Journal of the Motherhood Initiative for Research and Community Involvement (JMI - York University)

Rye, Gill

Book Reviews 
that she is 30 years old and capable of conservative spending) is the only time 
daughter and mother seem to be speaking to one another directly, rather than 
dithering over the details ofdaily life. Are most mothers so estranged from their 
daughters? W i l e  these thoughts can be teased out of the book, I wonder 
whether many readers will continue to the end. 
Much. love, Bec 
The New Don't Blame Mother: 
Mending the Mother-Daughter Relationship 
Paula J. Caplan 
New York: Routledge, 2000 
Reviewed by Gill Rye 
The cover of The New Don't Blame Mother announces that "this book has the 
power to change your relationship with your mother or daughter." This is a self- 
help book, an updated and revised edition of Caplan's original bestseller first 
published in 1989. The author is a clinical research psychologist and, in 
popularizing her subject, she does not hesitate to blame therapists for contrib- 
uting to the mother-blame that permeates society. 
The second edition includes a preface that takes account of newly pub- 
lished material in the field. Here, Caplan also points to recent social changes, 
such as developments in reproductive technologies and new trends in parenting 
and family arrangements that impact on the ways mothers continue to be 
blamed in society. The discussion relates primarily to the United States and 
Canada (and due praise is given to the activities of ARM). 
The thesis of the book rests on two assumptions: first, that most mother- 
daughter relationships are not merely ambivalent but frequently a source of 
great pain; and second, that one of the major causes of such difficulty is the 
extent to which society blames mothers for everything that is wrong with their 
children. In The New Don't Blame Mother, Caplan seeks to help mothers and 
daughters help themselves by learning from the experiences of others and by 
thinking positively. Social attitudes towards mothers are analyzed through the 
polarized myths of the Perfect Mother and the Bad Mother. The Perfect 
Mother is an unlimited, natural nurturer; the Bad Mother is, at once, the 
motherwho stays home and the motherwho has apayingjob outside the home. 
Whether "perfect" or "bad," mothers are blamed for not conforming to 
stereotype. 
Journal ofthe Associationfor Research on Mothering 1 205 
Book Reviews 
Caplan writes social construction theoryfor a mass audience. Thus, blame 
is placed on society--which disadvantages women-not on mothers them- 
selves. Caplan's point is that understanding the root of negative feelings helps 
us make positive changes in our relationships with our mothers, with our 
daughters, and with other people, especially since mother-daughter relations 
are felt to impact on all other relationships. She emphasizes "building bridges," 
"repairing the rift," and thevalue ofcommunication. This self-help bookargues 
for one important and laudable strategy: that women strive to humanize their 
mothers, since a mother is also a person, a woman in her own right. 
Dutiful Daughters: 
Caring for Our Parents as They Grow Old 
Jean Gould, ed. 
Seal Press, 1999 
Reviewed by Christine Peets 
I had expected Dut@firlDaugbters to be a "how-to" book on caring for parents. 
What I found instead was a compelling collection of 22 essays not so much on 
the "mechanics" ofcaring for parents- arranging home care, nursing home care, 
and looking after finances- but the emotional rollercoaster of "doing it all." 
In  her introduction to the collection, editor Jean Gould shares her own 
experiences of caring for her own mother, first visiting a retirement home and 
then in her mother's apartment. For Gould, the world of eldercare is akin to 
travelling in a foreign country, without benefit of the knowledge of either 
custom or language. Although she writes about the United States, the experi- 
ences she described could be universal. As we age ourselves, we realize that our 
parents may reach the point of no longer being able to care for themselves. But 
they are the adults, and we are the children; therein lies the problem of giving 
care without taking over. 
The essays explore many emotions, including those we do not always allow 
ourselves to express or, in some cases, even acknowledge. Mixed with one's love 
and respect for a parent is a melange of emotions: pride, remorse, g d t ,  anger, 
and anxiety. Strengths and weaknesses are discovered in both parents and 
children. Readers will feel empathy for, and perhaps identity with the writers 
in the volume, many of whom simply tell without telling us how they feel. 
All ofthe essays are written bywomen; although, as Gould points out, this 
does not mean that sons do not care for agingparents. I t  is unfortunate that she 
206 1 Volume 4, Number I 


