The Schanbergs, a tight-knit Jewish clan, split off from the rest of the family and head for another life under a different name in the suburbs of New York City. Spanning 30 years, and moving from Manhattan to Harvard to a farm in upstate New York, this powerful tale of disguised lives and public masks shows us the consequences of denying ethnic and sexual identity to escape bigotry.

Jeanne Darst grew up in a family where their life was driven by a father who was a failed writer, and an alcoholic mother. As an adult she has pursued writing as well and examines the question of whether it is possibe to be a successful writer, sober, creative and ambititious while also having happy family life.

Family Fictions and World Making: Irish and Indian Women’s Writing in the Contemporary Era is the first book-length comparative study of family novels from Ireland and India. On the one hand, despite an early as well as late colonial experience, Ireland is often viewed exclusively within a metropolitan British and Europe-centered frame. India, on the other hand, once seen as a model of decolonization for the non-Western world, has witnessed a crisis of democracy in recent years. This book charts the idea of "world making" through the fraught itineraries of the Irish and the Indian family novel. The novels discussed in the book foreground kinship based on ideological rather than biological ties and recast the family as a nucleus of interests across national borders. The book considers the work of critically acclaimed women authors Anne Enright, Elizabeth Bowen, Mahasweta Devi, Jennifer Johnston, Kiran Desai and Molly Keane. These writers are explored as representative voices for the interwar years, the late-modern period, and the globalization era. They not only push back against the male nationalist idiom of the family but also successfully interrogate family fiction as a supposedly private genre. The broad timeframe of Family Fictions and World Making from the interwar period to the globalization era initiates a dialogue between the early and the current debates around core and periphery in postcolonial literature.

When the Nazi occupation of Rome begins, two courageous young women are plunged deep into the Italian Resistance to fight for their freedom in this captivating debut novel. Rome, 1943 Lucia Colombo has had her doubts about fascism for years, but as a single mother in an increasingly unstable country, politics are for other people--she needs to focus on keeping herself and her son alive. Then the Italian government falls and the German occupation begins, and suddenly, Lucia finds that complacency is no longer an option. Francesca Gallo has always been aware of injustice and suffering. A polio survivor who lost her father when he was arrested for his anti-fascist politics, she came to Rome with her fiancé to start a new life. But when the Germans invade and her fiancé is taken by the Nazis, Francesca decides she has only one option: to fight back. As Lucia and Francesca are pulled deeper into the struggle against the Nazi occupation, both women learn to resist alongside the partisans to drive the Germans from Rome. But as winter sets in, the occupation tightens its grip on the city, and the resistance is in constant danger. In the darkest days, Francesca and Lucia face their pasts, find the courage to love, and maintain hope for a future that is finally free.

Family Fictions explores images and narratives of the family in recent Hollywood cinema. This is the first in-depth analysis of this important topic which explores how problematic representations of the family were in a period when the family was a pivotal political and social issue. Through close textual analysis of the biggest box-office hits of recent years, this book demonstrates the volatility of family representations and the instability of its narrative and ideological functions. Well-known films discussed, include Kramer versus Kramer , E.T. and Look Who's Talking.

By revealing the investment of eighteenth-century British prose fiction in contemporary debates about domestic ideology, this book addresses the multiple ways in which traditional notions of the family were estranged, reconstituted as novel concepts, and then finally presented as national social norms. It focuses on works by Aphra Behn, Daniel Defoe, Samuel Richardson, Eliza Haywood, Horace Walpole, Laurence Sterne, and Mary Wollstonecraft, addressing a number of narratives that historians of the novel have overlooked while linking such better-known works as Robinson Crusoe and Pamela to their often neglected sequels. Challenging competing critical claims that the household either experienced a revolution in form or that it remained essentially unchanged, the author argues that eighteenth-century writers employed a set of complementary strategies to refashion the symbolic and affective power of bourgeois domesticity. Whether these writers regarded the household as a supplement to such other social institutions as the Church or the monarchy, or as a structure resisting these institutions, they affirmed the family's central role in managing civil behavior. At a time, however, when the middle class was beginning to scrutinize itself as a distinct social entity, its most popular form of literature reveals that many felt alienated from the most intimate and yet explosive of social experiences--family life. Prose fiction sought to channel these disturbingly fluid domestic feelings, yet was in itself haunted by the specter of unregulated affect. Recovering the period's own disparate perceptions of household relations, the book explains how eighteenth-century British prose fiction, which incorporates elements from conduct books, political treatises, and demographic material, used the family as an instrumental concept in a struggle to resolve larger cultural tensions at the same time it replicated many of the rifts within contemporary family ideology.

Here Brian Cooper explores the role of economic theory in 'normalizing' the family in the first half of the nineteenth century. Drawing on a wide range of sources, the book examines the impacts of these different forms on contemporary debate.

Rafael Goldchain's 'I Am My Family' is a family album of traditional portrait photographs with an unconventional twist - the only subject is Goldchain himself. In an elaborate process involving genealogical research, the use of make-up, hair styling, costume, and props, Goldchain transforms himself into his ancestors.

Family Fictions provides an introduction to the history of family stories in children's literature and an in-depth critical study of the works of Jacqueline Wilson, Anne Fine and Morris Gleitzman.

The Family in Crisis in Late Nineteenth-Century French Fiction, first published in 1999, focuses on a key moment in the construction of the modern view of the family in France. Nicholas White's analysis of novels by Zola, Maupassant, Hennique, Bourget and Armand Charpentier is fashioned by perspectives on a wide cultural field, including legal, popular and academic discourses on the family and its discontents. His account encourages a close rereading of canonical as well as overlooked texts from fin de siècle France. What emerges between the death of Flaubert in 1880 and the publication of Bourget's Un divorce in 1904 is a series of Naturalist and post-Naturalist representations of transgressive behaviour in which tales of adultery, illegitimacy, consanguinity, incest and divorce serve to exemplify and to offer a range of nuances on the Third Republic's crisis in what might now be termed 'family values'.