In May 2009, the Sri Lankan army overwhelmed the last stronghold of the Liberation Tigers of Tamil Eelam—better known as the Tamil Tigers—officially bringing an end to nearly three decades of civil war. Although the war has ended, the place of minorities in Sri Lanka remains uncertain, not least because the lengthy conflict drove entire populations from their homes. The figures are jarring: for example, all of the roughly 80,000 Muslims in northern Sri Lanka were expelled from the Tamil Tiger-controlled north, and nearly half of all Sri Lankan Tamils were displaced during the course of the civil war. Sharika Thiranagama's In My Mother's House provides ethnographic insight into two important groups of internally displaced people: northern Sri Lankan Tamils and Sri Lankan Muslims. Through detailed engagement with ordinary people struggling to find a home in the world, Thiranagama explores the dynamics within and between these two minority communities, describing how these relations were reshaped by violence, displacement, and authoritarianism. In doing so, she illuminates an often overlooked intraminority relationship and new social forms created through protracted war. In My Mother's House revolves around three major themes: ideas of home in the midst of profound displacement; transformations of familial experience; and the impact of the political violence—carried out by both the Tamil Tigers and the Sri Lankan state—on ordinary lives and public speech. Her rare focus on the effects and responses to LTTE political regulation and violence demonstrates that envisioning a peaceful future for post-conflict Sri Lanka requires taking stock of the new Tamil and Muslim identities forged by the civil war. These identities cannot simply be cast away with the end of the war but must be negotiated anew.
Vividly remembering her uncle's viola lessons and other elements from their Vienna home, Elizabeth becomes increasingly obsessed in her need to understand why her mother, Jenny, refuses to discuss the family's experiences during World War II. Reprint. 15,000 first printing.
Set in the bucolic, yet brutal South of his youth, My Mother’s House is a memoir by novelist David Armand. It recounts the young author’s early memories of being born to a schizophrenic mother, then given up for adoption, only to be raised in a home with an alcoholic and abusive step-father. In this sharply-remembered portrait of the people and places that shaped him, Armand paints his seemingly negative experiences with a sympathetic and understanding brush. As the reader follows Armand through his childhood and later into adult life—when he is reunited with his mother after she makes a failed suicide attempt—a surprisingly new world of hope and possibility is rendered, despite the overwhelming challenges of this reunion. [Armand's] writing is reminiscent of Hemingway: straightforward descriptions of manly action punctuated by laconic dialogue."--New York Journal of Books "Armand writes in a comfortingly familiar literary voice that blends Ernest Hemingway’s laconic but rhythmically complicated explorations of the mysteries of masculinity with William Faulkner’s more fabulist, Southern Gothic twang. It’s a heady, seductively intoxicating combination."--Richmond Times-Dispatch
"A shockingly original exploration of class, race, and systemic violence . . . This house, tainted by the human evil it contains, is reminiscent of the opening line of Toni Morrison's Beloved. And, like Morrison, Momplaisir uses the tropes of fantasy to try to assert truths that ordinary language and realistic imagery cannot communicate . . . Momplaisir's debut introduces her as an author to watch." --Kirkus For fans of Edwidge Danticat, Mehsin Hamid, Kate Atkinson, and Jesmyn Ward: a literary thriller about the complex underbelly of the immigrant American dream and the dangerous ripple effect one person's damages can have on the lives of others--told unexpectedly by a house that has held unspeakable horrors When Lucien flees Haiti with his wife, Marie-Ange, and their three children to New York City's South Ozone Park, he does so hoping for reinvention, wealth, and comfort. He buys a rundown house in a community that is quickly changing from an Italian enclave of mobsters to a haven for Haitian immigrants, and begins life anew. Lucien and Marie-Ange call their home La Kay--"my mother's house"--and it becomes a place where their fellow immigrants can find peace, a good meal, and legal help. But as a severely emotionally damaged man emigrating from a country whose evils he knows to one whose evils he doesn't, Lucien soon falls into his worst habits and impulses, with La Kay as the backdrop for his lasciviousness. What he can't even begin to fathom is that the house is watching, passing judgment, and deciding to put an end to all the sins it has been made to hold. But only after it has set itself aflame will frightened whispers reveal Lucien's ultimate evil. At once an uncompromising look at the immigrant experience and an electrifying page-turner, My Mother's House is a singular, unforgettable achievement.
The first novel from the acclaimed author of EUNICE FLEET – a poignant story of belonging, nationhood and identity set in Wales, England and Palestine. Simon is a troubled young man…born in Wales, of Jewish heritage, and in love with Englishness and an English heiress. He determines to reject his Jewish and Welsh identity and the industrial valleys he grew up in and seeks to fulfil his ambition to rise in the Civil Service. His experiences in love and his professional life see him reject Edith on discovering that she is not what he believed her to be, and taking up arms in the fight against England's enemies in the Great War. Ultimately, he must embrace his family and his heritage before he can experience a sense of wholeness. Tragically, he falls victim to an enemy bullet in Palestine with the tantalising promise of a new life on the horizon. Simon's experience raises questions of belonging, language, nationhood and identity that are as relevant now as they were in 1931 when the novel was first published. Lily Tobias's sensitive individual and communal portraits illuminate some of the most topical personal, social and political issues of the twenty-first century.
