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year: 2019

Tomatometers: 7,9 / 10

Country: Italy

Directed by: Beniamino Barrese

Score: 131 Votes

 

Che schifo di uomo. Storia di b. la scomparsa di mia madre 2. Storia di B. La scomparsa di mia madre. We wont support this browser soon. For a better experience, we recommend using another browser. Learn More. Storia di b. la scomparsa di mia madre full. Ti adoro. libera. Storia di b. la scomparsa di mia madre pelicula completa.

I LOVED this movie. Storia di B. La scomparsa di mia made simple. Golden Globe nomination brought me here. Hateful hateful man. Storia di b. la scomparsa di mia madre karaoke. Mensch ich habe ehrlich genug von diesen Filmen... Storia di b. la scomparsa di mia madre de. 4. 8 4. 8 out of 5 stars. Closed Now ABOUT ODDZIAŁ ETNOGRAFII MUZEUM NARODOWEGO W GDAŃSKU Oddział Etnografii Dotychczas zgromadzono i opracowano około 9000 eksponatów reprezentujących kulturę ludową. Obok zbio. See More Community See All 2, 597 people like this 2, 812 people follow this 1, 227 check-ins About See All ul. Cystersów 19 Oliwa, Gdansk, Poland 80–330 Get Directions +48 58 552 12 71 Art Museum Education Price Range Opens at 9:00 AM Closed Now Page Transparency See More Facebook is showing information to help you better understand the purpose of a Page. See actions taken by the people who manage and post content. Page created - February 19, 2015 People 2, 597 likes 1, 227 visits Related Pages KinoPort Movie Theater Muzeum Archeologiczne w Gdańsku History Museum Muzeum Sopotu History Museum Gdyńskie Centrum Filmowe Movie Theater Oliwski Ratusz Kultury Cultural Center Fundacja Dziedzictwa Kulturowego Community Organization Instytut Kultury Miejskiej Performance & Event Venue Klub ŻAK Community Center Sztuka Wyboru Cafe Muzeum Okręgowe w Rzeszowie Community Museum PROMYK Schronisko dla Bezdomnych Zwierząt Gdańsk Nonprofit Organization Hevelianum Science Museum Millennium Docs Against Gravity Trójmiasto Organization Muzeum Miejskie w Tychach Art Gallery Gdański Archipelag Kultury Community Center Dom Kultury Śródmieście Community Center Centrum św. Jana w Gdańsku Landmark & Historical Place Muzeum Podkarpackie Community Museum Muzeum Ziemi Złotowskiej Art Museum Państwowa Galeria Sztuki Art Gallery See More triangle-down Pages Liked by This Page Museum Ethnographers Group Muzeum Dobranocek ze zbiorów Wojciecha Jamy w Rzeszowie Muzeum Narodowe w Gdańsku Oczy i Obiektywy Muzeum Historyczno-Etnograficzne im. Juliana Rydzkowskiego w Chojnicach Magazyn Together - rodzinna strona Trójmiasta Grupa GDYBY Learn Arabic with Rawaneena WN Katedra Muzeum Wejherowo biżuteria z talerzy KamiKaa - Kamila Szelągowicz nieMAPA Crossroads in History Anita Wasik Łączy nas Gdańsk Turystyczny Szpieg Fundacja Kobiety Wędrowne - portal historyczny Sikorafoto See More triangle-down Places Oliwa, Gdansk, Poland Oddział Etnografii Muzeum Narodowego w Gdańsku English (US) Español Português (Brasil) Français (France) Deutsch Privacy Terms Advertising Ad Choices Cookies More Facebook 2020 Photos See All Notes See All REPERTUAR NA LUTY, ETNOMATOGRAF January 24 Etnomatograf, Kino w muzeum 🎬 💥2. 02., g. 20:00 MONOS - przedpremiera z Etnomatografem i Marcinem Stenclem – pokaz specjalny w Gd. See More.