English

The New Don't Blame Mother: Mending the Mother-Daughter Relationship

Norman, Renee

Renee Norman 
Last Supper 
every evening he arrives for dinner 
greets his daughters 
asks about their day 
on Sunday the meal is roast beef and potatoes 
f&ng their stomachs 
with rich gravy that slides them into next week 
every evening he leaves after dinner 
it's been 5 years since he announced 
he would not stay 
the fight about the recreation vehicle 
the dynamite that blew apart 
a half-demolished household 
leaving a newborn rocking in the quake 
even the neighbours haven't noticed his daily exodus 
wonderful smells of lasagna and baked bread 
still wafting through the cracks in the house 
her hands kneading dough to kill the pain 
the noodles neatly arranged between the layers 
of sauce and cheese and children 
tomorrow she'll barbecue hamburgers on the grill 
wave to anyone she sees from the yard 
prepare the evening meal for her family 
pretend he is so busy at work 
doesn't like to barbecue 
can't predict his hours 
when the red meat smokes and changes color 
she'll see the placenta from the baby's birth 
burst and splatter him with blood 
she'll see stars from explosions 
as if she were hit hard on the head 
32 1 Volume 4, Number l 


Last Supper

Motherloss

Editorial Masthead

Rubin, Lois

"We Have Deeper Selves to Write From": Motherhood and Writing

Gold, Marion Stichman

Book R e v i m  
Nashim: A Journal of Jewish Women's Studies 
and Gender Issues 
Susan Sered, ed. 
(Schechter Institute of Jewish Studies, Jerusalem and Hadassah International 
Research Institute of Jewish Women, Brandeis University) 
Brooklyn, Lambda Publishing, Spring/Summer 2000 
Reviewed by Marion Gold 
Nashim's Spring/Summer 2000 issue is devoted to the themes of motherhood 
and the impact ofTalmud and modernity on women's lives in Israel and in the 
Diaspora. The topics under discussion include marriage, divorce, nursing/ 
nurturing/rearing children, batbar mitzvah rites depassage, immersion in the 
mikvah (ritual bath), the rape of Dinah described in Genesis (32:4), even 
Zelophehad's daughters' claim on their father's property since he had no sons 
(Numbers 21:7). 
In 1970, the Women's Liberation Movement shifted its focus from 
liberation to equality, almost creating a new paradigm. Jewish women, emerg- 
ing as feminists during this time, were denied equality in the ritual life of the 
synagogue. Soon, however, scholarship in Judaic Studies by women began to 
flourish in an attempt to seek legitimization for women's equality in the 
synagogue, in higher learning, and in day-to-day life. 
Women researched and authored eleven of the twelve artides included in 
this issue of Nashim. "The times they are a'changing!" and LabovitzJs "These 
are the Labors: Constructions of the Woman Nursing Her Childn is one 
example of this change. Labovitzdraws on her studies in Mishnah and Tosefia 
to discuss the implications of the wife as wet nurse to her child and how this 
could impact conditional divorce decrees. 
Since I have two daughters, one born in 1959 and one in 1967, I was 
particularly interested in Halbertal's article, "Maneuvering in a World of Law 
and Custom?: Maternal Transmission ofArnbivalence." Both of my daughters 
received an intense pre-university Judaic education. But there was little 
opportunity for them to use their knowledge within the Jewish community. In 
fact, I was complicit in transmitting an "ambivalencen about Jewish law and 
custom to my daughters. My oldest daughter, a traditionalist who is married 
with six children, is a nursery school teacher. My youngest daughter, a strong 
feminist, is unmarried and in her early thirties; she works as a systems librarian 
in a university library. She was the recipient of my unconsciously conveyed 
message that motherhood is not the only worthwhile female endeavour. 
As a menopausal woman who was once an active mikvahgoer, I was drawn 
to Cicurel's article on mikvah as a contested domain. Her fieldwork, conducted 
in Beer Sheva, Israel over the period of a year, confirmed my understanding of 
220 1 Volume 4, Number l 
Book Reviews 
the reasons for immersion in a mikvab are similar for both religious and secular 
women, in Israel and in North America. Cicurel indicates the orthodox women 
follow the dictates of the rabbinate and immerse in mikvab after the cessation 
of their monthly menses cycle. Secular women, however, regard participation 
in the experience of immersion not as ritual purification but as evidence of 
female power. 
Whether or not a reader is in agreement with the authors represented in 
this issue of Nasbim, one can rejoice that women's voices have been raised in 
scholarship in Jewish women's studies and gender issues. 
Journal ofthe Association for Research on Mothm'ng 1 221 


