An insightful, provocative, and witty exploration of the relationship between motherhood and art—for anyone who is a mother, wants to be, or has ever had one. What does a great artist who is also a mother look like? What does it mean to create, not in “a room of one’s own,” but in a domestic space? In The Baby on the Fire Escape, award-winning biographer Julie Phillips traverses the shifting terrain where motherhood and creativity converge. With fierce empathy, Phillips evokes the intimate and varied struggles of brilliant artists and writers of the twentieth century. Ursula K. Le Guin found productive stability in family life, and Audre Lorde’s queer, polyamorous union allowed her to raise children on her own terms. Susan Sontag became a mother at nineteen, Angela Carter at forty-three. These mothers had one child, or five, or seven. They worked in a studio, in the kitchen, in the car, on the bed, at a desk, with a baby carrier beside them. They faced judgement for pursuing their creative work—Doris Lessing was said to have abandoned her children, and Alice Neel’s in-laws falsely claimed that she once, to finish a painting, left her baby on the fire escape of her New York apartment. As she threads together vivid portraits of these pathbreaking women, Phillips argues that creative motherhood is a question of keeping the baby on that apocryphal fire escape: work and care held in a constantly renegotiated, provisional, productive tension. A meditation on maternal identity and artistic greatness, The Baby on the Fire Escape illuminates some of the most pressing conflicts in contemporary life.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 The maternal subject is a figure that disrupts or interrupts our notions of subjectivity. Motherhood is an undiscovered country in the literary sense, and we must venture into it lest our experience go unrecorded. #2 The division between mothering and creative work once seemed absolute. But in 1962, the careers of women with children were beginning to flourish. Mothers found ways to do their work, and were recognized for it. #3 The experience of being a mother is subjective, and it is difficult to explain or understand. It is everywhere in practice, but in theory, it seems nowhere. #4 The Freudian view of mothering is that it is the end of growth and achievement for a woman. The ideal situation is one in which the interests of mother and child are identical.

Milk is a limited series art journal of written and visual artworks by artist-mothers about motherhood. In the first volume, themed “Chores & Transcendence,” we look at the mundane domestic work, the invisible labor and repetitive actions of motherhood, and how that is counterbalanced with sublime emotional experiences. Volume 1 features works by 15 artists from 7 countries. It includes artworks by Reut Asimini, Colleen Barry, Talia Chetrit, Rachael Grad, Emma Hardy, Csilla Klenyánszki, Sarah Lightman, Kath Lovett, Elena Skoreyko Wagner, Tabitha Soren, Annie Hsiao-Ching Wang; poetry by C.S. Griffel and Kate Falvey; and interviews with Julie Phillips and Sim Chi Yin. The cover features a painting by Sarah Lightman.

Today humans are often seen as commodities rather than image bearers. Classics scholar Nadya Williams brings insight from the beliefs and practices of the early church about motherhood, raising children, and human life, suggesting there is a way to recapture a vision that affirms the imago Dei in each person above our economic production.

This book aims to study the representation of motherhood in self-life writing by English-speaking authors. It highlights the particular issues women writers are faced with when they try to combine their vocation as artists with their duties to their children. For those women who claim their right to be both mothers and writers, several cultural myths need to be taken down, chief among which is the representations that we have of what being an artist should be like, as well as the role a mother should have towards her children. This book looks at self-life writing by women from English-speaking countries to reveal the common themes and tropes which recur in texts written on the subject of motherhood, by looking at them from both a literary and a cultural perspective. It also aims to demonstrate that a new generation of women writers is taking up the subject and forging a new literary tradition.

The intersection of motherhood and creative life is explored in these writings on mothering that turn the spotlight from the child to the mother herself. Here, in memoirs, testimonials, diaries, essays, and fiction, mothers describe first-hand the changes brought to their lives by pregnancy, childbirth, and mothering. Many of the writers articulate difficult and socially unsanctioned maternal anger and ambivalence. In Mother Reader, motherhood is scrutinized for all its painful and illuminating subtleties, and addressed with unconventional wisdom and candor. What emerges is a sense of a community of writers speaking to and about each other out of a common experience, and a compilation of extraordinary literature never before assembled in a single volume.