Questa signora è bravissima. Cento anni avanti. Montanelli grande giornalista politico ma era un maschilista tardo vittoriano, lui stesso vittima della cultura in cui era cresciuto. Ovviamente. Trójmiasto, ruszamy z Akademią FIlmu Dokumentalnego! 🔥 👉🏽 Bohaterami filmów będą ludzie mierzący się z problemami przemocy, technologii, ekologii, ekonomii, polityki, choroby, rodziny, miłości czy wolności. 👉🏽 Liczba miejsc ograniczona. W semestrze letnim na program zajęć zatytułowany „Oblicza człowieka w filmie” składać się będą najwybitniejsze i najżywiej dyskutowane w ostatnich latach filmy dokumentalne oraz nagradzane na światowych festiwalach filmy fabularne. 👉🏽 Zajęcia poprowadzi wykładowca i praktyk, filmoznawca Marcin Borchardt. Trzygodzinne zajęcia połączone z projekcją filmu będą odbywać we wtorki w auli 1. 43 o godz. 16. 45. 👉🏽 Wszelkie szczegóły: najnowszy program filmowy i jak dokonać opłaty na: もっと見る Już w środę w TR Warszawa zobaczycie najlepszy polski debiut w ostatnim czasie! „Eastern" Piotra Adamskiego to wizja Polski, gdzie broń jest legalne i rządzi prawo krwawej zemsty. Czy dwie twarde bohaterki znajdą w sobie siłę, żeby złamać zasady? Po filmie spotkanie z ekipą 🔥 🔥 🔥 水 2月12日 19:00 UTC+01 TR Warszawa ワルシャワ (ポーランド・マゾフシェ県) ❗️ Ogłaszamy kolejny tytuł w programie tegorocznego festiwalu: JAK BÓG SZUKAŁ KARELA ( Jak BÓG szukał Karela / Polish God. nowy film dokumentalny twórców kultowego CZESKIEGO SNU. To niezwykła, słodko-gorzka wyprawa Czechów, przedstawicieli najbardziej ateistycznego kraju w Europie, do Polski - najbardziej religijnego kraju w Europie. Wyruszają w poszukiwaniu źródeł naszej wiary, zastanawiając się, dlaczego tak się różnimy, chociaż mamy wspólną historię? Co odkryli w czasie. swojej wyprawy, dowiecie się w czasie naszego festiwalu. Zapraszamy od 8 do 24 maja! もっと見る Już za tydzień zapraszamy na wyjątkowy polski debiut - „Eastern" Piotra Adamskiego, a po filmie spotkanie z reżyserem, współscenarzystą oraz aktorkami! Tylko w TR Warszawa 💥 水 2月12日 19:00 UTC+01 TR Warszawa ワルシャワ (ポーランド・マゾフシェ県) Tytuł Najlepszego Filmu Dokumentalnego podczas rozdania Nagród BAFTA trafił do „For Sama. filmu, który zobaczycie na naszym festiwalu w maju. „For Sama" otrzymała też nominację do Oscara w kategorii Najlepszy Pełnometrażowy Film Dokumentalny. Reżyserka Waad Al-Kateab (mama Samy, dla której zrobiła swój wstrząsający film o losie ludzi w Aleppo) powiedziała kilka bardzo ważnych słów: „W 2016 roku byliśmy w Aleppo, w piwnicy szpitala polowego - Hamza, ja, Sama, i Afraa. Słyszeliśmy cały czas bomby spadające wokół. Myśleliśmy nawet, gdzie powinniśmy zakopać zgromadzony przez nas materiał, gdyby nam się nie udało. Chcieliśmy, żeby chociaż on ocalał. Dedykuję tę nagrodę wszystkim Syryjczykom, którzy dzisiaj cierpią. Już dzisiaj o 18:45 w Kino Luna zapraszamy na kolejne spotkanie z cyklu Planeta B nie istnieje, podczas którego będziecie mogli zobaczyć wyjątkowy film „Zjadanie zwierząt" a po nim odpowiemy wspólnie na pytanie, czy nadchodzi koniec masowej produkcji mięsa? 🐓 🐖 🐄 💚 Kino Luna ワルシャワ (ポーランド・マゾフシェ県) 💥 Już w maju na naszym festiwalu pojawią się dwa tytuły, które właśnie otrzymały nagrody na festiwalu w Sundance w konkursie World Cinema! 👉🏽 Nagroda Jury World Cinema dla Najlepszego Filmu Dokumentalnego powędrowała do Hubert Saupera za „Epicentro" 👉🏽 Nagroda Publiczności dla Filmu Dokumentalnego World Cinema do Jerry'ego Rothwella za „The Reason I Jump. Oba filmy zobaczycie od 8 do 24 maja u nas! 💜 もっと見る 💥 MONOS - młodzieżowa wariacja na temat „Władcy much" i „Czasu Apokalipsy" sensacja Sundance, odkrycie Berlinale, Najlepszy Film London Film Festival! Hipnotyczna historia o przemocy, dorastaniu, dżungli i szaleństwie z niesamowitą muzyką Miki Levi! 💥 Film Alejandro Landesa wchodzi do kin 7 lutego, ale możecie zobaczyć go jako pierwsi w czasie przedpremier: 👉🏽 Przedpremiera Kino Iluzjon (01/02, Warszawa. もっと見る Samir Ljuma (operator „Krainy miodu" bawił się dobrze na lunchu oscarowym razem z. Bartoszem Bielenią (odtwórcą głównej roli w „Bożym Ciele. Oba filmy będą ze sobą rywalizowały o statuetkę w kategorii Najlepszy Film Międzynarodowy. „Krainę miodu" wciąż możecie oglądać w kinach! Już jutro zobaczymy w Kinoteka PKiN film „Ewa nie chce spać" opowiadający o modelowej współczesnej osobowości medialna, której życie przypomina wiecznie zmieniający się artystyczny projekt. Od kiedy skończyła 14 lat dzieli się swoim życiem w sieci. W obecności kamery czuje się bardzo swobodnie, także podczas seksu. Jako 17-latka opuściła swój dom we włoskim miasteczku i ruszyła do Berlina, gdzie mieszka do tej pory. 👉🏻 Mamy od Adama specjalne zaproszenie na film! 👉🏻 Więcej informacji: Filmoterapia z Sensem: Ewa nie chce spać (styczeń) Po raz pierwszy przyznano Nagrodę za Najlepsze Zdjęcia w filmie dokumentalnym w czasie 34. Gali The American Society of Cinematographers w Los Angeles (ASC. To pierwsze historyczne wyróżnienie trafiło do Fejmiego Dauta i Samira Ljuma za „Krainę miodu" 💪🏽 🐝 💛 Film wciąż możecie zobaczyć w kinach w całej Polsce! Lessons of Love / Lekcja miłości - film w maju będzie miał premierę na naszym festiwalu, ale już możecie zobaczyć trailer tej wyjątkowej historii o budowaniu swojego życia na nowo przez 69-letnią Jolę! 💜 💜 💜 Seks, relacje, życie w sieci - o tym porozmawiamy w środę w Kinoteka PKiN podczas kolejnego spotkania z cyklu Filmoterapia z Sensem! Zapraszamy ❤️ Kinoteka PKiN ワルシャワ (ポーランド・マゾフシェ県) ❗️ ❗️ ❗️ Paweł Pawlikowski będzie przewodniczył obradom jury Konkursu Głównego! Bardzo się cieszymy i zapraszamy serdecznie - w Warszawie festiwal trwa od 8 do 17 maja 💜 Poznań! Dzisiaj zapraszamy do Kino Muza w Poznaniu na spotkanie w cyklu Filmoterapia z Sensem! Temat: miłość kompletna? Porozmawiamy o tym, jakie emocje zastępują początkową fascynację w dalszych etapach związku! ❤️ Już w czwartek zapraszamy na film „Sakawa" w ramach cyklu filmowego dla młodych i starszych, w czasie którego prowokujemy dyskusję o naszej rzeczywistości. Tym razem porozmawiamy o postkolonialnych zależnościach między Zachodem a Afryką! Gdzie zobaczycie jeszcze wspaniałą KRAINĘ MIODU? Piękną opowieść o sile relacji między ludźmi i szacunku do zwierząt, która ma szansę jako pierwszy film dokumentalny w historii na dwa Oscary w kategoriach Najlepszy Film Międzynarodowy oraz Najlepszy Pełnometrażowy Film Dokumentalny, grają wciąż: 👉 Warszawa: Kinoteka PKiN, Kino Elektronik, Kinokawiarnia Stacja Falenica 👉 Wrocław: Kino Nowe Horyzonty. 👉 Kraków: Kino Pod Baranami, kino KIKA, Kino Mikro 👉 Katowice: Kino Światowid 👉 Gdańsk: Kino Kameralne Cafe, Muzeum II Wojny Światowej KinoPort 👉 Gdynia: Gdyńskie Centrum Filmowe 👉 Poznań: Kino Muza w Poznaniu, KINO MALTA, Kino Bułgarska 19 👉 Łódź: Kino - Galeria Charlie, Kino Bodo 👉 Olsztyn: Kino Studyjne Awangarda 2 👉 Zielona Góra: Kino Newa. Klub Kultury Filmowej. 👉 Opole: Kino Meduza 👉 Zamość: Kino Stylowy 👉 Gliwice: KINO AMOK もっと見る.

Press alt. to open this menu. 3D Join Date 9/18/2017 Place Visits 178 cbsro - osrane cbro kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa kupa Escape in rocket from appocalyps Escape from zombies to deep space Poland VS Germany 1939 WAAAAAR trap land - traps every day etyutrewqfefrtgy czikeny dialog PL c cz czi czik czike cziken czikeny czikeny. rekin w domu mojej matki v 2 [New Rocket Bear. Hahah! ju ar not rili tu yor mam! Hahah! food world - magda gessler Magda Gessler cieszy sie. CrazyElevator by koteq207 lol xd place and houses. koteq207 has no creations.

Storia di B. La scomparsa di mia made easy


Tytuł oryginalny The Disappearance of My Mother Gatunek Dokumentalny Produkcja Włochy Reżyseria Beniamino Barrese Czas trwania 1 godz. 34 min. Serwis sprawdza dla Ciebie, w których platformach VOD obejrzysz legalnie cały film zniknięcie mojej matki online. Reżyserem filmu jest Beniamino Barrese. Zdecydowanie możemy zaliczyć ten film do gatunku Dokumentalny. Cały film trwa około 1 godz. Ten materiał w zależności od serwisu VOD może być dostępny za darmo, z napisami, z lektorem lub z dubbingiem. Dystrybucja filmu "Zniknięcie mojej matki" jest zapewniana przez legalne źródła. Nie zezwalamy na umieszczanie odnośników do darmowych wersji "Zniknięcie mojej matki" na serwisach typu zalukaj, cda, kinoman czy youtube. W naszym serwisie NIE znajdziesz linków do pirackich źródeł. Bazujemy na ogólnodostępnych serwisach takich jak oraz. Linki, które są dostępne po zalogowaniu, prowadzą do autoryzowanych serwisów VOD, dzięki czemu masz pewność, że wspierasz legalną kulturę.
Storia di b. la scomparsa di mia madre 2017.
Benedetta Barzini to legendarna włoska modelka, okrzyknięta w 1966 roku przez amerykański „Harpers Bazaar” jedną ze 100 najpiękniejszych kobiet świata. Była fotografowana przez Irvinga Penna i Richarda Avedona oraz związana z Fabryką Andyego Warhola. W 1965 roku jej twarz zdobiła pierwszą okładkę włoskiego „Voguea”. W 1973 roku rosnący niesmak do świata mody sprawił, że postanowiła go opuścić, aby promować feminizm i radykalną lewicę (wstąpiła do Partii Komunistycznej) oraz publicznie krytykować mizoginię przemysłu modowego. W końcu Barzini postanowiła… zniknąć i zamieszkać na bezludnej wyspie. Zaniepokojony postawą 75-letniej matki syn zdecydował się nakręcić film z jej udziałem. Pobierz Going. i miej kalendarz miejski zawsze pod ręką.
Wow, that actually makes him look fairly good.

