In the era of globalisation, studies of migration focus on mobility, deterritorialised identities and diasporic forms of belonging across nation state boundaries. Indeed, uprootedness from the soil of home and place has resulted in a general condition of ‘homelessness’ in late modernity, referred to as the diasporic condition. This study explores the construction of home amongst immigrants from Hadchit and their descendants in Australia and America and shows how their strategies of home-building depend upon the capacity to imagine themselves as being united by kinship, a shared village of origins and as part of the broader communal Maronite identity (Mwarne), which now transcends nation state boundaries. Patrilineage (bayt), village (day’aa) and sect (ta’eefa) have historically defined Lebanese sectarian identities and now, as this study shows, are deployed as a strategy of home-building and community construction in diaspora. However, capitalist social relations of production in Australia and America have transformed bayt, day’aa and ta’eefa amongst the second, third and fourth generations through the gendered renegotiation of the marriage contract from relations of descent to relations of consent. Thus, the Hadchitis now face a crisis of (re)production and attribute this, in the case of Australia, to the state being hukum niswen, ruled by women, an inversion of the gendered order of power in Lebanon. Through pilgrimages to the ancestral village, however, émigrés seek a spiritual resolution to the contradictions of migration through the restoration of their connection to place, but find they cannot seamlessly belong in Hadchit. Meanwhile, multicultural crisis and a milieu of anti-Lebanese racism limit their claims to national belonging in Australia and America. This study finds, therefore, that the contradictions of the migration process are unresolvable through physical mobility, because the feeling of ‘home’ is a metaphysical state of being, which transcends place and is defined by its affective, social and spiritual dimensions. The elusive quality that defines home and provides a sense of unconditional belonging is, in fact, socially constructed by women, through their daily practices of care within the home and the most important woman for the construction of homeliness is the matriarch, sit el bayt—the power of the house. Thus, the place where the immigrant can be at home is metaphorically at their ‘mother’s table.’

This is a story of how a small group of people made a transformation from Jew to Jewish American to American Jews. It is not unlike the transformation and Americanization of other peoples. How it differs is from the very fact that a religion, a set of beliefs transformed into a nationality. It is about a period of time in one woman's life, my mother who was a blend of Europe and America. She was a mixture of ethnicity, culture, religion and Americanized traditions; a potpourri of ideas and actions unlike most and yet common to us all. This is also my story as well as hers. It is about our lives and times of changes. It is about the games we played, the education we received, the changes in religious practices, the friends we had, and the environments in which we lived. My mother possessed virtues that were stark realities of everyday life. It was that there was always room at her table and there never was a shortage of food. She was a powerful loving matriarch who touched the lives of a great many people with a "touch" of this (knowledge), and a "touch" of that, (love).

"Researching through volumes in several libraries and archives in the United States, author Kay Mouradian visited the village in Turkey where her mother and her mother's family, along with 25,000 other Armenians, were forced to leave their homes. Traveling over the same deportation route to the deserts of Syria where more than a million Armenians perished, the author became acutely aware of the suffering of her mother's generation and the lingering sense of injustice they carried. This story of fourteen-year-old Flora Munushian brings an epic chapter in Armenian history to life and takes it to heart. Flora's voice is that of all the victims and survivors of the Armenian Genocide, a story that must not be forgotten."--From publisher description.

An intimate, beautifully written coming-of-age memoir--a young girl's journey from war-torn Vietnam to Ridgewood, Queens, and her struggle to find her voice amid clashing cultural expectations. Ly Tran is just a toddler in 1993 when she and her family emigrate from a small town along the Mekong River in Vietnam to a two-bedroom railroad apartment in Ridgewood, Queens. Ly's father, a former lieutenant in the South Vietnamese army, spent nearly a decade as a POW, and their resettlement is made possible through a humanitarian program run by the US government. Soon after they arrive, Ly joins her parents and three older brothers in sewing ties and cummerbunds piecemeal on their living room floor to make ends meet. As they navigate this new landscape, Ly finds herself torn between two worlds. She knows she must honor her parents' Buddhist faith and contribute to the family livelihood, working long hours at home and then later as a manicurist alongside her mother at a nail salon in Brownsville, Brooklyn, which her parents eventually take over. But at school, Ly feels the mounting pressure to blend in. A growing inability to see the blackboard presents new challenges, especially when her father forbids her from getting glasses, calling her diagnosis of poor vision a government conspiracy. His frightening temper and paranoia leave an indelible mark on Ly's sense of self. Who is she outside of everything her family expects of her? Told in a spare, evocative voice that, with flashes of humor, weaves together her family's immigration experience with her own fraught and courageous coming-of-age, House of Sticks is a timely and powerful portrait of one girl's struggle to reckon with her heritage and forge her own path. --

At supermarkets across the nation, customers waiting in line—mostly female—flip through magazines displayed at the checkout stand. What we find on those magazine racks are countless images of food and, in particular, women: moms preparing lunch for the team, college roommates baking together, working women whipping up a meal in under an hour, dieters happy to find a lowfat ice cream that tastes great. In everything from billboards and product packaging to cooking shows, movies, and even sex guides, food has a presence that conveys powerful gender-coded messages that shape our society. Kitchen Culture in America is a collection of essays that examine how women's roles have been shaped by the principles and practice of consuming and preparing food. Exploring popular representations of food and gender in American society from 1895 to 1970, these essays argue that kitchen culture accomplishes more than just passing down cooking skills and well-loved recipes from generation to generation. Kitchen culture instructs women about how to behave like "correctly" gendered beings. One chapter reveals how juvenile cookbooks, a popular genre for over a century, have taught boys and girls not only the basics of cooking, but also the fine distinctions between their expected roles as grown men and women. Several essays illuminate the ways in which food manufacturers have used gender imagery to define women first and foremost as consumers. Other essays, informed by current debates in the field of material culture, investigate how certain commodities like candy, which in the early twentieth century was advertised primarily as a feminine pleasure, have been culturally constructed. The book also takes a look at the complex relationships among food, gender, class, and race or ethnicity-as represented, for example, in the popular Southern black Mammy figure. In all of the essays, Kitchen Culture in America seeks to show how food serves as a marker of identity in American society.