In My Mother’s House depicts a profound, intergenerational struggle between a powerful, politically engaged mother, Rose, and her spiritually inclined poet and writer daughter, Kim. Framing this collision are two other generations. There is Rose’s mother from the shtetl, a broken woman regularly beaten by her husband but the source of the family’s stories. And Kim’s daughter, a second-generation, fully assimilated girl of eight at the time the book begins. Four generations, from the shtetl to an affluent intellectual household in Berkeley, California, the story is a historical record and reckoning between the old activist left and a beginning feminist movement. The double narrative allows Kim to explore the evolving relationship between mother and daughter, who, through their storytelling, are brought to a profound understanding and reconciliation.
One day in 2005, Lina Fruzzetti receives a startling email that reads, "If this is your father, we are cousins." There follows a decade-long quest to learn more about her Italian father who died young in Italian ruled Eritrea and her Eritrean mother who does not dwell on the past. Above all, Fruzzetti strives to understand her far-flung African, European, and American family against the backdrop of colonial rule, worlds at war, migration, grief, diasporas, and the global world in which we all live.. IN MY MOTHER'S HOUSE presents the longue durée of Euro-Atlantic, and African societies and histories, from unique points of view, indirectly, in the light of particular events and encounters of a large diasporic American-Eritrean-Italian family. These encounters are intimate and direct so that the viewer feels intrigued while being challenged to learn more. The attention is to individuals and conversations in actual, spontaneous, unrehearsed settings.
"Mother died at five fifty-eight." So begins this story of seven extraordinary children who, faced with the unknown terrors of an orphanage, decide not to report their mother's death. They bury her in the garden, telling people only that she's too sick to have visitors. Then a menacing stranger appears, claiming to be their father. He agrees to keep their secret-and from that moment the story moves relentlessly to its mesmerizing climax.
A small, greenery-shrouded home in Los Angeles serves as backdrop to this stunning drama of a mother and daughter who grapple with their volatile relationship - and with life-threatening health crises in an adversarial system.
There was this one time when I was going into the basement to finish my laundry when I saw Popcorn jump on the bed. Quick turned his back, and his friend, the little weasel, just sat there acting like he was watching TV. I asked what was going on and of course they said nothing, so I went outside only to learn that they were in the basement mixing up their drugs. They told me that Popcorn was paid to hold the stuff and if anyone came down stairs she should get rid of it. Why would she do this here; why would Quick have it here at all? He could have rented an apartment and had his shop set up there, but instead he decided to do his business from the house we grew up in; the house the neighborhood grew up in, IN MY MOTHER’S HOUSE.
A novel set in an old farmhouse near Miami's Little Havana. Three generations of women settle there after being driven from Cuba and attempt to rebuild their lives. They must do battle in the rooms of that strange hot farmhouseQfrom room to room, with each other, their pasts and their ghosts.
She hates diamonds. Then why's she hunting the world's most valuable one? A breathless sprint across continents, Blood Diamond in My Mother's House is a gripping tale of intrigue and romps around the world at a thrilling pace. Aria Raith, The Maldives. Oceanographer Aria Raith is the underworld's best treasure hunter, a woman who finds rare gems in the oceans' museum of pirate hordes. It's one way to forget a sister who went missing thirteen years ago. Contracted to find the most extraordinary treasure in history, she's finally found the gems she's been looking for, and it's time to cash in. Jave Lincoln, Washington DC. He's the government's best kept secret, and biggest problem. Harbouring a past that haunts him, he leaves home to serve his country. In India, no one will ask any questions. When a call from Aria's father, British High Commissioner to India, requires Aria's expertise to recover the much-contested Koh-i-Noor diamond that disappears during a special exhibition in Paris, Aria quickly learns that the diamond hides secrets more profound than her own and is a stone the wrong kind of people will kill for. Finding an unsuspecting ally in Jave, Aria must race against the clock to unravel clues a century-old diary hide. Clues and perhaps answers pointing to what happened to her sister.
Black churches in America have long been recognized as the most independent, stable, and dominant institutions in black communities. In The Black Church in the African American Experience, based on a ten-year study, is the largest nongovernmental study of urban and rural churches ever undertaken and the first major field study on the subject since the 1930s. Drawing on interviews with more than 1,800 black clergy in both urban and rural settings, combined with a comprehensive historical overview of seven mainline black denominations, C. Eric Lincoln and Lawrence H. Mamiya present an analysis of the Black Church as it relates to the history of African Americans and to contemporary black culture. In examining both the internal structure of the Church and the reactions of the Church to external, societal changes, the authors provide important insights into the Church’s relationship to politics, economics, women, youth, and music. Among other topics, Lincoln and Mamiya discuss the attitude of the clergy toward women pastors, the reaction of the Church to the civil rights movement, the attempts of the Church to involve young people, the impact of the black consciousness movement and Black Liberation Theology and clergy, and trends that will define the Black Church well into the next century. This study is complete with a comprehensive bibliography of literature on the black experience in religion. Funding for the ten-year survey was made possible by the Lilly Endowment and the Ford Foundation.