Lose Your Mother

An original, thought-provoking meditation on the corrosive legacy of slavery from the 16th century to the present.--Elizabeth Schmidt, "The New York Times."

In Lose Your Mother, Saidiya Hartman journeys along a slave route in Ghana, following the trail of captives from the hinterland to the Atlantic coast. She retraces the history of the Atlantic slave trade from the fifteenth to the twentieth century and reckons with the blank slate of her own genealogy. There were no survivors of Hartman's lineage, nor far-flung relatives in Ghana of whom she had come in search. She traveled to Ghana in search of strangers. The most universal definition of the slave is a stranger—torn from kin and country. To lose your mother is to suffer the loss of kin, to forget your past, and to inhabit the world as a stranger. As both the offspring of slaves and an American in Africa, Hartman, too, was a stranger. Her reflections on history and memory unfold as an intimate encounter with places—a holding cell, a slave market, a walled town built to repel slave raiders—and with people: an Akan prince who granted the Portuguese permission to build the first permanent trading fort in West Africa; an adolescent boy who was kidnapped while playing; a fourteen-year-old girl who was murdered aboard a slave ship. Eloquent, thoughtful, and deeply affecting, Lose Your Mother is a powerful meditation on history, memory, and the Atlantic slave trade.

The slave, Saidiya Hartman observes, is a stranger torn from family, home, and country. To lose your mother is to be severed from your kin, to forget your past, and to inhabit the world as an outsider. In Lose Your Mother, Hartman traces the history of the Atlantic slave trade by recounting a journey she took along a slave route in Ghana. There are no known survivors of Hartman's lineage, no relatives to find. She is a stranger in search of strangers, and this fact leads her into intimate engagements with the people she encounters along the way, and with figures from the past, vividly dramatising the effects of slavery on three centuries of African and American history.

Two elite runners share inspirational advice and practical strategies to help multitasking women make running part of their busy lives. Dimitry McDowell and Sarah Bowen Shea understand how the forces of everyday life—both external and internal—can keep a wife, mother, or working woman from lacing up her shoes and going for a run. As multihyphenates themselves, they have faced the same challenges. In Run Like a Mother, they share their running expertise and real-world experience in ensuring that running is part of their lives. More than a simple running guide, Run Like a Mother is like a friendly conversation aimed at strengthening a woman's inner athlete. Real achievement is a healthy mix of inspiration and perspiration, which is why the authors have grounded Run Like a Mother in a host of practical tips on shoes, training, racing, nutrition, and injuries, all designed to help women balance running with their professional and personal lives./

The groundbreaking debut by the award-winning author of Wayward Lives, Beautiful Experiments, revised and updated. Saidiya Hartman has been praised as “one of our most brilliant contemporary thinkers” (Claudia Rankine, New York Times Book Review) and “a lodestar for a generation of students and, increasingly, for politically engaged people outside the academy” (Alexis Okeowo, The New Yorker). In Scenes of Subjection—Hartman’s first book, now revised and expanded—her singular talents and analytical framework turn away from the “terrible spectacle” and toward the forms of routine terror and quotidian violence characteristic of slavery, illuminating the intertwining of injury, subjugation, and selfhood even in abolitionist depictions of enslavement. By attending to the withheld and overlooked at the margins of the historical archive, Hartman radically reshapes our understanding of history, in a work as resonant today as it was on first publication, now for a new generation of readers. This 25th anniversary edition features a new preface by the author, a foreword by Keeanga-Yamahtta Taylor, an afterword by Marisa J. Fuentes and Sarah Haley, notations with Cameron Rowland, and compositions by Torkwase Dyson.

The authors of Run Like a Mother share a comprehensive guide to race training for busy runners of all experience levels. In Train Like a Mother, elite runners Dimitry McDowell and Sarah Bowen Shea offer inspiration and practical advice on how to run a race—from training plan to finish line. Covering four race distances (5K, 10K, half-marathon, and marathon), they discuss pre- and post-race nutrition; strength training; injury prevention (and rehab); the importance of recovery; and everything busy women need to know to add racing to their multitasking schedules. It is all presented with the same wit, empathy, and tone the avid fans connect and identify with.

Written by a grief counselor and educator, this book is for those who have loved and lost their mother. Losing a mother is a difficult transition in life. No matter the status of the relationship, grieving the loss is a process--one that sometimes begins before the physical loss has occurred. Drawing on his own experience of loss, as well as on the experiences of others, Harold Ivan Smith guides readers through their grief, from the process of dying through the acts of remembering and honoring a mother after her death. This book provides a way forward. By shifting the grief process from something to rush through, Smith encourages readers to embrace their grief as a natural response to loss and to give themselves time to work through the sadness, pain, memories, and reality of living without their mom. All of us will experience the loss of our mother at some point. A mother's last breath inevitably changes us. Through wise counsel, Smith speaks gently to people who have gone through this loss and helps those yet to face it. This edition includes a new foreword from the author.