Nashim: A Journal of Jewish Women's Studies and Gender Issues

Dunlop, Rishma

Rishma Dunlop 
Archives of Desire 
Rewriting Maternal History 
in Daphne Marlatt's Ana Historic 
to be there from the first. indigene. ingenuus (born in), native, 
natural, free(born) - at home from the beginning. 
she longed for it. 
-Daphne Marlatt, 1988, Ana Hirtoric,l27 
i learned that history is the real story the city fathers tell of the only 
important events in the world. a tale of their exploits hacked out 
against a silent backdrop of trees, ofwooden masses. so many claims 
to fame. so many ordinary men turned into heroes. (where are the city 
mothers?) 
-Daphne Marlatt, Ana Historic, 28 
In her opening address at the 1995 Western Literature Association Conference 
in Vancouver, British Columbia, Daphne Marlatt described her interests in 
how one comes to see place as home, in what constitutes belonging in writing, 
and in the perception of self in community. Marlatt explores these concerns in 
her novelAnaHistoric, which provides us with an example ofwhat Homi Bhaba 
(1994) calls "a radical revision in the concept of human community." This 
revision of community is played out in the setting ofthe male-dominated world 
of Hastings Mill, Vancouver circa 1873, and in the world of contemporary 
Vancouver through the voice of Annie, Marlatt's narrator. The "radical" 
elements in this revision are found in Marlatt's technique of juxtaposing this 
Journal ofthe Association for Research on Mothering 1 65 
Rishma Dunlop 
history and genealogy against efforts to create new discursive contexts to 
embody and articulate desires circumscribed by gender and sexuality. In this 
way, the novel becomes a rewriting of women's history and maternal history. 
Ana Historic proposes and exemplifies ways of rewriting or revisioning the 
possibilities of living in the world, one in which the historical past has 
considered only male journeys-an imagined fraternity, yet, ironically, one 
which repeatedly genders nations as female. As Annie, the narrator of Ana 
Historic, states about her historian husband, Richard: "he was dreaming 
without her in some place she had no access to." 
Marlatt and her narrator Annie explore the disruption and the erasure of 
maternal historywithin a paternal geneaology. Together they create new maps, 
new places in which to live, newways ofwriting history. They negotiate access, 
entry into the world, finding place for the woman writer giving birth to creative 
workin "a cold country." In Marlatt's essay "Entering In," she writes: "Looking 
back, i think that most ofmywriting has been avehicle for entryinto whatwas 
for me the new place, the new world" (1981: 219). 
Similarly, Annie's entry in to a new terrain is through the imagining and 
recreation of the story ofMrs. Richards, a historical figure with only a few lines 
recorded in the archival history of Vancouver. Annie's text forms a poetic 
narrative from bits and pieces of archival material, excerpts from The Tickler 
(the town's newspaper), official and unofficial writing Annie composes about 
Mrs. Richards; imaginary conversations between Annie and Ina, her mother. 
Within the patriarchal framework of Annie's/lna's/Mrs. Richard's life/lives, 
Annie imagines her historian husband's dismissive response to the disjunctive 
nature of her written text: 
"but what are you doing" I can imagine Richard saying, looking up 
from the pages with which he must confront his students over their 
papers: this doesn't go anywhere, you're just circling around the same 
idea-and all these bits and pieces thrown in-that's not how you use 
quotations. (Marlatt, 1988: 81) 
Women's writing in the revisionist sense ofMarlatt's book is embodied in 
the image of "'a woman sitting at her kitchen table writing'. . . as if her hand 
holding the pen could embody the very feel of a life (Marlatt, 1988: 45)" 
L'kcriture feminine in Ana Historic becomes a flow of red ink, the writing that 
emerges from the history of the interior life, marked with women's lifeblood 
and fluids, of menstruation, of labour, of giving birth. As Marlatt writes: "the 
mark of myself, my inscription in blood. i'm here. scribbling again" (90). This 
writing of the interior, becomes in Marlatt's text, a response to questions 
around the silences ofwomen, the absences ofwomen in history. The excision 
of women from history is aligned metaphorically with images of infertility, 
barrenness, and with the historical suppression of the childbearing body. 
"hystery. the excision of women (who do not act but are acted upon). 
66 1 Volume 4, Number 2 
Archives of  Desire 
hysterectomy, the excision ofwombs and ovaries by repression" (88). Marlatt's 