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Is this any good. Storia di b. la scomparsa di mia madre 1975. Edit All for My Mother (2019) See agents for this cast & crew Directed by Malgorzata Imielska Writing Credits (in alphabetical order) Cast (in credits order) Zofia Domalik... Ola Maria Sobocinska... Agnes Malwina Laska... Mania Magdalena Celmer... Sandra Helena Englert... Ewka Joanna Polec... Klaudia Zuzanna Pulawska... 'Glodna' Alicja Czerniewicz... Justa Edyta Januszewska... Diana Halina Rasiakówna... Principal Adam Cywka... Andrzej Jowita Budnik... Irena Katarzyna Wajda... Iza Dobromir Dymecki... Tomasz Ada Okapiec... Little Ola / Ada Magdalena Czerwinska... Marta Karolina Dryzner... Mania's mother Agnieszka Kwietniewska... Hanna Anita Poddebniak... Krystyna Ryszard Kluge... Janitor Malgorzata Buczkowska... Agata Artur Steranko... Neigbor Ewa Galusinska... Doctor Danuta Borsuk... Cook Adrian Krawczyk... Culturist Dorota Kwietniewska... Policewoman Agata Piotrowska... Director of the children's home Grzegorz Gromek... Lingerie seller Milena Gauer... Babysitter in an orphanage Agnieszka Harasimowicz... Saleswoman Agnieszka Castellanos... Woman in queue Elzbieta Grad... Woman at the cross Jaroslaw Cupriak... Man at the cross Czeslaw Skwarek... E. R. doctor Marzena Bergmann... Bartosz Picher... Policeman Jakub Giel... Damian Kulec... (voice) Michal Klawiter... Produced by Wojciech Kabarowski... producer Jerzy Kapuscinski... Music by Wlodzimierz Pawlik Cinematography by Tomasz Naumiuk Film Editing by Agnieszka Glinska Production Design by Katarzyna Filimoniuk Costume Design by Malgorzata Trzaskowska Makeup Department Pola Guzlinska... makeup artist Production Management Magdalena Tomanek... production manager Sound Department Kacper Habisiak... sound Marcin Kasinski... Artur Kuczkowski... Stunts Tomasz Krzemieniecki... stunt coordinator See also Release Dates, Official Sites Company Credits Filming & Production Technical Specs Getting Started Contributor Zone  » Contribute to This Page ad feedback Details Full Cast and Crew Storyline Taglines Plot Summary Synopsis Plot Keywords Parents Guide Did You Know? Trivia Goofs Crazy Credits Quotes Alternate Versions Connections Soundtracks Photo & Video Photo Gallery Trailers and Videos Opinion Awards FAQ User Reviews User Ratings External Reviews Metacritic Reviews TV TV Schedule Related Items News Showtimes External Sites Explore More Show Less Create a list  » User Lists Related lists from IMDb users 2019 Women-Led Films a list of 371 titles created 11 months ago Warsaw Film Festival 2019 a list of 116 titles created 4 months ago WFF2019 a list of 95 titles watched in 2019 / movies a list of 265 titles created 30 Dec 2018 WATCHED IN 2019 a list of 257 titles See all related lists  ».

