Nobody's Mother is a collection of stories by women who have already made this choice. From introspective to humorous to rabble-rousing, these are personal stories that are well and honestly told. The writers range in age from early 30s to mid-70s and come from diverse backgrounds. All have thought long and hard about the role of motherhood, their own destinies, what mothering means in our society and what their choice means to them as individuals and as members of their ethnic communities or social groups. Contributors include: Nancy Baron, a zoologist and science writer who works in the United States for eaWeb/COMPASS and has won two Science in Society awards, a National Magazine Award and a Western Magazine Award for Science. Lorna Crozier, well-known poet and the author of a dozen books, as well as the recipient of a Governor General's award and numerous other writing prizes.

Does "saved through childbearing" in 1 Timothy 2:15 mean that women are slated primarily for rearing children? Sandra Glahn thinks that we have misunderstood Paul and the context to which he wrote. Combining spiritual autobiography with new research on the Greek goddess Artemis, Glahn lays a biblical foundation for God's view of women.

Advice on feeding and exercises to assist the development of babies' mouth and facial muscles to ensure language development, good mouth structure and movement.

"I have never before read anything except Nabokov’s Speak, Memory that so relentlessly and shrewdly exhausted the kindness and cruelty of recollection’s shaping devices." —Geoffrey Wolff Born in Czechoslovakia, Mark Slouka’s parents survived the Nazis only to have to escape the Communist purges after the war. Smuggled out of their own country, the newlyweds joined a tide of refugees moving from Innsbruck to Sydney to New York, dragging with them a history of blood and betrayal that their son would be born into. From World War I to the present, Slouka pieces together a remarkable story of refugees and war, displacement and denial—admitting into evidence memories, dreams, stories, the lies we inherit, and the lies we tell—in an attempt to reach his mother, the enigmatic figure at the center of the labyrinth. Her story, the revelation of her life-long burden and the forty-year love affair that might have saved her, shows the way out of the maze.

Born in Tijuana to a Mexican father and an Anglo mother, Urrea moved to San Diego at age three. In this memoir of his childhood, Urrea describes his experiences growing up in the barrio and his search for cultural identity.

When Diane Sher Lutovich set out to attain closure of her mother's death she simultaneously discovered how other women address their losses. "Nobody's Child: How Older Women Say Good-bye to Their Mothers", in poetry and prose, tells the big and little stories of women who, having come of age during the feminist revolution, lived very different lives than their mothers. The author addresses the guilt a daughter feels when confronted by her mother's life choices, the loss of family history and a belated recognition of her mother's legacy. The voices are heard within these pages, giving occasion for the reader to learn about the multiplicity of feelings-including remorse, fear, frustration, compassion, and deep admiration-that many daughters experience at their mother's passing.

The orphan trains stopped running in 1929 and the foster care system began. Hollywood relieved Depression era problems on the subject with films starring Shirley Temple. "Room for One More" with Cary Grant depicted the need for foster families. "Blossoms In the Dust" starring Greer Garson dealt with the social stigma faced by both the parents and the children. Having immigrant parents in the mix added more problems. This was my family. We were a family torn apart as our parents fought to regain their children while the system held them hostage to the moral tenor of the times. Once the State took us a promise was made, a promise believed. Why, in the end, did we then feel twice abandoned, twice betrayed?