text attempts to respond to what would happen ifwomen were to write their 
own stories, in this blood-red ink. Ana Historic becomes a response to Ana' S 
question: " the silence of womedif they could speak/ an unconditioned 
language/what would they say?" (75). 
Ana becomes an acronym for the names of the three women-Annie, 
narrator, writer, voice; Annie's mother Ina; and Mrs. Richards (named Ana by 
Annie). Ana, ana-defined in the dictionary as that which can be reversed- 
a contradiction, a paradox-ana historic. Annie's research for her husband ends 
in her own research or a project of her own, a mapping, a creation of female 
genealogy, recovering and constructing self, rewriting a history in which the 
symbolic community embodies the cultural inheritances of mother to daughter 
to mother. Annie reflects: 
o the cultural labyrinth of our inheritance, mother to daughter to 
mother ... 
... hours of nothing slipped through their doors. bathrobe 
sleeping beauties gone in a trice, a trance, embalmed, waiting for 
a kiss 
to wake them when their kids, their men would finally come 
home. 
how peaceful i thought, how i longed for it. a woman's place. safe. 
suspended out of the swift race of the world. 
the monstrous lie of it: the lure of absence. self-effacing. 
(Marlatt, 1988: 24) 
As Foucault states, the genealogist reverses the practice of h i s to r ians  
"their pretension to examine things furthest from themselves." The genealogist 
must find sources for historical analysis "in the most unpromising places, in 
what we tend to feel is without history" (1977: 139-40). 
So the taskofthe genealogist is to explore silenced or subjugated knowledges. 
In this way, Annie givesvoice to the experience ofwomen, like the city mothers, 
who are not considered worthy of the books of history. By acknowledging the 
texts afthe body and denying traditional perceptions ofwomen's felt experience 
as unworthy or without history, Annie's project rejects the erasure ofwomen in 
"history's voice" (Marlatt, 1988: 48). She must engage in history, but she must 
read it and write it against the grain: 
she is writing her desire to be, in the present tense, retrieved 
from silence, each morning she begins with all their names. she 
has taught them to say, "present, Mrs. Fbchards, " and so, each 
morning she begins with her name, a name that is not really 
hers. each evening she enters her being, nameless, in the book 
Journal of the Association for Research on Mothering 1 67 
Rishma Dunlop 
she is writing against her absence. for nothing that that surrounds 
her is absent. far from it. (Marlatt, 1988: 47) 
i wasn't dreaming of history, the already 
made, but of making fresh tracks my own way ... 
(Marlatt, 1988: 98) 
Marlatt writes against the grain of the conventional novel, "making fresh 
tracks" her own way, against the conventions of the sentence: all of a sudden, 
floating on the page, the reader encounters-"a book of interruptions is not a 
novel" (Marlatt, 1988: 37). 
The novel begins with the question "Who's There?" As the narrative 
unfolds, Annie answers the question through a recovery of the semiotic, and of 
embodied experience, pushing against historical "fact," the "(Q" stop of act," the 
frame of perception in history. Annie learns to acknowledge the texts of her 
body, written and unwritten. Marlatt seems aligned with Julia Kristeva's (1987) 
notions of two elements of the signifying process, the semiotic and the 
symbolic, how we attach meaning to our world. The tensions between the 
- 
symbolic, as evident in everyday discourse, and the semiotic are found in the 
underlayers of human experience. This perception seems particularly relevant 
in Marlatt's narrative, considering the paradoxical nature of human existence 
and the social conditioning of the women to suppress expression and articula- 
tion of the semiotic. The inherent tensions and the variable relationships 
between semiotic and symbolic imply the fluidity, changeability, and constant 
process of human life and the attachment of meaning to that lifeworld. 
Annie renames herself Annie Torrent, a reference to the unleashing of 
female desire: "what does Soul, what does a woman do with her unexpressed 
preferences, her own desires?"' (damned up, a torrent to let loose). This 
releasing of desire disrupts and pushes against erasure and effacement in a 
paternal genealogy in which women cannot speak. Annie finally speaks. She 
finds her answer to 'Who's There?" as she finds a new communityin the lesbian 
romantic resolution of the novel. She finds the "country of her body," "mouth 