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The Autobiography of My Mother by Jamaica Kincaid Open Preview See a Problem? Wed love your help. Let us know whats wrong with this preview of The Autobiography of My Mother by Jamaica Kincaid. Thanks for telling us about the problem. Popular Answered Questions This question contains spoilers… (view spoiler) Can someone explain the title? She tells us more than once how and when her mother died, so how can this be an autobiography of her mother? What did I miss? hide spoiler) Maki Nasreen You are missing the last she explains. …more You are missing the last she explains. (less) 2, 987 ratings 234 reviews Start your review of The Autobiography of My Mother Oct 19, 2019 Lisa rated it it was amazing Who am I? Am I the sum of my family's biological and social imprint on myself, or am I what is left after subtracting that sum from the total of me? Jamaica Kincaid writes a compelling autobiography of a fictitious character's mother, who died at the birth of the narrator and yet had such strong influence on her life. How do we play with the cards we are dealt? Do we even know the rules of the various card game(s) we (un)engage in? Why does it seem we always have fewer cards than we need, and Who am I? Am I the sum of my family's biological and social imprint on myself, or am I what is left after subtracting that sum from the total of me? Jamaica Kincaid writes a compelling autobiography of a fictitious character's mother, who died at the birth of the narrator and yet had such strong influence on her life. How do we play with the cards we are dealt? Do we even know the rules of the various card game(s) we (un)engage in? Why does it seem we always have fewer cards than we need, and not the right ones at any given moment? Life's both complicated and banal, lovely and lonely, strange and familiar. And thus, this novel on life is all those things as well. My life is a little richer for having read it... The lines in this book kept me thinking. Any book that does that is good. It is one to take note of. The book is supposedly written by a seventy-year-old woman living on the island of Dominica. That is in the Caribbean. SHE is telling us about her life. Her mother, a Carib, died giving birth to her. Her father is half Scottish and half African. Her father sent her to live with his laundress, a mother of six. She was of no more value than a bundle of his dirty laundry. And yet, he did se to her The lines in this book kept me thinking. And yet, he did se to her education. That he neednt have done. Her feelings for him? She despises him, on most accounts at least! There is an ambivalence. She sees herself as a woman alone in the world. What she makes of herself will be her own doing. Her aloneness has made her strong, but I ask, “At what price? ” I assume that through this woman the author is giving us a message. The title reveals she is speaking not only of herself but also of her mother and unborn children too. What makes one strong? To what extent should self-reliance be pushed? Independence from others, the ability to manage on ones own- does this bring happiness? Inner peace, contentment and satisfaction—how is such attained? Self-fulfillment—how far should this be pushed? Sharing life experiences with others, where does this fit in? These are the questions one ponders as one reads. Colonialism, the victors and the vanquished, is a theme touched upon, but on a personal level. Taste the writing. This is what you will get: “The inevitable is no less a shock just because it is inevitable. ” “I came to love myself in deference, out of despair. ” “What I had lost in physical appeal or beauty, I had gained in character. ” “He was a small event in somebody elses history. ” “My fathers skin was the color of corruption—copper, gold, ore. ” “It is in the small parts of something that beauty lies. ” “The smile was a disguise. ” “He was my father, but I did not know him. ” “I grew to love not liking my father. ” “I never grew to like my father. Perhaps I grew to love him. ” “I came to love my father, but only when he was dead. ” “You are a child until the people that brought you into this world are dead. ” “Truth is always so full of uncertainty. ” “Who you are is a mystery no one can answer, not even you. ” “But who can really forget the past? Not the victor! Not he vanquished! ” Sentence after sentence made me think. The reader Is not given answers. It is at the conclusion of the novel that one sits back and ponders what the author is saying. I like how Kincaid writes. I like its simplicity, its rawness, its brutal honesty. Much of the book is about validation of ones self, of ones desires both emotional and physical. The book has ample sexual content. Awareness and appreciation of ones own body, of its smells, texture and sexual earnings, is a central component. This may be distasteful to some readers. See this as a word of warning. Throughout the book KIncaid had me thinking. This is good. Many truths are expressed about human behavior. This I appreciate. I like Kincaids bare, raw style of writing. She values and I value self-reliance, but I believe I value more than her interaction between people and the importance and delight of sharing an experience with another. Here lies a basic difference between the authors and my point of view. It is why I give the book three rather than four stars, despite my appreciation of the writing and that the lines kept me thinking. The main character is just too self-centered, too much of an egoist for me. I said egoist, not egotist! Kincaid draws colonialism in terms of the individual. This I do not think is bad. Robin Miles narrates the audiobook. Her performance is fantastic. There are great lines to be found in this book, and she says them extremely well. She gives one adequate time to think. The narration I have given five stars... Apr 09, 2008 Jessica liked it I am way to the left on criminal justice issues and am strongly opposed to capital punishment, but if there is one group of offenders forcing me to reconsider my commitment to the values I hold, it is probably that comprised of people who write in library books. I'd like a grant for a study researching both people who write in library books and people who engage in loud, long cellphone conversations in otherwise quiet and enclosed spaces (e. g., the bus from the Port Authority to Kingston, NY; I am way to the left on criminal justice issues and am strongly opposed to capital punishment, but if there is one group of offenders forcing me to reconsider my commitment to the values I hold, it is probably that comprised of people who write in library books. g., the bus from the Port Authority to Kingston, NY; the train from Penn Station to Philadelphia. My theory is that there's a great deal of correlation between these two behaviors, and studying the subjects who engage in them would add to the body of scientific knowledge that could be used in the future to develop a program wherein perpetrators of these acts could be grouped together and transported to an out-of-the-way location; because honestly, I really don't believe in capital punishment, but even my lefty views must admit that some citizens infringe upon the rights of the rest of us in completely unacceptable ways. Therefore, I propose mandatory relocation of library-book-writers and obnoxious-cell-phone-users to a distant and underpopulated island. A cold and ugly island, though, not a beautiful one like Dominica, where The Autobiography of My Mother is set. Though as Jamaica Kincaid makes clear, life on a Caribbean island isn't just always a Jimmy Buffettesque lark in the sand. I liked this book, though I'm sure not everyone would, and I managed to enjoy it despite the infuriatingly stupid underlining and marginalia of a previous NYPL patron. It's the story of a girl whose mother died giving birth to her; this motherlessness defines the main character's identity and life, which the story chronicles. Much of the novel is about colonialism, and it is very brutal and intense, with a great deal of human cruelty, sex, and masturbation. I thought it was good. It really took me into the existence of someone I couldn't relate to at all, in a way that was both interesting and satisfying, and it made me think about colonialism and power in a new way. What more do we want? One of the things I liked a lot about this book was that it did a lot of "telling" instead of "showing. When I took fiction-writing class in college, the standard go-to criticism of pretty much anything I or anyone else wrote was, You do too much telling; you need to do more showing. This seems to be the infallible rule of writing workshops, that "telling" is about the worst sin one can commit and "showing" is just an absolutely great thing to do, but honestly, I've never accepted this dogma at all. What the hell is wrong with some good old telling? I like being told things sometimes. Seriously! Who decided this was such a horrible thing to do? I like telling, and I like to be told, provided it's done right. In this book, the narrator tells you all sorts of things, and it's great. It's what makes the novel work. I am sure that if Jamaica Kincaid had shared the draft of this book with a gaggle of undergraduates, they all would have been on her ass about all the telling and would have explained that she needed to show more. To which I say: screw them! All those fiction workshop kids might take a deep breath and settle down, lest I decide to expand criteria for my island. Anyway, this book wasn't flawless or amazing, but I did enjoy it. I felt no driving passion to get through the story and wouldn't have been upset if someone had taken it away from me halfway though, but I did like reading it and don't feel that time was wasted at all... Let me say from the outset, I absolutely loved this book, its language, its voice, its poetry, the complexity of its narrator, who could be so distant yet simultaneously get so under your skin. There is a raw but brutal honesty to it, that disturbs and is to be admired at the same time, it is so full of contrasts and so compelling and beats its rhythm so loud, I almost can't describe it. In the autobiography of my mother, we encounter Xuela Claudette Richardson, who narrates her life looking back Let me say from the outset, I absolutely loved this book, its language, its voice, its poetry, the complexity of its narrator, who could be so distant yet simultaneously get so under your skin. In the autobiography of my mother, we encounter Xuela Claudette Richardson, who narrates her life looking back over seventy years, though the sense of her life reads as if it is being lived in the present, so vivid are the memories, so visceral the experiences. Her mother died in child birth and her father left with her with his laundry woman until she was seven, when he remarried and came back for her. She recalls the moment vividly through the senses and how it made her feel. "I thanked Eunice for taking care of me. I did not mean it, I could not mean it, I did not know how to mean it, but I would mean it now. I did not say goodbye; in the world that I lived in then and the world that I live in now goodbyes do not exist, it is a small world. All my belongings were in a muslin knapsack and he placed them in a bag that was on the donkey he had been riding. He placed me on the donkey and sat behind me. And this was how we looked as my back was turned on the small house in which I spent the first seven years of my life. Through the narrator looking back over years and at events that she re-experiences as she recalls them, we see how it was then, that something, whether it is the lack of maternal love or the makeup of this character, nature or nurture, contributes to her way of being in the world in an emotionally detached way. She responds to instincts and observes acutely her own responses and is able to look back on them and