*'The Republic of Motherhood' Winner of the Forward Prize for Best Single Poem* ‘I crossed the border into the Republic of Motherhood and found it a queendom, a wild queendom.’ In this bold and resonant gathering of poems, Liz Berry turns her distinctive voice to the transformative experience of new motherhood. Her poems sing the body electric, from the joy and anguish of becoming a mother, through its darkest hours to its brightest days. With honesty and unabashed beauty, they bear witness to that most tender of times – when a new life arrives, and everything changes.

*'The Republic of Motherhood' Winner of the Forward Prize for Best Single Poem* ‘I crossed the border into the Republic of Motherhood and found it a queendom, a wild queendom.’ In this bold and resonant gathering of poems, Liz Berry turns her distinctive voice to the transformative experience of new motherhood. Her poems sing the body electric, from the joy and anguish of becoming a mother, through its darkest hours to its brightest days. With honesty and unabashed beauty, they bear witness to that most tender of times – when a new life arrives, and everything changes.

Women of the Republic views the American Revolution through women's eyes. Previous histories have rarely recognized that the battle for independence was also a woman's war. The "women of the army" toiled in army hospitals, kitchens, and laundries. Civilian women were spies, fund raisers, innkeepers, suppliers of food and clothing. Recruiters, whether patriot or tory, found men more willing to join the army when their wives and daughters could be counted on to keep the farms in operation and to resist enchroachment from squatters. "I have Don as much to Carrey on the warr as maney that Sett Now at the healm of government," wrote one impoverished woman, and she was right. Women of the Republic is the result of a seven-year search for women's diaries, letters, and legal records. Achieving a remarkable comprehensiveness, it describes women's participation in the war, evaluates changes in their education in the late eighteenth century, describes the novels and histories women read and wrote, and analyzes their status in law and society. The rhetoric of the Revolution, full of insistence on rights and freedom in opposition to dictatorial masters, posed questions about the position of women in marriage as well as in the polity, but few of the implications of this rhetoric were recognized. How much liberty and equality for women? How much pursuit of happiness? How much justice? When American political theory failed to define a program for the participation of women in the public arena, women themselves had to develop an ideology of female patriotism. They promoted the notion that women could guarantee the continuing health of the republic by nurturing public-spirited sons and husbands. This limited ideology of "Republican Motherhood" is a measure of the political and social conservatism of the Revolution. The subsequent history of women in America is the story of women's efforts to accomplish for themselves what the Revolution did not.

Selected as One of the Best Books of the Year by: National Public Radio, Esquire, Bustle, Refinery29, Thrillist, Electric Literature, Powell's, Autostraddle, BookRiot, Women.com "Smart, funny, and true in all the best ways, this book made me ache with recognition." -- Cheryl Strayed A raw, funny, and fiercely honest account of becoming a mother before feeling like a grown up. When Meaghan O'Connell got accidentally pregnant in her twenties and decided to keep the baby, she realized that the book she needed -- a brutally honest, agenda-free reckoning with the emotional and existential impact of motherhood -- didn't exist. So she decided to write it herself. And Now We Have Everything is O'Connell's exploration of the cataclysmic, impossible-to-prepare-for experience of becoming a mother. With her dark humor and hair-trigger B.S. detector, O'Connell addresses the pervasive imposter syndrome that comes with unplanned pregnancy, the fantasies of a "natural" birth experience that erode maternal self-esteem, post-partum body and sex issues, and the fascinating strangeness of stepping into a new, not-yet-comfortable identity. Channeling fears and anxieties that are still taboo and often unspoken, And Now We Have Everything is an unflinchingly frank, funny, and visceral motherhood story for our times, about having a baby and staying, for better or worse, exactly yourself.

Nelly Roussel (1878–1922)—the first feminist spokeswoman for birth control in Europe—challenged both the men of early twentieth-century France, who sought to preserve the status quo, and the women who aimed to change it. She delivered her messages through public lectures, journalism, and theater, dazzling audiences with her beauty, intelligence, and disarming wit. She did so within the context of a national depopulation crisis caused by the confluence of low birth rates, the rise of international tensions, and the tragedy of the First World War. While her support spread across social classes, strong political resistance to her message revealed deeply conservative precepts about gender which were grounded in French identity itself. In this thoughtful and provocative study, Elinor Accampo follows Roussel's life from her youth, marriage, speaking career, motherhood, and political activism to her decline and death from tuberculosis in the years following World War I. She tells the story of a woman whose life and work spanned a historical moment when womanhood was being redefined by the acceptance of a woman's sexuality as distinct from her biological, reproductive role—a development that is still causing controversy today.

In the latest body of work by author and photographer Claiborne Swanson Frank, the artist set out to explore what modern motherhood means in the 21st century. Turning her lens on 70 iconic families of mothers and children from such celebrated names as Delfina Figueras, Carolina Herrera, Lauren Santo Domingo, Anne Vyalitsyna, Aerin Lauder, and Patti Hansen, Swanson Frank’s stunning portraits capture the emotional bonds and beauty that frame the primal relationship of a mother and her child. Complementing her work is a series of questions-and-answers, in which Swanson Frank delicately tasks each mother to look within themselves and express what being a mother truly means to them. Their answers, while exceedingly thoughtful and introspective, are also amusing, fascinating, and moving. Each one of these deeply intimate and stunning portraits will captivate and inspire readers as they embark on this profound journey that reminds us all of the power of motherhood and the great gift of love.

WINNER OF THE FORWARD PRIZE BEST FIRST COLLECTION 2014 *PBS Recommendation 2014* ‘When I became a bird, Lord, nothing could not stop me...’ In Black Country, Liz Berry takes flight: to Wrens Nest, Gosty Hill, Tipton-on-Cut; to the places of home. The poems move from the magic of childhood – bostin fittle at Nanny’s, summers before school – into deeper, darker territory: sensual love, enchanted weddings, and the promise of new life. In Berry’s hands, the ordinary is transformed: her characters shift shapes, her eye is unusual, her ear attuned to the sounds of the Black Country, with ‘vowels ferrous as nails, consonants / you could lick the coal from.’ Ablaze with energy and full of the rich dialect of the West Midlands, this is an incandescent debut from a poet of dazzling talent and verve.