Mama Dearest

The story of the tormented and glamorous star, Joan Crawford, struggling to survive in a cutthroat world, succumbing to a rage leading to alcoholism and child abuse.

From a "New York Times"-bestselling author comes the highly-anticipated return of diva supreme Yancey Harrington Braxton, one of Harris's most popular characters, in a story of sex, secrets, and betrayal.

Diva supreme Yancey Harrington Braxton is working her way back to Broadway and beyond—and stirring up drama in and out of the spotlight—in the acclaimed New York Times bestseller from E. Lynn Harris.After being out on tour, the ambitious singer and actress is fired up to move past her recent setbacks—including an explosive romance with NFL tight end John Basil Henderson—and prove her talents are stronger than ever. What Yancey really wants is to star in her own reality TV series, and she’s even found a rich and well-connected lover to make it happen. There are, however, two women fierce enough to derail Yancey’s comeback dreams: Madison B., a hot new bombshell taking the music industry by storm, and Ava Middlebrooks, who happens to be Yancey’s own mama dearest.Not even a stint in prison for attempted murder has curbed Ava’s competitive nature. Now she will bring down her #1 rival—her own daughter—by using Madison B. to turn Yancey’s world upside-down. . . .

Diary kept by Rutanya Alda, who played the part of Carol Ann, during the filming of the 1981 movie Mommie Dearest.

The New York Times–bestselling graphic memoir about Alison Bechdel, author of Fun Home, becoming the artist her mother wanted to be. Alison Bechdel’s Fun Home was a pop culture and literary phenomenon. Now, a second thrilling tale of filial sleuthery, this time about her mother: voracious reader, music lover, passionate amateur actor. Also a woman, unhappily married to a closeted gay man, whose artistic aspirations simmered under the surface of Bechdel's childhood…and who stopped touching or kissing her daughter good night, forever, when she was seven. Poignantly, hilariously, Bechdel embarks on a quest for answers concerning the mother-daughter gulf. It's a richly layered search that leads readers from the fascinating life and work of the iconic twentieth-century psychoanalyst Donald Winnicott, to one explosively illuminating Dr. Seuss illustration, to Bechdel’s own (serially monogamous) adult love life. And, finally, back to Mother—to a truce, fragile and real-time, that will move and astonish all adult children of gifted mothers. A New York Times, USA Today, Time, Slate, and Barnes & Noble Best Book of the Year “As complicated, brainy, inventive and satisfying as the finest prose memoirs.”—New York Times Book Review “A work of the most humane kind of genius, bravely going right to the heart of things: why we are who we are. It's also incredibly funny. And visually stunning. And page-turningly addictive. And heartbreaking.”—Jonathan Safran Foer “Many of us are living out the unlived lives of our mothers. Alison Bechdel has written a graphic novel about this; sort of like a comic book by Virginia Woolf. You won't believe it until you read it—and you must!”—Gloria Steinem