In My Mother’s Mind covers a span of about eleven years. The primary character in the book, my mother, lived in Florida for twenty-two years after retiring from her career in Ohio. She talked of living in Florida for decades. While Florida was her happy place (not to be confused with Disney World), she was there alone. She had no family in Florida. Her closest family member (me) lived one thousand miles away. Once Mother turned eighty, her mental decline became more pronounced. My sister and I really had no plan for what to do for Mom after Florida. Mother didn’t have a clue either. In Mother’s mind, she was just going to die there. She took care of her funeral arrangements and planned to stay to the end. Unfortunately, Mom’s plan didn’t include dementia or any other age-related issues. She had no plan B. Pulling our heads out of the sand, my sister and I learned in a hurry that plan B had to be formulated and executed now! We were so unprepared. What about your parents? Do they have a plan B? Do you know their plans? Our mother was not good at communicating, which made this entire process much more difficult than it needed to be. My sister and I learned our lessons well and are trying to put our plans into place so our children won’t have to suffer the same fate. Talk to your children. Put everything in writing. Make a plan A, a plan B, and probably a plan C. Your lives will be so much easier if you do.

NEW YORK TIMES BESTSELLER • NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY USA TODAY • Elizabeth Berg has written a lush historical novel based on the sensuous Parisian life of the nineteenth-century writer George Sand—which is perfect for readers of Nancy Horan and Elizabeth Gilbert. At the beginning of this powerful novel, we meet Aurore Dupin as she is leaving her estranged husband, a loveless marriage, and her family’s estate in the French countryside to start a new life in Paris. There, she gives herself a new name—George Sand—and pursues her dream of becoming a writer, embracing an unconventional and even scandalous lifestyle. Paris in the nineteenth century comes vividly alive, illuminated by the story of the loves, passions, and fierce struggles of a woman who defied the confines of society. Sand’s many lovers and friends include Frédéric Chopin, Gustave Flaubert, Franz Liszt, Eugène Delacroix, Victor Hugo, Marie Dorval, and Alfred de Musset. As Sand welcomes fame and friendship, she fights to overcome heartbreak and prejudice, failure and loss. Though considered the most gifted genius of her time, she works to reconcile the pain of her childhood, of disturbing relationships with her mother and daughter, and of her intimacies with women and men. Will the life she longs for always be just out of reach—a dream? Brilliantly written in luminous prose, and with remarkable insights into the heart and mind of a literary force, The Dream Lover tells the unforgettable story of a courageous, irresistible woman. Praise for The Dream Lover “Exquisitely captivating . . . Sand’s story is so timely and modern in an era when gender and sexual roles are upended daily.”—USA Today “Fantastic . . . a provocative and dazzling portrait . . . Berg tells a terrific story, while simultaneously exploring sexuality, art, and the difficult personal choices women artists in particular made—then and now—in order to succeed. . . . The book, imagistic and perfectly paced, full of dialogue that clips along, is a reader’s dream.”—The Boston Globe “Absorbing . . . an armchair traveler’s delight . . . Berg rolls out the wonders of nineteenth-century Paris in cinematic bursts that capture its light, its street life, its people and sounds. . . . The result is an illuminating portrait of a magnificent woman whose story is enriched by the delicate brush strokes of Berg’s colorful imagination.”—Chicago Tribune “There is authority and confidence in the storytelling that makes the pages fly.”—The New York Times “Berg weaves an enchanting novel about the real life of George Sand.”—Us Weekly “Lavishly described . . . Berg uses her own skill as a writer to graphically present the reader with a clear picture of a brilliant, yet flawed woman.”—Fredericksburg Free Lance–Star “[A] beautiful, imaginative re-creation . . . Berg’s years-long immersion in the writings of and about Sand has resulted in a remarkable channeling of Sand’s voice.”—Library Journal (starred review) “Berg offers vivid, sensual detail and a sensitive portrayal of the yearning and vulnerability behind Sand’s bold persona.”—Publishers Weekly “A thoroughly pleasant escape . . . [Sand is] intoxicating, beautiful, gifted, desirous, unconventional and heartbroken.”—Kirkus Reviews

Lethem illuminates the process by which a child invents himself as a writer, and as a human being, through a series of approaches to the culture around him. In the title piece, a letter from his aunt (a children's book author) spurs a meditation on the value of writing workshops, the role and influence of reviews, and the uncomfortable fraternity of writers. In 'Defending The Searchers', Lethem explains how a passion for the classic John Wayne Western became occasion for a series of minor humiliations. In 'Identifying with Your Parents', an excavation of childhood love for superhero comics expands to cover a whole range of nostalgia for a previous generation's cultural artefacts. And '13/1977/21', which begins by recounting the summer he saw Star Wars twenty-one times, 'slipping past ushers who'd begun to recognize me...', becomes a meditation on the sorrow and solace of the solitary moviegoer.

Revenge Through My Mother's Eyes by Charlie "Chawtoma" Davis [--------------------------------------------]

Sara McCann returns home to New York to be with her mother during her final days of her losing battle with cancer. She never anticipated how much this trip would change her life and the secrets her mother would share with her.