describe and account for them, but there is a sense of something missing, that appears through the recurring dream of a mother climbing up and away from her and the questions she asks herself throughout her life. Her father's wife who is resentful toward Xuela and reminds her often that she can't be her father's daughter, soon bears two children, a boy and a girl. Though there is no love between them, Xuela doesn't hate her, she has sympathy for her. "Her tragedy was greater than mine; her mother did not love her, but her mother was alive, and every day she saw her mother and every day her mother let her know she was not loved. My mother was dead. At 15, her father removes her from his home and takes her to live with a business partner and his wife as a boarder. She develops a close friendship with the wife, Madame LaBatte, observing with the same acuity their relationship and way of living and enters womanhood herself, observing and experiencing changes in her own body and the effect it elicits in others. She makes decisions about her own womanhood, about her body, about mothering. And she lives her life in accordance with those decisions. She marries, she discovers love and seems never to lose that ability to see through the illusions that surround all those things without sacrificing pleasure and contentedness. And at the end I ask, who is writing this story? Who is this mother who had no mother and no children? And in the dying pages, she will answer the question and we may realise we knew it all along. the autobiography of my Mother plumbs the depths of maternal love and its lack, mother daughter relationships, self-love, absent fathers and the latent influences of enslavement and occupation, how they continue to distort reality even when they are no longer present. I find it almost impossible to describe the reading experience, except that it left me asking "How did I not know about this book. The voice is so unique and powerful and much more than an imagination, it is rooted in something strong and yet transparent and is utterly compelling. Don't read this for story, this is about writing and thus reading through the senses, Jamaica Kincaid creates prose that inhabits them all. Read my complete review here at Word by Word... A somewhat longer and more complex work than the other book I just read by Kincaid, Annie John. Similarly, though, it deals with fraught and complex emotional relationships. Or lack of relationships. The narrator here is a woman, Xuela, whose mother died in childbirth; and who lets that lack define who she is as as person. Her father is a distant and venal man, and Xuela doesn't think much of him. By necessity, she is essentially on her own. However, as the book progresses, she seeks A somewhat longer and more complex work than the other book I just read by Kincaid, Annie John. However, as the book progresses, she seeks something. in others: the narrator has an affair with a much older man, marries a white man who cares deeply for her but whom she does not love, and falls in love with a married man to whom she is only one of many women. Xuela strives to find an identity and a place for herself in the world, but through all her striving is a dark fatalism which undercuts her: what she describes as a 'bleak, black wind' at her back. This can be read as stemming from her family situation, her community, her gender, and the legacy of colonialism - but it's also simply and matter-of-factly portrayed as just the way this character is, without apologies or excuses. Is this actually Kincaid's reconstruction of her mother's life, or is the title a reference to the looming absence of the narrator's mother? I'm not sure... Go the page 205 and read the last chapter first, so that you can armor and shield your spirit against a bleak descent into hurt, murder, amorality, lying, poly-abortion, adultery, racism, cruelty, etc. Uncaring evil life choices will be presented, without any regret, in a bland, mild, dispassionate manner disguised inside a pretend shell of unconcerned indifference. When you can prepare for this book, you can better understand its understated and masked onslaught of darkness and bleakness and Go the page 205 and read the last chapter first, so that you can armor and shield your spirit against a bleak descent into hurt, murder, amorality, lying, poly-abortion, adultery, racism, cruelty, etc. When you can prepare for this book, you can better understand its understated and masked onslaught of darkness and bleakness and total lack of love. It is hypocritical victimhood pretending to be self-reliance. Apparently the author is telling her own story under the name of Xuela. She was an orphan “thrown to the wolves” who survived to tell us now, as an old woman, that she is a rich widow of one of the prominent white men of the country. To me, her life seems without optimism and vacant and devoid of love. The author uses language uniquely. Because of the sadness, I would have only given one star if not for the original unique expressions. Sometimes one paragraph will last for pages. Some sentences are excellent original expressions of thought. Others are slippery and chameleon-like and wild. She inserts the same black-and-white photo (of herself. several times at random intervals in the book and I did not know if this communicated something? The author says her book is. who was never allowed to be and an account of the person I did not allow myself to become. This "Autobiography. is a biography of the author Jamaica who names herself Xuela in the book and who tries at the beginning and at the ending and throughout to imagine her dead mother who died giving birth to Xuela. The author Jamaica, the subject Xuela, and the dead mother all meld together as one. This is the opposite of the multiple personalities, this is three people becoming one person. All Xuela knows of her mother is that she was Carib. Xuela has no photos, no eyewitness descriptions, no family history, no stories, and her father never talked of her mother. Occasionally throughout the book, Xuela, from time to time, imagines how her mother might have been. So this book cannot be a biography of her mother. It is more a splotchy incomplete autobiography of Xuela. The book is mostly about Xuela, Xuela's father, and toward the end she speaks of her one and only loveless marriage for money to a married white man she seduced. Xuela lives in Roseau, the capital city of Dominica, a Carib island. Xuela's father is mulatto with an African mother and a British (Scot) father. Xuela sees herself as a victim of the British conquerors of Dominica. Xuela sees herself as a victim of racism and nationalism explored tangentially in the character of her father. Xuela seems to despise her father along with his white British conqueror ancestry. Xuela does not like her father at all. He is a rich, authoritative leading citizen who abandons her at birth to poverty or worse. Her wealthy father takes new-born Xuela and his week of dirty laundry to the home of Eunice, a woman (without a husband and with her own six kids) who lives in poverty. "My father was able to protect me, but he did not. I believe instead. that he placed me in the jaws of death. So she lives a random poverty life with various random lovers and pregnancies which are all deliberately and mercilessly aborted. Xuela minimizes these "lovers" and gives no details about them. They all seem too unimportant to mention. She loves no one, she does not know what love is. At age seventy, at the end of her book, she says she has never loved and does not know what love is. She has made a life decision never to have her own child and never to marry for love. Later in life, Xuela does marry, once. Xuela seduces a wealthy married leading citizen, Dr. Bailey, who falls completely and truly in love with Xuela. Xuela introduces Mrs. Bailey to a pleasurable hallucinatory tea made from a weed with a beautiful, large, white flower. When Mrs. Bailey dies from the poisonous tea, the island community whispers that Xuela poisoned Mrs. Bailey. Xuela never loves, or even likes, her rich husband Dr. Bailey, she is repulsed by him. "To see him eating a meal was always a revolting spectacle to me. She aborted all their pregnancies without regret. If you have read the last chapter first and protected yourself against this bleak, sad story you can enjoy the artistry of the author's use of language. She uses language like modern art oil painters use their paint: abstract patches of words thrown here and there. If you look for structure or plot in this book, you won't find it. You have to fill in blank holes with your own experience and guess at the words left out. Take this sentence: Since I do not matter, I do not long to matter, but I matter anyway. What does it mean? Like modern art, look at this sentence from different angles and see if it touches you in some way. Your own conclusion is your reward... Aug 23, 2018 Mridula I was introduced to Jamaica Kincaid in university with A Small Place. I liked it. I remember being encouraged to read The Autobiography of My Mother but neglected to pick it up. Timing is likely everything as I'm not sure I would have appreciated this book back in my 20's. I finally picked up this book last weekend and could not put it down. It is so beautifully written, each word measured and strung together with care. Kincaid writes boldly and with such intimacy that the reader feels they are I was introduced to Jamaica Kincaid in university with A Small Place. Kincaid writes boldly and with such intimacy that the reader feels they are indeed a part of her interior/exterior world. Rarely have I read a such a strong and passionate retelling of violent colonialism in this style, where the author is defiant at letting a horrific history define them. I have too many favourite passages to share here so I will choose one: The impulse to possess is alive in every heart, and some people choose vast plains, some people choose high mountains, some people choose wide seas, and some people choose husbands; I chose to possess myself. (p. 173-4) Easily one of my favourite books. Jan 29, 2010 Jennifer it was ok The blurb on the front of the book from Michiko Kakutani uses the words "rical" which is an excellent description of Kincaid's prose style. However, the narrator's voice is so lyrical, so distant that to me the book lacked emotional intensity. Xuela, the narrator, observes her life from an emotional remove, analyzing the people around her more as representatives of colonial power relations than as real people. For me her voice was cold and gave me no sense of connection to her or The blurb on the front of the book from Michiko Kakutani uses the words "rical" which is an excellent description of Kincaid's prose style. For me her voice was cold and gave me no sense of connection to her or the world around her... My mother died at the moment I was born, and so for my whole life there was nothing standing between myself and eternity; at my back was always a bleak, black wind. I could not have known at the beginning of my life that this would be so; I only came to know this in the middle of my life, just at the time when I was no longer young and realized that I had less of some of the things I used to have in abundance and more of some of the things I had scarcely had at all. And this realization of loss My mother died at the moment I was born, and so for my whole life there was nothing standing between myself and eternity; at my back was always a bleak, black wind. And this realization of loss and gain made me look backward and forward: at my beginning was this woman whose face I had never seen, but at my end was nothing, no one between me and the black room of the world. I came to feel that for my whole life I had been standing on a precipice, that my loss had made me vulnerable, hard, and helpless; on knowing this I became overwhelmed with sadness and shame and