“[An] irreverent and remarkably candid memoir about growing up in wealthy eighties San Francisco . . . rollicking, ruthless . . . ultimately generous-hearted.” —Vogue “A vivid mix of brio, self-awareness and sophistication . . . writing well is indeed the best revenge.” —The New York Times Book Review “A monumental piece of work.” —Kirkus Reviews “In the beginning we were happy. And we were always excessive. So in the beginning we were happy to excess.” With these opening lines Sean Wilsey takes us on an exhilarating tour of life in the strangest, wealthiest, and most grandiose of families. Sean's blond-bombshell mother (one of the thinly veiled characters in Armistead Maupin's bestselling Tales of the City) is a 1980s society-page staple, regularly entertaining Black Panthers and movie stars in her marble and glass penthouse, "eight hundred feet in the air above San Francisco; an apartment at the top of a building at the top of a hill: full of light, full of voices, full of windows full of water and bridges and hills." His enigmatic father uses a jet helicopter to drop Sean off at the video arcade and lectures his son on proper hygiene in public restrooms, "You should wash your hands first, before you use the urinal. Not after. Your penis isn't dirty. But your hands are." When Sean, "the kind of child who sings songs to sick flowers," turns nine years old, his father divorces his mother and marries her best friend. Sean's life blows apart. His mother first invites him to commit suicide with her, then has a "vision" of salvation that requires packing her Louis Vuitton luggage and traveling the globe, a retinue of multiracial children in tow. Her goal: peace on earth (and a Nobel Prize). Sean meets Indira Gandhi, Helmut Kohl, Menachem Begin, and the pope, hoping each one might come back to San Francisco and persuade his father to rejoin the family. Instead, Sean is pushed out of San Francisco and sent spiraling through five high schools, till he finally lands at an unorthodox reform school cum "therapeutic community," in Italy. With its multiplicity of settings and kaleidoscopic mix of preoccupations-sex, Russia, jet helicopters, seismic upheaval, boarding schools, Middle Earth, skinheads, home improvement, suicide, skateboarding, Sovietology, public transportation, massage, Christian fundamentalism, dogs, Texas, global thermonuclear war, truth, evil, masturbation, hope, Bethlehem, CT, eventual salvation (abridged list)—Oh the Glory of It All is memoir as bildungsroman as explosion.

When she died in 1977, Joan Crawford was remembered as an icon of Hollywood's Golden Age—until publication the following year of her daughter's memoir, Mommie Dearest. Christina Crawford's book was an immediate bestseller, combining the infrequently discussed topic of child abuse with the draw of Hollywood drama. But when Paramount Pictures released the film version, starring Faye Dunaway as Crawford, it was panned, and it remains one of the most legendary critical bombs in film history. The lavish, big-screen adaptation drew unexpected laughter for its over the top the scenes depicting life in the Crawford household. Rarely have such good intentions been met with such ridicule. Despite this, the movie was a commercial success and remains, four decades later, immensely popular as an unintentional camp classic. Based on new interviews with people connected to the book and the film—from cast and crew members to industry insiders—With Love, Mommie Dearest details the writing and selling of Christina's book and the aftermath of its publication, as well as the filming of the motion picture, whose backstage drama almost surpassed what was viewed on-screen in the film. Hollywood historian A. Ashley Hoff explores the phenomenon, the camp, and the very real social issues addressed by the book and film.

Turner Classic Movies and film historian Richard Corliss present Mom in the Movies: The Iconic Screen Mothers You Love (and a Few You Love to Hate), the definitive, fully illustrated book that shares the many ways Hollywood has celebrated, vilified and otherwise memorialized dear old Mom. With a foreword written by Debbie Reynolds and her daughter Carrie Fisher, and sidebar essays by Eva Marie Saint, Illeana Douglas, Jane Powell, Sam Robards, and Tippi Hedren, this book is packed with an incredible collection of photographs and film stills. Mom in the Movies makes a great gift for any mom—and for anyone with a mother who oughta be in pictures. Here, you will meet the Criminal Moms, like Shelley Winters in Bloody Mama, and the eccentric Showbiz Moms, including those from Gypsy and Postcards from the Edge. You’ll also find Great American Moms, as warm and nourishing as apple pie, in movies such as I Remember Mama and Places in the Heart, along with Surrogate Moms, like Ginger Rogers in Bachelor Mother, Rosalind Russell in Auntie Mame, Dianne Wiest in Edward Scissorhands and Sandra Bullock in The Blind Side. And who can forget the baddest mothers of all? No book on movie moms would be complete without Angela Lansbury in The Manchurian Candidate. From the cozy All-American mom to the terrifying Mommie Dearest or the protective Sigourney Weaver in Aliens, when it comes to mothers on the silver screen, it takes all kinds. With Mom in the Movies, Richard Corliss and Turner Classic Movies bring those many moms vividly to life, in words and pictures.

A sleepy polar bear cub asks his mother questions about the night sky as he gets ready to go to sleep.