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  • Monique Alice 5:00 pm on 2016/11/16 Permalink
    Tags: , homegoing, ,   

    Feminist Book Club: Homegoing, by Yaa Gyasi 

    Welcome to Feminist Book Club! FBC is a monthly column in which we explore written works through a feminist lens. Each post features one book and announces the pick for the following month’s post. We cover everything from essay collections to novels, and from memoirs to plays. This column is meant to be inclusive of all gender identities and features works from many different perspectives. FBC also aims to present an intersectional view of feminism, meaning that race, ability status, sexual orientation, and many other factors are considered alongside gender issues. We hope you will read along and share your thoughts in the comments!

    This month’s FBC selection is Homegoing, by Yaa Gyasi. This epically ambitious debut novel follows two divergent lines of one African Gold Coast family. In the 18th century, sisters Effia and Esi are destined to live very different lives. Effia is made to marry an English slave trader, while Esi is captured and sold into slavery herself. The story of each woman’s descendants through the ensuing two centuries is the story of the slave trade itself and the resulting generations-long oppression of African-Americans.

    The novel is artfully crafted in that it functions more like a series of interwoven short stories than a single account. No sooner does the reader get to know and like one character than that character is swept into the author’s swiftly moving river of history, the narrative picking up in the next chapter 10, 20, or 40 years downstream. Despite the continual time-hopping, the saga feels deeply cohesive. Gyasi’s rendering of the ravages of colonialism painstakingly illuminates the depth of the scars passed down through the generations. Indeed, the novel’s heart-searing journey through time is perhaps its most ambitious and most effective attribute. Through it, the reader gets the barest taste of the sheer volume of lives upended by colonialism through the ages—the women raped, the children stolen for labor, the men worked half to death and often beaten the rest of the way there. Homegoing pulls no punches in its portrayal of America’s origins. Despite our modern discomfort with this fact, we are a nation built in large part on theft, abuse, rape, and murder—and the book makes the compelling case that we’d do well not to forget it.

    Gyasi deftly weaves the subtle evils of black oppression into her characters’ stories. Through their eyes, we see the thick root structure of a powerful system designed to exploit and subjugate. The colonists’ Eurocentric Christian worldview enabled them to lay waste to entire cultures in honor of the White Man’s Burden. Their unshakeable sense of superiority gave rise to a racism that would embed itself deeply into American culture, becoming internalized in the psyche of even the oppressed themselves. We see a long and gruesome tradition of black bodies treated as capital—in essence, human beings reduced to livestock on the basis of cultural and phenotypic traits. Gyasi shines a bright light on the diverse manifestations of this tradition throughout history. We see the white American’s commitment to exploitation of the African-American shifting shape through the decades—from slavery, to mass incarceration and forced labor, to Jim Crow, to forced migration, ghettoization, segregation, redlining, the crack epidemic, and the list goes on.

    The novel considers gender-based oppression alongside racial oppression. We see the particularly gut-wrenching ways in which black womanhood has been commodified and fetishized throughout history. Gyasi sharply juxtaposes the indignities suffered by black women with the sanctity and reverence often shown them in many African tribal cultures. Lest the narrative appear to be unfairly glossing over a harsh truth, however, it is equally unflinching with respect to its portrayal of the paradoxical oppression of women within those tribal cultures.

    To be sure, Homegoing cannot be accused of sugar-coating history. At times, there seems more sorrow and injustice on every page than the reader can meaningfully comprehend. However, each time it seems as though hope is lost and readers’ hearts will break in two in their chests, Gyasi gives us a glimpse of the unbendable iron in the backbones of her characters. The human beings depicted in her story are so finely wrought, so palpable in their hope, and anguish, and courage as to seem indomitable. The book itself is a clear homage to this bravery of spirit and defiance in the face of terrifying power. So many African-Americans’ family trees have been split, severed, or obscured from the view of history. Homegoing is a refusal to accept a whitewashing of the suffering of black people. It is an insistence on the truth—a poignant reclaiming of a narrative too often wrenched away from its rightful owners. At its heart, Homegoing is an embodiment of the unending fight for justice for a people too long denied the right to author their own stories.

    Next month’s selection: Men Explain Things to Me, by Rebecca Solnit

    The post Feminist Book Club: Homegoing, by Yaa Gyasi appeared first on Barnes & Noble Reads.