James Tiptree, Jr. burst onto the science fiction scene in the 1970s with a series of hard-edged, provocative short stories. Hailed as a brilliant masculine writer with a deep sympathy for his female characters, he penned such classics as Houston, Houston, Do You Read? and The Women Men Don't See. For years he corresponded with Philip K. Dick, Harlan Ellison, Ursula Le Guin. No one knew his true identity. Then the cover was blown on his alter ego: A sixty-one-year-old woman named Alice Sheldon. As a child, she explored Africa with her mother. Later, made into a debutante, she eloped with one of the guests at the party. She was an artist, a chicken farmer, a World War II intelligence officer, a CIA agent, an experimental psychologist. Devoted to her second husband, she struggled with her feelings for women. In 1987, her suicide shocked friends and fans. The James Tiptree, Jr. Award was created to honor science fiction or fantasy that explores our understanding of gender. This fascinating biography by Julie Phillips, ten years in the making, is based on extensive research, exclusive interviews, and full access to Alice Sheldon's papers.

Give and Take: Motherhood and Creative Practice explores the diverse ways contemporary artists navigate the unique tensions of motherhood in all its varied stages. Becoming a mother is a life-changing event that can give mothers greater perspective, drive, and inspiration for making art. But motherhood also takes time and energy from pursuing creative work. This fundamental challenge, this give and take, is explored through this book as it forefronts the art and lives of dancers, playwrights, musicians, visual artists, and creative writers. The book contains thirty-three first person narratives from practicing artists along with written analyses that place these artists' essays within the broader context of arts writing and scholarship about motherhood. The concluding section of the book includes overarching thoughts about how artist mothers can move forward despite structural inequality and cultural bias and includes a resource guide for practical support.

"Timely and evergreen, engaging and infuriating, personal and universal—a necessary reintroduction to some of fiction's most familiar mothers." —Cecile Richards, bestselling author of Make Trouble and former president of Planned Parenthood This treasure trove for book lovers explores fifteen classic novels with memorable maternal figures, and examines how our cultural notions of motherhood have been shaped by literature. Sweet, supportive, dependable, selfless. Long before she had children of her own, journalist Carrie Mullins knew how mothers should behave. But how? Where did these expectations come from—and, more importantly, are they serving the mothers whose lives they shape? Carrie's suspicion, later crystallized while raising two small children, was that our culture’s idealization of motherhood was not only painfully limiting but harmful, leaving women to cope with impossible standards––standards rarely created by mothers themselves. To discover how we might talk about motherhood in a more realistic, nuanced, and inclusive way, Carrie turned to literature with memorable maternal figures for answers. Moving through the literary canon––from Pride and Prejudice and Little Women to The Great Gatsby, Beloved, Heartburn, and The Joy Luck Club—Carrie traces the origins of our modern mothering experience. By interrogating the influences of politics, economics, feminism, pop culture, and family life in each text, she identifies the factors that have shaped our prevailing views of motherhood, and puts these classics into conversation with the most urgent issues of the day. Who were these literary mothers, beyond their domestic responsibilities and familial demands? And what lessons do they have for us today—if we choose to listen?

An eloquent and intimate debut memoir about navigating the gap between expectation and reality in modern motherhood. I Cannot Control Everything Forever is Emily Bloom’s journey towards and through motherhood, a path that has become, for the average woman, laden with data and medical technology. Emily faces decisions regarding genetic testing and diagnosis, technologies that offer the illusion of certainty but carry the weight of hard decisions. Her desire to know more thrusts her back into the history of science, as she traces the discoveries that impacted the modern state of pregnancy and motherhood. With the birth of their daughter, who is diagnosed with congenital deafness and later, Type 1 diabetes, Emily and her husband find their life centered around medical data, devices, and doctor’s visits, but also made richer and fuller by parenting an exceptional child. As Emily learns, technology and data do not reduce the labor of caretaking. These things often fall, as the pandemic starkly revealed, on mothers. Trying to find a way out of the loneliness and individualism of 21st century parenthood, Emily finds joy in reaching outwards, towards art and literature–such as the maternal messiness of Louise Bourgeois or Greek myths about the power of fate–as well as the collective sustenance of friends and community. With lyrical and enchanting prose, I Cannot Control Everything Forever is an inspired meditation on art, science, and motherhood.