“A book of great value for every daughter and every mother; useful for sons, too.”—Benjamin Spock, M.D. From the Introduction: The goal of this book is to help readers achieve that separation so that they can either find a way to be friends with their mothers, or at least recognize and accept that their mothers did the best they could—even if it wasn't “good enough”—and to stop blaming them. Among the issues to be covered: • To understand how a daughter's attachment to her mother—more so than her relationship with her father—colors all her other relationships, and to analyze why it is more difficult for daughters than sons to separate from their mothers, as well as why daughters are more subject than sons to a mother's manipulation • To recognize the difference between a healthy and a destructive mother-daughter connection, and to define clearly the “bad mommy,” in order to help readers who have trouble acknowledging their childhood losses to begin to comprehend them • To conjugate what I call the “Bad Mommy Taboo”—why our culture is more eager to protect the sanctity of maternity than it is to protect emotionally abused daughters • To describe the evolution of the "unpleasable" mother—in all likelihood, she was bereft of maternal love as a child—and to recognize the huge, and often poignant, stake she has in keeping her grown daughter dependent and off-balance • To illustrate the consequent controlling behavior—in some cases, cloaked in fragility or good intentions—of such mothers, which falls into general patterns, including: the Doormat, the Critic, the Smotherer, the Avenger, the Deserter • To understand that the daughter has a similar stake in either being a slave to or hating her mother—the two sides of her depen dency and immaturity • To illustrate the responsive behavior—and survival mechanisms —of daughters, which is determined in part by such variables as birth rank, family history, and temperament, and which also falls into patterns, including: the Angel, the Superachiever, the Cipher, the Troublemaker, the Defector • To show how to redefine the mother-daughter relationship, so that each can learn to see and accept the other as she is today, appreciating each other's good qualities and not being snared by the bad • Finally, to demonstrate that a redefined relationship with one's mother—adult to adult—frees you from the past, whether that re definition ultimately results in real friendship, affectionate truce, or divorce.

A National Book Foundation 5 Under 35 Honoree NBCC John Leonard First Book Prize Finalist Aspen Words Literary Prize Finalist Named a Best Book of the Year by Vogue, NPR, Elle, Esquire, Buzzfeed, San Francisco Chronicle, Cosmopolitan, The Huffington Post, The A.V. Club, The Root, Harper’s Bazaar, Paste, Bustle, Kirkus Reviews, Electric Literature, LitHub, New York Post, Los Angeles Review of Books, and Bust “The debut novel of the year.” —Vogue “Like so many stories of the black diaspora, What We Lose is an examination of haunting.” —Doreen St. Félix, The New Yorker “Raw and ravishing, this novel pulses with vulnerability and shimmering anger.” —Nicole Dennis-Benn, O, the Oprah Magazine “Stunning. . . . Powerfully moving and beautifully wrought, What We Lose reflects on family, love, loss, race, womanhood, and the places we feel home.” —Buzzfeed “Remember this name: Zinzi Clemmons. Long may she thrill us with exquisite works like What We Lose. . . . The book is a remarkable journey.” —Essence From an author of rare, haunting power, a stunning novel about a young African-American woman coming of age—a deeply felt meditation on race, sex, family, and country Raised in Pennsylvania, Thandi views the world of her mother’s childhood in Johannesburg as both impossibly distant and ever present. She is an outsider wherever she goes, caught between being black and white, American and not. She tries to connect these dislocated pieces of her life, and as her mother succumbs to cancer, Thandi searches for an anchor—someone, or something, to love. In arresting and unsettling prose, we watch Thandi’s life unfold, from losing her mother and learning to live without the person who has most profoundly shaped her existence, to her own encounters with romance and unexpected motherhood. Through exquisite and emotional vignettes, Clemmons creates a stunning portrayal of what it means to choose to live, after loss. An elegiac distillation, at once intellectual and visceral, of a young woman’s understanding of absence and identity that spans continents and decades, What We Lose heralds the arrival of a virtuosic new voice in fiction.

“With A Visitation of Spirits, Randall Kenan continues James Baldwin’s legendary tradition of ‘telling it on the mountain.’”—San Francisco Chronicle When A Visitation of Spirits was published, Randall Kenan (1963-2020) was instantly recognized as a writer of significance, and one who brought into literary fiction the southern Black, gay experience, one of the first such writers to achieve mainstream success. His groundbreaking first novel, A Visitation of Spirits, is the powerful story of Horace Cross, a popular and high-achieving sixteen-year-old boy, who wrestles with the guilt of discovering who he is, a young man attracted to other men and yearning to escape the narrow confines of the small town of Tims Creek, North Carolina, where he grew up. Raised on stories of prophets, revelations, and dreams, his internal struggles take shape in his mind as demons and angels battling for his soul, culminating in one night of horrible and tragic transformation. A Visitation of Spirits established Randall Kenan as a literary master, and his influence continues to be felt. Now in Grove paperback and with an introduction by Tarell Alvin McCraney, Oscar-winning writer of Moonlight, A Visitation of Spirits is a classic novel of growing up from a literary giant.