speaking flesh" that she longs for-to be "at home from the beginning" 
(Marlatt, 1988: 126-27). Annie names her desire for Zoe in a powerful 
challenge to traditional texts. Juxtaposed against the constructed history of 
AndMrs. Richards, the world she enters rejects the male-dominated history of 
colonization; she rewrites the images of vessels and ships, ofwomen's bodies 
emptied and filled with the seeds of patriarchy and the freight of empire. The 
body is written, spoken, salvaged in linguistic terrain in a map of an alternative 
historical path. In this genealogy for lost women, for the lost city mothers, 
Annie departs from "the solid ground of fact"(l1): 
sized up in a glance, objectified. that's what history offers, 
that's its allure, its pretence. 'history says of her.. .' but when 
68 1 Volume 4, Number 2 
Archives of Desire 
you're so framed, caught in the act, the (f) stop of act, fact- 
what recourse? step inside the picture and open it up. 
(Marlatt, 1988: 56) 
As cartographer and cryptographer, Annie discovers aplace, a community, 
in which the frame ofvision is opened up to new possibilities of representation 
for the articulation of women's experiences and desires. This new place in 
history is found not through appropriation or destruction, not by repeating 
history, but by creating something new. This new world acknowledges the 
search for ageography of the soul, a slipping into place that occurs as historical, 
archival "fact" is opened up to include the "ahistorical" undeniable text of the 
body, written and unwritten. In the emancipatory process that is writing, the 
body ceases to be a purely biological entity; it is socially inscribed, historically 
marked, psychically and interpersonally significant. As Mary Catherine Bateson 
states: 
Of all the texts that must be read to understand the human condition, 
the body is the most eloquent, for we read in all its stages and 
transitions a pattern that connects all human communities as well as 
differences that divide. People in different eras and places have read 
it differently, or made every effort to deny access to parts of the story, 
to its alternate readings, or to the wider learning that flows from it so 
it becomes the justification for mutual suspicion and for alienation 
from the natural world. (1994: 172) 
This suspicion of the female body is reflected in Marlatt's novel as a 
perception inherited by young girls from their mothers, linked to the education 
of girls and to ideals about how a feminine body is supposed to be. This 
suspicion becomes a paradoxical betrayal of biology mirrored in societal norms 
and perpetuated in linguistic inscriptions that label and constrain the female 
and maternal body: 
The sins of the mothers, hating our bodies as if they had 
betrayed us in the very language we learned at school.. . 
. . . words betraying what the boys 
thought of us. wounded or sick-you'll catch girl germs!- 
with a wound that bleeds over and over-"on the rag again," "got 
the curse," "falling of the roof." catastrophic phrases we used 
that equally betrayed us. handed down from friend to friend, 
sister to sister, mother to daughter. hand-me-downs, too small 
for what I really felt. (Marlatt, 1988: 62) 
In Marlatt's novel, women's writing through the body forms new commu- 
nity and new ways of perceiving "mothering." As Zoe tells Annie, "the real 
Journal oftbe Association for Research on Mothering 1 6 9  
history of women . . . is unwritten because it runs through our bodies: we give 
birth to each other.. . it's women imagining all that women could be that brings 
us into the world" (13 1). Marlatt's text returns the reader again and again to the 
question: "where are the city mothers?" 
-the truth is, you want to tell your own story. 
-and yours. ours. the truth is our stories are hidden from 
us by fear. your fear i inherited, mother dear. 
-the truth is, that's women's lot. it's what you learn to accept, 
like bleeding and hysterectomies, like intuition 
and dizzy s p e l l e d  the ways we don't fit into a man's world. 
(Marlatt, 1988: 79) 
Marlatt's text reminds me ofJulia Kristeva's "Stabat Mater; The Paradox: 
Mother or Primary Narcissism." Kristeva's text acknowledges the experience of 
the mother reflecting the continuing exploration with forms and representa- 
tions of language in text, exposing new kinds of discourse and possibilities for 
articulation of the women's experiences. Kristeva writes her text in columns, 
with personal, associative writing on one side, and more traditional academic 
discourse on the other, creating an interplay of texts that accepts the paradoxes 
of the mother's felt experiences: 