pity for myself. So opens The Autobiography of My Mother, a fierce, complex discourse on love and lack of love in the context of colonialism. Although this paragraph sets up many of the themes that will be developed in the course of the book, it is not to be accepted as definitive. For one thing, this is the first and only time the narrator, Xuela Claudette Richardson, will represent herself as helpless or vulnerable. It's true, there's little if anything she can do to change the circumstances of her life; but she takes complete control of the way she lives in those circumstances. And she only rarely expresses pity for herself. I'll admit, it took me a while to warm up to this book. Xuela's voice makes no attempt to conciliate the reader. Also, many of the statements she makes clash with each other; at first these contradictions irritated me – was the author being careless? Just throwing poetic phrases together? For just one example of many, she writes "I could say [my husband] loved me if I needed to hear I was loved, but I will never say it. – but she did say so a couple pages earlier. However, I came to realize that these were deliberate choices of the author. Most often, Xuela will both speak of herself or others as not loving or incapable of love, and also speak of them loving or being in love. This destabilization throws into question, for one thing, what she even means by "love. It is not safe to assume that this is obvious, even in context. One thing Xuela never expresses is uncertainty – even when she contradicts herself, she makes her statements with a tone of absolute authority. She is determined to control her own voice, at the end of her life as she is telling her story, just as the course of her life has been ruled by her self-possession, her fiercely independent determination to be sufficient to herself and please herself, and no-one else. This has sometimes led her to ruthlessness. She is capable of feeling sympathy for others, occasionally, but will not allow herself to do so in any way that might make her vulnerable. Consider the following paragraph (which also demonstrates the author's control of style) My life was beyond empty. I had never had a mother, I had just recently refused to become one, and I knew than that this refusal would be complete. I would never become a mother, but that would not be the same as never bearing children. I would bear children, but I would never be a mother to them. I would bear them in abundance; they would emerge from my head, from my armpits, from between my legs; I would bear children, they would hang from me like fruit from a vine, but I would destroy them with the carelessness of a god. I would bear children in the morning, I would bathe them at noon in a water that came from myself, and I would eat them at night, swallowing them whole, all at once. They would live and then they would not live. In their day of life, I would walk them to the edge of a precipice. I would not push them over; I would not have to; the sweet voices of unusual pleasures would call to them from its bottom; they would not rest until they became one with these sounds. I would cover their bodies with diseases, embellish skins with thinly crusted sores, the sores sometimes oozing a thick pus for which they would thirst, a thirst that could never be quenched. I would condemn them to live in an empty space frozen in the same posture in which they had been born. I would throw them from a great height; every bone in their body would be broken and the bones would never be properly set, healing in the way they were broken, healing never at all. I would decorate them when they were only corpses and set each corpse in a polished wooden box, and place the polished wooden box in the earth and forget the part of the earth where I had buried the box. It is in this way that I did not become a mother; it is in this way that I bore my children. This paragraph expresses, for one thing, all the love and sympathy she could not or would not allow herself to feel. The fates of these imaginary children are those of her real-life half-siblings; and more figuratively, her husband, who "became all the children I did not allow to be born" she spoke of wanting to push him into an abyss, but not in anger. The pain of the book arises from her circumstances, in Dominica, as one of the people she always calls "the defeated" – the Carib and African people. There would be a lot more to discuss about this, but I will leave it for now. She writes: I am of the vanquished, I am of the defeated. The past is a fixed point, the future is open-ended; for me the future must remain capable of casting a light on the past such that in my defeat lies the seed of my great victory, in my defeat lies the beginning of my great revenge. My impulse is to the good, my good is to serve myself. I am not a people, I am not a nation. I only wish from time to time to make my actions be the actions of a people, to make my actions be the actions of a nation... Jan 19, 2009 sdw What does it mean when a first person story of the life of a woman, defined largely by her sexuality and her quest for identity, is entitled The Autobiography of My Mother? What does it mean when the narrator's mother dies at the narrator's birth and can only be grasped through the narrator's imagination? What does it mean when the motherless child can not be come a mother herself, not for a lack of fertility, but instead "freeing my womb from burdens I did not want to bear. burdens that What does it mean when a first person story of the life of a woman, defined largely by her sexuality and her quest for identity, is entitled The Autobiography of My Mother? What does it mean when the narrator's mother dies at the narrator's birth and can only be grasped through the narrator's imagination? What does it mean when the motherless child can not be come a mother herself, not for a lack of fertility, but instead "freeing my womb from burdens I did not want to bear. burdens that were a consequence of pleasure, not a consequence of truth" How do you interpret a search for identity defined by the absence of mother and the desire not to become a mother in an environment shaped by colonialism? I am of the vanquished, I am of the defeated. The past is a fixed point, the future is open-ended; for me the future must remain capable of casting light on the past such that in my defeat lies the seed of my great victory, in my defeat lies the beginning of my great revenge. I only wish from time to time to make my actions be the actions of a people, to make my actions be the actions of a nation. Apr 06, 2013 K. m. Having read the Poisonwood Bible recently, I can't help making a comparison, and it is woefully put to shame by this. Kincaid speaks to the complexities of identity on the rift between conquering and defeated people. Able to contain the sometimes contradictory parts of herself and her history, Xuela, the protagonist, reflects on the circumstances of a life shaped by race, class and gender. She is insightful and thoughtful, and while addressing her life in post-colonial (if it really is post) Having read the Poisonwood Bible recently, I can't help making a comparison, and it is woefully put to shame by this. She is insightful and thoughtful, and while addressing her life in post-colonial (if it really is post) circumstances, she does not sound like a primer on the subject. Written in deceptively simple form, Kincaid's words flesh-out an existence sensual and lived-in and melodic. "Romance is the refuge of the defeated; the defeated need songs to soothe themselves, they need a sweet tune to soothe themselves, for their whole being is a wound. p. 216... Jul 28, 2011 Hannah Grippo I went through this book in a 12 hr day. Life story of a woman born as her mother dies. Its black writing, so it is fierce and natural in sensations and actions, but I felt quiet content, enjoying the way the words flowed through. Its also written by a Caribbean woman and converted Jew (talk about a minority in a minority. It is not something you can read only once. I will read it again. Its not a plot story (theres not even dialogue. Its story of conception of the world and the body you I went through this book in a 12 hr day. Its story of conception of the world and the body you are in. I think we are in the narrators memory from her old age, but she starts us from her birth. She ain't going anywhere. She moves around, but this isn't about a writer or a mother or a wife. It's just about her, and she just is. You all made it through pages of describing the sky, trees, dirt. The main character feels like she exists among her natural surroundings (whereas she knows she's out of place in things such as school, marriage, family. The way she describes her setting is amazing writing, painful and intense to the reader, but very impersonal to the narrator. She is a being of nature and thats how she wanted to live. Like the mountains, they are impersonal. Not like a nation, that is personal as are the names in its histories make you feel in a certain way. She was “a girl who prepared her own food. ” She does things food in childhood, works as she comes of age, does not ask. This also means no relationships that she holds in her heart. She is no one's daughter, and none are hers. For this reader, she rids the human world of meaning - you know things like justice, sin, and morality. They dont really exist but for human perception. I think Xuela (her) understood this from her fist sense of awareness, so she decided not to follow any meaning or course in life, but she watches and ponders all those around her who do. Her father, who does not love, working a official job and rising up, stealing and going to church; her caretaker, with many children she does not have pleasure in, morns a broken plate that tells her about paradise; her stepmother out to kill Xuela as a threat, and has a son she wishes to live through cause he is a boy and daughter she does not admit is alive cause she is a girl; her two main lovers with the anger of their past wives for sleeping with another and their own meanings they grab onto in life; and her mother whom she knows she doesnt know at all, but can only imagine. She has so many questions for all these people, she never asks them but to herself. Do you guys think all these lives would have been different had she asked the questions she thought? He reactions are very matter of fact and pure. They are not cruel or kind (though certainly are to another viewer who lives in morals) they just are. Her lusts, her thoughts, sadness, pleasure, anger, sights come out and she is honest with them. Theres no force out, no repression inward. Nothing sentimental. No need to be a mother or a teacher or to do something with her life. I will eat, sleep, make love, and die. This is what I felt, this is what happened to me, this is what I dont know, this is what I realize. No one loves me, I dont love anyone, but I dont hate either, I have no point in hating. She kills a turtle in a horrible way when she feels displeasure for them hiding, she helps her sister abort a child because shes there. Something awesome in this book like in no other I‘ve ever read: her enjoyment of her body. You see her look at, smell, feel herself without shame. Its not vein. Only exploration and knowing of its beauty. How many women have you met who actually do that? We all cover our smells, hide our blood. It goes deeper, unlike her stepmother and the other women in this book, Xuela is not afraid of herself. Quite the opposite. She loves herself. No one “beheld” her living, so she did it to herself. But I wonder what she would have felt if she came to behold another. A child, a love, a stranger. There is also something that drops off so quickly in this book. Writing. She begins writing letters as a small child and knows that her expression on paper can perhaps not change, but set off the motion for