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"Single mothers Fiction."
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Time and title deeds in post-reform agrarian Kenya
The ‘title deed fix’ – resurgent globally since the 1990s – is part of a wave of market-led agrarian reforms whose outcomes have been mixed. Kenya was the first African country to experiment – starting six decades ago and continuing today – with state-mandated formal land registration and private titling. Today it is among a handful to begin a transition to a digitized land registry. Behind both paper and electronic land documents, however, is a persistent temporal fiction that undergirds state-backed title registries – namely, a constructed present that is out of sync with intersecting biographical and structural temporalities, and that can efface socially recognized pasts, commitments or testimonials. We analyse some consequences of those temporal dissonances, unstable rights durations, and an ensuing limbo that can last decades, through family land stories shared with us during long-term ethnographic research in Kenya’s fertile central highlands. Especially vulnerable to temporal erasure and dispossession when title deed limbo spans decades are divorced or single women and their children, particularly as farmland and non-agricultural employment become more scarce and land markets overheat. Multitemporal family narratives powerfully illustrate why title deeds of any age are best taken as provisional truths rather than legal certainties, and why tenure security is an unstable and reversible process rather than a present or absent condition.
Journal Article
Love me back : a novel
Marie is a waitress at an upscale Dallas steakhouse, attuned to the appetites of her patrons and gifted at hiding her private struggle as a young single mother behind an easy smile and a crisp white apron. It's a world of long hours and late nights, and Marie often gives in to self-destructive impulses, losing herself in a tangle of bodies and urgent highs as her desire for obliteration competes with a stubborn will to survive.
Book
Katya's hand
When a storm breaks out, Alex starts to worry about his mother, a talented Ukrainian crane operator who took a job no one else would risk taking.
Streaming Video
The school for good mothers : a novel
\"Set in near-future America, The School for Good Mothers introduces readers to a government-run reform program where bad mothers are retrained using robot doll children with artificial intelligence. Protagonist Frida Liu, a 39-year-old Chinese-American single mother in Philadelphia, loses custody of her 18-month-old daughter, Harriet, after she leaves Harriet home alone for two hours on one very bad day. To regain custody, Frida must spend a year at a newly-created institution, where she practices parenting with bad mothers from all over the county. There, she learns to love an uncannily life-like toddler girl doll in order to demonstrate her maternal instincts and prove to her family court judge that she deserves a second chance. Frida is an outsider in every way: better educated, more affluent, and the only Asian. The mothers, whose transgressions range from benign to horrific, are under constant surveillance. If they don't pass all the school's tests, their parental rights will be terminated. Inspired by dystopian classics such as 1984, Never Let Me Go, and The Handmaid's Tale, the novel eviscerates the dominant American parenting culture, while highlighting the tragedy of state-sponsored family separation. Is there one right way to mother? Can a bad mother ever be redeemed? With warmth, heart, and dark humor, the novel tells a timeless story of a mother fighting to win back her child, and her struggle to hold onto her integrity while being indoctrinated\"-- Provided by publisher.
Book
The Story of a Widowed Mother: The Mother–Son Relationship in The Record of So Hyŏnsŏng
This article explores the widowed mother figures in So Hyŏnsŏng rok 蘇賢聖錄 (The Record of So Hyŏnsŏng), particularly how a widowed mother successfully distinguishes herself as the head of the household through her relationship with her son. The story deals with the aspirations of mothers of elite yangban families who dream of achieving power despite the social limitations placed upon them. The Record presents the ideal mother–son relationship as both close and hierarchical. The closeness of their relationship enables the mother and son to achieve emotional unity when the boy is young. However, by demonstrating that she is more capable and has better judgment than her son, the mother ensures that their relationship remains hierarchical, enabling her to retain a superior position in the relationship into the boy’s adulthood. The story portrays the complicated relationship between a controlling mother and submissive son in a positive light, despite it being in sharp contrast to the compassionate mother and heroic son of earlier literary works. This article argues that Madame Yang, the widowed mother and main protagonist, reflects both the anxiety and aspirations of contemporaneous Korean women facing the major social changes of the 17th century.
Journal Article
oaNarrating Single Lives
Singledom is on the rise in Western countries, including the Netherlands. As representation in popular media is paramount for the way audiences imagine the world and people around them, this article addresses the question: how are single women represented in recent Dutch fiction films and TV series? Existing studies on English-language popular culture from the US and the UK indicate that representation of singledom, and particularly single women in popular media often revolves around a small set of persisting patterns. Singledom usually remains an obstacle to be overcome, following the neoliberal, postfeminist ideals of self-improvement and choice (Taylor, 2012).This article gives an insight into the representation of 36 women, all introduced as singles and aged 16 to 60+, in Dutch fiction films and TV series from 2019-2023. Using an intersectional approach, we analysed the representation of these 36 female characters, regarding their relationship status, age, social class, colour and roots, profession, sexual orientation, and parental status. The results show that there is a lack in diversity, complexity, and potential of these single female characters, who are mainly young, middle class, white, and heterosexual and work in traditional female sectors like Arts and Culture and Health Care. While overall in line with findings in previous research, the results suggest that motherhood is a less prevalent theme than in these previous studies.
Journal Article