The “graceful, loving,” (The New York Times Book Review), never-before-told story of Hollywood icon Natalie Wood’s glamorous life, sudden death, and lasting legacy, written by her daughter, Natasha Gregson Wagner. Natasha Gregson Wagner’s mother, Natalie Wood, was a child actress who became a legendary movie star, the dark-haired beauty of Splendor in the Grass and West Side Story. She and Natasha’s stepfather, the actor Robert Wagner, were a Hollywood it-couple twice over, first in the 1950s, and then again when they remarried in the 70s. To Natasha, she was, above all, a doting, loving mom. But Natalie’s sudden death by drowning off Catalina Island at the age of forty-three devastated her family, turned Robert Wagner into a person of interest, and transformed a vibrant wife, mother, and actress into a figure of tragedy. The weekend has long been shrouded in rumors and scandalous tabloid speculation, but until now there has never been an account of how the events and their aftermath were experienced by Natalie’s beloved eldest daughter. Here, for the first time, is a“deeply intimate chronicle of life with her famous mother and how Wood’s death devastated the family” (Los Angeles Times). Cutting through the shadow hanging over her mother’s legacy, More Than Love is a “poignant” (The Washington Post) tale of a daughter coming to terms with her grief, as well as a “revealing new look at Natalie Wood” (Good Morning America).

"For years, I cried, not over my own losses, but at the movies. When bad things happened to me in real life, I didn't react. I seemed cool or indifferent. Yet in the dark and relative safety of the movie theater, I would weep over fictional tragedies, over someone else's tragedy." At age nine, Madelon Sprengnether watched her father drown in the Mississippi River. Her mother swallowed the family's grief whole and no one spoke of the tragedy thereafter. Only years later did Sprengnether react, and in a most unlikely place: in the theater watching the film Pather Panchali, by Satyajit Ray. In the fascinating memoir Crying at the Movies, Sprengnether looks at the sublime connections between happenings in the present, troubling events from the past, and the imagined world of movies. By examining the films she had intense emotional reactions to throughout her adult life--House of Cards, Solaris, Fearless, The Cement Garden, Shadowlands, and Blue--Sprengnether finds a way to work through her own losses, mistakes, and pain.

This volume explores the potentials of Goddess spirituality in the field of cultural critique, and strings together innovative readings of already existing literary texts and cultural phenomena from the critical perspective of Goddess spirituality. The chapters explore a colourful array of texts and authors, and focus on issues as diverse as the persistence of the figure of the Magna Mater in the life, writing and thought of Swami Vivekananda and Sri Aurobindo, the inability of Advaita Vedanta to come out of the shadow of the Great Mother, the possibility of pluralizing the Eurocentric notion of the Muse by invoking the figure of Goddess Sarasvati in the field of English Studies, and a reappraisal of Kipling’s Kim from the perspective of the philosophical and spiritual discourses of Prajnaparamita, the Buddhist Goddess of Perfect Wisdom. The book also offers a comparative study of Minoan Goddess Spirituality and tantric philosophy with reference to Aphrodite, Diotima and the Indian Mother Goddesses, the possibility of simultaneously tantricizing notions of modernity and modernizing tantra itself with reference to the works of Lata Mani and William Schindler, and an investigation of the Mother-centric spiritual sensibilities in various religious discourses and devotional literatures, among other discussions. In short, this book investigates the possibilities of inserting the figure of the Great Mother into the critical domain of cultural pluralism, thereby celebrating a multiculturalism that is not based on violence and conflict (antagonism) but grounded in harmony. The Mother is seen by the discourse articulated here mainly as a middle ground between flesh and spirit, knowledge and passion, justice and compassion – and, in the red shadow of the Mother, social epistemologies and academic discourses are radically renegotiated.

The narrator of Letters to My Mother is a young Afro-Cuban girl who, upon the death of her mother, must live with her aunt and cousins. Dependent on them and their good will, she finds their taunts about how dark her skin is and their attacks on her behavior, including her choice not to straighten her hair, deeply wounding. To keep her mother alive somehow, and to remember that she was once deeply loved, she writes letters telling Mamita what she is suffering and feeling. Over the course of this powerful and moving novel, the heroine grows up. Her inner strength helps her to overcome her pain and the racism of at least some of the people around her. And her position in the family changes as she learns to accept herself and others.

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