change of her life's situation. At that point I thought this book was gonna be about writing. Yet she does not pursue it, and writing ceases in the story. Why do you think? Did she not need to express to anyone anymore throughout the story? Did she not need to change the situation? Maybe we can view the whole book as her writing, just expressing to herself, not trying to change anything (though perhaps setting some readers in motion. She knows how self conscience she is. Thoughts on motherhood. What do you think? She knew she did not want to be a mother, to belong to anyone or anyone belong to her, and who would want to bring another child into this world of meaningless meanings? Do you think she considered that with her children, or it was simply, I dont want to have a child, so I wont. Perhaps it was both. Oh, we so debate the existence of personhood. Even once children are born, we dont consider them people, but that as they grow up, they are becoming a person. How much more indefinable is it when we consider a fetus and womans rights. But whatever she thought with pushing them into the "abyss" she seemed to feel the only certainty in anything was death, so it really was not a big deal, and yet it was. I almost feel she kills all those unborn children in love rather than carelessness. I think Kincaid wished her own mother had never had children... Mar 30, 2012 Debbie First let me say that I struggled with what rating to give this book and how to approach a review in general. I feel conflicted. I dont know if I feel conflicted in regards to my view of this book or if the character and her confliction have affected me. This book was nothing like I imagined it would be from reading the synopsis on the back of the book. The assumption is that this is a book about a woman whose mother dies giving birth to her and this is a story of her search into who this First let me say that I struggled with what rating to give this book and how to approach a review in general. The assumption is that this is a book about a woman whose mother dies giving birth to her and this is a story of her search into who this absent mother was. I felt because both of my parents fly with the angels, I might relate to a story of this type. On one hand I was able to relate in a lot of ways but then on another completely different hand I dont know if it was the main character or the author herself, annoyed me. In essence this was a book about a woman whos mother did die while giving birth to her and her constant struggle to comprehend life and define her identity in the world considering this tragic beginning. The loss of a parent in general is hard but the loss of a mother to a girl/woman is devastation. I get that, completely. The author/main character has a very poetic and fluid way of expressing her feelings and telling the reader how she lives her life. Her mother never was present, her father pushes her away because hes got his own demons and her step family hates her for what she represents. This is a woman who feels she is not loved, has never been and believes she never will be. She yearns for love so badly and seems to look for it in all the wrong places. Although, Im sure shed deny this observation. She claims to love herself so much since no one else does. She cant keep her hands (or others hands for that matter) off of herself. Shes obsessed with it. It really seems a desperate depression tied into the absence of her mother and lack of parental love that she is missing. This distorted mentality manifesting itself into some physical need. She is a wounded woman living her life under the guise of self love. I actually found her very selfish, immature and in need of prayer and a good therapist. This book has a lot great prose and verse that I found quotable. It reminded me a lot of somethings Ive read by Toni Morrison or Alice Walker; spiritual, poetic, sometimes lofty. Towards the middle of the book there was an appearance of a lot of what I assume is the authors idealism or belief system in a sprawling rambling full chapter, which I found myself scanning through. There was a lot of spiritualism that I personally didnt agree with and didnt enjoy. At times, the story seemed to jump around. We actually didnt find out the town or the main characters name until into the book a good way. All in all, I related on a certain level to the sense of loss and how it affects a life but this character went to a place that I cant comprehend with her emptiness. It was sad but not morbid. Repetitive is a good word. It was almost as if this talented author found a way to say through 227 pages of print, in various ways, “My mother died giving birth to me, my father is self possessed, Im hurting but I deny it, Im empty, my guard is up and I wont let anyone in. ” I do actually recommend it. Im a real life observer of characters and do believe that people could relate to one thing or another or maybe all of the characters in this book. It wasnt what I was expecting but I will say, 3 stars... Aug 11, 2015 Barbara really liked it This is one of those books I am glad to have read, but I don't know that I'll read it again unless a specific reason arises. It is a very uncomfortable story. Other reviewers have given synopses, so I'll skip that part. The aspect of the book that I found most striking is the way Kincaid makes the personal-is-political trope so seamless. There are moments when, as a reader, I saw the shadow of colonialism out of the corner of my eye, as it were, while Xuela was describing some very intimate This is one of those books I am glad to have read, but I don't know that I'll read it again unless a specific reason arises. There are moments when, as a reader, I saw the shadow of colonialism out of the corner of my eye, as it were, while Xuela was describing some very intimate moment. When colonialism is the topic at hand, the cascading effect it has—the way it erodes every part of life on the island down to the most intimate, like the color of a lover's pubic hair—becomes apparent. Xuela, the character, is not easy to like. There is nothing soft or warm about her. We as readers don't have an impulse to protect her because, as her narration makes clear, she wouldn't accept protection from anybody. She also won't accept love. Indeed, if there's a theme in this book that is stronger than the impact of colonialism, it's the idea that love is something taught, and Xuela has never been taught. I was longing for my Psychoanalytic Criticism classmates as I read this because of the ripple effect Xuela's lack of an early love object has on her whole life. The writing is extraordinary. So many times, I wanted to pull out a specific sentence or paragraph for the application it has to contemporary life and share it on social media or buy a billboard or something. Kincaid is especially good at examining the psychological consequences of a Have-Not, like Xuela's father, becoming a Have. The acquisitiveness that westernization imparts is a unique evil, and Kincaid shows all the ways it destroys not only the people it infects but also everyone around them and the society they inhabit. In sum, this is not a "fun" book, but it's a worthwhile one. If you are interested in the study of loneliness, it's essential reading. Good lord, that sounds depressing, but it's true. It's a quick read, and you will feel enriched for having experienced it... Nov 22, 2015 Steph When Meursault learns of his mothers death in Albert Camus The Stranger, he is apathetic to say the least. It is this strange detachment from emotion Camus explores in his existential search of meaning and existence. Fifty-four years later Jamaica Kincaids Xuela is also confronted with the loss of her mother and regards it with Mersaults similar apathetic detachment as she states: “My mother died at the moment I was born, and so for my whole life there was nothing standing between myself and When Meursault learns of his mothers death in Albert Camus The Stranger, he is apathetic to say the least. Fifty-four years later Jamaica Kincaids Xuela is also confronted with the loss of her mother and regards it with Mersaults similar apathetic detachment as she states: “My mother died at the moment I was born, and so for my whole life there was nothing standing between myself and eternity; at my back was always a bleak, black wind” but unlike Meursault, Xuela does not get to attend her mothers funeral as she is but a newborn when her mother dies. Much like Camus interrogation of the existential question of existence, Kincaid explores the affects of a severed bond between mother and child in a theme that stretches far beyond Xuelas personal story. Mothers are always much more than the women who push us into the world and that is especially so in the works of Jamaica Kincaid. Like many of Kincaids female protagonists the quest, the desire, the desperation for self-identification is so intimately and intricately intertwined with their mother that only a violent break from one can grant autonomy to the other. This break is delivered early on for Xuela, the daughter of a half Scot, half African father and a Carib mother, which leaves her stumbling through turbulent relationships with older women who could easily be mistaken as substitute mother figures for the young girl if only they were not beating her, attempting to kill her, or prostituting her to their husbands. And yet, in spite of all of this chaotic mistreatment, Xuela learns how to defend herself with a myriad of weapons, one of them being Kincaids most famously given to her female protagonists–self-love. Read more. Aug 21, 2009 Libbyrosof About a third of the way through this riveting, beautifully written book (what a stylist. I began to read it as an allegory- about power, ethnicity, wealth- as well as a personal account of ethnicity and this woman's road to self-invention. Ultimately, this turns out to be how all of us construct identity, and the bogus scaffolding on which we construct it and our lineage. The book is passionate and surprising. Apr 10, 2014 Simone This book is an excellent example of simple prose that is riddled with double meanings and a subversiveness of colonial impositions/power on a colonized land. It is not a simple coming-of-age novel with sexual nuances but a deeper tale of discovering an irrecoverable identity. Definitely a must read! Jan 21, 2019 Samantha The impulse to possess is alive in every heart, and some people choose vast plains, some people choose high mountains, some people choose wide seas, and some people choose husbands; I chose to possess myself. (pg 172-173) one of the best opening pages I've ever read. gorgeous, poetic language. refreshing syntax. full of sharp insights on a young black woman's relationship to body, sex, motherhood and independence. Another one of the to-read-for-class-shelf; another one of those books which were just not my cup of tea. By now, I have a pretty sound idea of what kind of literature I will gladly devour; but a psychological journey into one own's psyche, one's own history, present and future, as one grows, female and feminised, sexual and sexualised, human and dehumanised, rigged with lively commemorations of the past, of colonialism and of growing up motherless and distanced by a corrupt figure of a father; Another one of the to-read-for-class-shelf; another one of those books which were just not my cup of tea. By now, I have a pretty sound idea of what kind of literature I will gladly devour; but a psychological journey into one own's psyche, one's own history, present and future, as one grows, female and feminised, sexual and sexualised, human and dehumanised, rigged with lively commemorations of the past, of colonialism and of growing up motherless and distanced by a corrupt figure of a father; no, that kind of a novel is not my cup of tea. But then again: Kincaid has written a sound novel, with an ending which did not surprise me - it confirmed