... formless, unnamable embryo.Epiphanies. 
Photos of what is not yet visible, and that 
language necessarily skims over from afar, 
allusively. Words that are always too distant, 
too abstract for this underground swarming of 
seconds, folding in unimaginable spaces. Writing 
them down is an ordeal of discourse, like love. 
What is loving for a woman, the same thing as writing. 
(1987: 234-235) 
Similarly, in Marlatt's text, Ana Historic: 
If only she could write it down, as if the words might 
make a place she could re-enter when she felt the need, 
when she forgot-what it was like to feel this complete. 
(1988: 40) 
Ana Historic is a novel that challenges and recreates histories "anew." 
Marlatt's work acknowledges innovative discursive forms and representations 
oflanguage in text that opens up new spaces for the embodiment and expression 
70 1 Volume 4 Number 2 
Archives of Desire 
of women's experiences. In the end, the new places for living in the world are 
found in the archives of the heart, in the terrain ofwomen's desire, in the new 
maps created on the skin of the earth. With Marlatt and her narrator, we begin 
to write/read against historical fact, questioning the "(f)act. the f stop of act. a 
still photo in the ongoingcinerama." As Annie states aboutworldevents: "these 
are not facts but skeletal bones of a suppressed body the story is (Marlatt, 1988: 
29)." Like Annie, the reader is invited to "step inside the picture and open it up." 
In order to create new geography and a new history for women, a "history. 
unwritten" (109), Marlatt opens the novel with the epigraph by Susan Griffin 
that asks us to locate our history in the body, to locate our "assemblage of facts 
in a tangle of hair." 
O n  the back cover of Ana Historic, Canadian writer George Bowering 
comments on the beauty of Marlatt's text. By challenging our notions of The 
Novel, tearing The Novel down, Boweringwrites: "What she has put up in its 
place is too beautiful to keep to oneself. Please read it. While you are at it, read 
it out loud. Make oral history." Indeed, Marlatt's text is a subversive, feminine 
map of sound, a lyric embodiment ofwomen's histories, and a poetic rewriting 
and revisioning of the notion of maternity and the suppressed and oppressed 
stories of maternity. This novel pushes at conventions of genre and text, 
blurring boundaries to create a fluid text, embodying a form ofwomen's writing 
that expresses and performs the writing of the body explored in the narrative. 
Marlatt moves us from the colonial narrative of the mother as "the vessel she 
is-(full)filling her destiny" (Marlatt, 1988: 118) to a reconceptualization of 
the maternal body a?: "mouth speaking flesh. she touches it to make it tell her 
present in this other language so difficult to translate. the difference" (126). 
So I close with oral history, reading aloud as I write, speaking with the final 
words of Ana Hirtoric, in Marlatt's imaginative, poetic words: 
we give place, giving words, giving 
birth to each other .... it isn't dark 
but the luxury of being has woken you, 
the reach of your desire, reading us into 
the page ahead. 
A n  earlier version of this article, titled 'IArchives oftbe Heart: The Poetics ofplace in 
Daphne Marlatt's Ana Historic," was presented by the author at The Western 
LiteratureAssociation Conference, Vancouver, British Columbia, October 14,1995. 
References 
Bateson, Mary Catherine. 1994. Peripheral Vision: Learning Along the Way. 
New York: Harper Collins. 
Bhaba, Homi. 1994. "Introduction: Locations of Culture." The Location of 
Journal ofthe Asrociation for Research on Mothering 1 71 
Culture. London: Routledge. 1-1 8. 
Foucault, Michel. 1977. "Nietzsche, Genealogy, History." Language, Counter- 
Memo y, Practice: SelectedEssays andInterviews With Michel Foucault. Ed. 
Donald F. Bouchard. Ithaca: Cornell University Press. 139-64. 
Kristeva, Julia. 1987. "Stabat Mater: Mother or Primaly Narcissism." Tales of 
Love. Translated by D. S. Roudiez. NewYork: ColumbiaUniversity Press. 
Marlatt, Daphne. 1995. Opening address. Western Literature Association 
Conference, October 12, Vancouver, British Columbia. 
Marlatt, Daphne. 1988. Ana Historic:ANovel. Toronto: Coach House Press. 
Marlatt, Daphne. 1981. "Entering In: The Immigrant Imagination." Canadian 
Literature 100: 219-224. 
72 1 Volume 4, Number 2 


Archives of Desire: Rewriting Maternal History in Daphne Marlatt's Ana Historic

Aneja, Anu

My Mother and I

Downe, Pamela J.

Inventing Maternity: Politics, Science and Literature, 1650-1865

Kranz, Karen C.

Daniluk, Judith  C.

We’ve Come a Long Way Baby - Or Have We? Contextualizing Lesbian Motherhood in North America