what had been tempted to develop in my mind, an analysis of this unsurpassable, uncomprehensive and yet fascinating protagonist, Xuela - and which has me flicking through the final chapter as it both closed and re-opened all perspectives dealt to you throughout the book. Indeed, it were 228 pages of a diverse, intense and fascinating narrative, but weirdly enough, I have been here before. I felt like I was re-reading Jef Geeraerts' Black Venus novel, which deals with similar and yet dissimilar themes. I was about to give this book 3 stars, but then again: why would I enjoy a male perspective, but be weirded out by a comparable and yet totally different, female gaze? I will never be a major reader of psychological novels like these, but the coherent narrative of heavyweight themes and character force, moulded into a monologue the reader is sucked in by, makes me grant this novel 4 stars, because making sense of any writer is ever a fallacy, amongst so many others with which to treat this book... “I also knew the history of an array of people I would never meet. That in itself should not have kept me from knowing of them; it was only that this history of peoples that I would never meet—Romans, Gauls, Saxons, Britons, the British people—had behind it a malicious intent: to make me feel humiliated, humbled, small. Once I had identified and accepted this malice directed at me, I became fascinated with this expression of vanity: the perfume of your own name and your own deeds is “I also knew the history of an array of people I would never meet. Once I had identified and accepted this malice directed at me, I became fascinated with this expression of vanity: the perfume of your own name and your own deeds is intoxicating, and it never causes you to feel weary or exhausted; it is its own inspiration, it is its own renewal. And I learned, too, that no one can truly judge himself; to describe your own transgressions is to forgive yourself for them; to confess your bad deeds is also at once to forgive yourself, and so silence becomes the only form of self-punishment: to live forever locked up in an iron cage made of your own silence, and then, from time to time, to have this silence broken by a designated crier, someone who repeats over and over, in broken or complete sentences, a list of the violations, the bad deeds committed. ” * “Death is the only reality, for it is the only certainty, inevitable to all things. ” * funny reading this back to back with Ocean Vuongs On Earth Were Briefly Gorgeous; theyre strikingly similar and I have slightly mixed feelings about them for similar difficult to pin down reasons, I think... Oct 20, 2017 Shirley i was typing this out to a friend on whatsapp and she said i should post this on goodreads, and she's right because i have a terrible memory, so here goes: thoughts on jamaica kincaid: i read lucy late last year and finished autobiography of my mother last week and i enjoyed lucy more but i'm questioning if that's just because it's more relatable (it's about a young woman emigrating to america. i found autobiography of my mother was quite unpleasant; there's a lot of uncomfortable sex stuff and i was typing this out to a friend on whatsapp and she said i should post this on goodreads, and she's right because i have a terrible memory, so here goes: thoughts on jamaica kincaid: i read lucy late last year and finished autobiography of my mother last week and i enjoyed lucy more but i'm questioning if that's just because it's more relatable (it's about a young woman emigrating to america. i found autobiography of my mother was quite unpleasant; there's a lot of uncomfortable sex stuff and the main character is somewhat passive and almost just observes the situation a lot of the time. but it feels like an "important" book, in that you could write a lot of theory (and i'm sure people have) about it's treatment of race and gender if you were to sit down and deconstruct it. but i just don't feel like doing it because i didn't "enjoy" it and i really want to move on with my life. i think that's shallow though; i don't believe in books having to be enjoyable and/or pleasant to be worthwhile; i can't be pure that way. maybe i'll come back to it in a few years? who knows (excuse all my run-on sentences, i clearly haven't spent any effort on this... EXCELLENT. I must read more by Kincaid ASAP! May 09, 2019 Braeden Devastating and beautiful, makes me want to read more Kincaid. The premise of this book is what drew me to it. The idea of writing an autobiography for a mother you've never met was very intriguing. What I wasn't drawn to were all the references to body smells. Seriously, this girl constantly has her hands either in her armpits or her crotch and then sniffing them and practically getting high off them. No shame about having spectators, either. However, some of the insights and the stark, repetitive writing is what kept me going, and won me over in the end. The Autobiography of My Mother by Jamaica Kincaid The key to great writing is great story telling and Jamaica Kincaid is a great storyteller. Her prose is beautiful, spare, blunt, compact and to the point. Her writing cuts you to the heart. Of course I'm biased because I love Jamaica Kincaid. She is one of the best raconteurs ever! So engrossed am I in her storyline that even though Im eager for the next development Im saddened by the ever expanding vignettes because I know that the book will The Autobiography of My Mother by Jamaica Kincaid The key to great writing is great story telling and Jamaica Kincaid is a great storyteller. She is one of the best raconteurs ever! So engrossed am I in her storyline that even though Im eager for the next development Im saddened by the ever expanding vignettes because I know that the book will end and my foray with the characters will end. The title itself is intriguing since an autobiography by definition is an account written by him or herself since the mother in the story is deceased everything is seen through the eyes of the daughter, Xuela. This immediately sets the story on its head providing an inverse tale of a mother/daughter relationship without the mother being physically able to tell her story. This novel introspection of a woman haunted through a lifetime by her own guilt at perhaps killing her only opportunity to have experienced true love. Xuela continues to search for love always via the mother she never knew, the mother whom though she never directly comes out and says so, Xuela believes she killed just by being born. Xuela experiences a dichotomy of self. Surrounded by others, in the midst of a sea of humanity and even during intimate relations with various lovers she is disconnected from other humans in a way unfathomable for most of us. Basically unloved and unwanted by an indifferent father Xuela disassociates from every other man in her life. Xuela never developed the ability to experience love fully with soul as well as body, even with men who become her “lovers”. Her lovers and the people she interacts with are like ghost figures, much like the mother she envisions in her dreams, never quite fully accessible to Xuelas heart. Ms. Kincaid explores the many levels of Xuelas dissonance with her fellow humans through the race and gender restrictions of the time period. Ms. Kincaids books deal with many mother/daughter issues. The Autobiography of My Mother is a narrative on the mother the daughter never knew and Annie John, the novel Im currently reading is a tale of the deteriorating relationship between a mother and daughter who know each other perhaps all too well... Sep 14, 2011 Katie This novel is a how-to manual on diction. The language that Kincaid uses would make anyone stand in awe. Xuela, the main character, struggles with her identity because she lives on an island that has been colonized by the British. She has been told all of her life that she is not as important as the white people that are in charge of her country. Xuela herself is not easy to like. She is inappropriate, brutal, and refuses to love anyone but herself. This book is hard to get through. There is no This novel is a how-to manual on diction. There is no character to connect to, the main character has no drive, and there is no true plot. Kincaid's use of language is what saves this book. She uses unimaginably beautiful language to describe horrible and ugly things. I would not recommend this book as a pleasure read. If you want a good example of language and diction this is your book... Apr 26, 2015 Leslie Graff This is the best of what post-colonial literature can be - hauntingly beautiful and deeply sad. Kincaid's voice is deceptively simple, repeating simple sentences throughout that grow in meaning as you read. The narrator is compelling if not always relatable. She does not love easily or when she is asked to. She does not feel rage either, she simply exists in her own truth. She accepts her fate but also resists it by becoming her own person with her own thoughts that are never given in response This is the best of what post-colonial literature can be - hauntingly beautiful and deeply sad. She accepts her fate but also resists it by becoming her own person with her own thoughts that are never given in response to another. The connections to the Caribbean state of being are overt without being over-simplified. To a student of post-colonial literature, I'm not sure what would be new here, but what is here fits perfectly within the lessons learned of the post-colonial. Reads as a mood or observation rather than plot but that is appropriate for the work. Compelling and challenging... I first read Jamaica Kincaid in a creative writing class. She is and was the epitome of rhythm, storytelling, diction, and imagery. I enjoyed the pace and style that this book was written in and look up to Kincaid's ability to mesh description and feeling. As far as the story itself - I was left wanting more. Strongly addressing gender and race issues, the message of the story is one of defeat. Xuela, the main character, was never able to mentally transcend above the circumstances that life I first read Jamaica Kincaid in a creative writing class. Xuela, the main character, was never able to mentally transcend above the circumstances that life presented her. An overall tone of pity and selfishness, she remains bitter in this book's entirety and every situation constructs herself to be the victim. Maybe that is the beauty of it, but personally, I became frustrated with Xuela's inability to take initiative... Feb 05, 2009 Kat Beautiful and sad. Of all the postcolonial/postmodern/etc. books I've read, this probably succeeds the most at being a novel. Not only is the prose exquisite (both gorgeous and so fluid that I had to force myself to slow down to savor it) but the politics are overt without ever interrupting the story. Xuela's national/ethnic/gender/class position is fraught, and that's inseparable from her life story. But Kincaid keeps Xuela herself, not her oppression, at the center of the story, and that Beautiful and sad. But Kincaid keeps Xuela herself, not her oppression, at the center of the story, and that makes it not only more artistically interesting, but brings home the social commentary as well... Jamaica Kincaid is a novelist, gardener, and former reporter for The New Yorker Magazine. She is a Professor of Literature at Claremont-McKenna College. “No matter how happy I had been in the past I do not long for it. The present is always the moment for which I love. ” — 36 likes “I was a new person then, I knew things I had not known before, I knew things that you can know only if you have been through what I had just been through. ” 30 likes More quotes… Welcome back. Just a moment while we sign you in to your Goodreads account.

Clinton Cash, The Brink same garbage. Bannon ♥️♥️♥️♥️ Cheers from india.

 

 

3.4/ 5stars

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