     
  • Monique Alice 2:00 pm on 2016/10/13 Permalink
    Tags: , , sady doyle, trainwreck: the women we love to hate mock and fear...and why   

    Feminist Book Club: Trainwreck: The Women We Love to Hate, Mock, and Fear…and Why 

    Welcome to Feminist Book Club! FBC is a monthly column in which we explore written works through a feminist lens. Each post features one book and announces the pick for the following month’s post. We cover everything from essay collections to novels, and from memoirs to plays. This column is meant to be inclusive of all gender identities and features works from many different perspectives. FBC also aims to present an intersectional view of feminism, meaning that race, ability status, sexual orientation, and many other factors are considered alongside gender issues. We hope you will read along and share your thoughts in the comments!

    This month’s selection is Sady Doyle’s Trainwreck: The Women We Love to Hate, Mock, and Fear…and Why. This is the first book from Doyle, but she is no newcomer to the world of pop culture feminist critique. Since founding the blog Tiger Beatdown in 2008, Doyle has contributed regularly to Buzzfeed, The Guardian, The Atlantic, Slate, and a host of other online outfits. With Trainwreck, Doyle showcases her keen insight into the mob mentality that drives the rise and fall of women in culture.

    From Doyle’s perspective, a trainwreck is the public spectacle of a famous woman who starts out a darling of the media, and, somewhere along the line, becomes a pariah. If you’ve been following the info-tainment news of the past 15 years, the trainwreck phenomenon is a familiar one. From Lindsey Lohan to Amanda Bynes, our popular consciousness has been steeped in trainwrecks for the whole of recent memory. Due to the seemingly sudden ubiquitousness of trainwrecks, one might be tempted to consider them a 21st century phenomenon. Sady Doyle would beg to differ. Doyle makes clear that the public downfall of famous women is as old as the hills, and, sadly, shows no signs of declining any time soon.

    Doyle profiles a series of historical figures who have exemplified the trainwreck story throughout the ages. Two particularly instructive cases are those of Mary Wollstonecraft and Harriet Jacobs. Wollstonecraft is best known as the author of The Vindication of the Rights of Woman, that incredibly formative treatise that has become a mainstay of Women’s Studies classes everywhere. Many readers will be shocked to know that, in her own time, Wollstonecraft was hardly celebrated. As a single mother who challenged the status quo of women as passive receptacles for desire and bearers of children, she was lambasted as a promiscuous and radical lunatic. Harriet Jacobs was a 19th century slave who was educated before it was illegal for slaves to read and write. She published a hotly debated account of the violent injustices she endured as an enslaved woman, and was excoriated by some and lauded by others. Her account was a driving force in the abolitionist movement, and a death knell to any narrative that professed slaves were “content” in slavery. Surprised that you’ve never heard of Jacobs? You won’t be after you read Doyle’s book. One of her chief points is that the public’s perception of famous women turns on a dime. By definition, a trainwreck’s fate is in the hands of society’s whims—a woman can go from saint to sinner, from the news of the day to history’s castaway in the blink of an eye.

    With her in-depth look at the pop princesses of our era, Doyle paints a heartrending picture. From  Whitney Houston to Miley Cyrus, Doyle outlines the typical progression of a trainwreck. First, we crown an (often painfully young) woman as a pop idol. In order to be suitable for this position, she must be virginal, but she must also be a temptress. She must be a “good girl,” but not so good that she can’t convincingly be an object of sexual desire. Nowhere is this paradox more clearly outlined than in Doyle’s portrayal of Britney Spears. Doyle reminds readers that Spears was a mere 17 years old when Rolling Stone ran a feature that referred to Spears’ “honeyed” thighs. Doyle casts an unforgiving spotlight on Britney’s arc that illuminates the forces that drove the Spears machine. From her management team to her record company stockholders, many adults were driving the train that eventually hit Brit. The poor kid was exactly that—a naive young child star from a conservative background who was made into an adult man’s illicit fantasy by a team of mostly comprised of (you guessed it) adult men. Of course, Britney eventually did what all teen starlets do—she grew up. The girl whose brand was built on virginity was on a collision course with adulthood and with it, sex. Perhaps unsurprisingly, Britney’s stock began to plummet as soon as it hit the news that she had actually (gasp!) had sex. As if that weren’t bad enough, it was discovered that she partied, and made some poor decisions, and did all of the other things that your average young woman does as part of her entrance into adult life. Now, if you take that average young woman and give her an unlimited budget, surround her with an entourage of people who may or may not have her interests at heart, and unleash a 24-7 mob of paparazzi on her who are hungry for any misstep, how might she react? If you said, “I don’t know, she might freak out and start doing drugs and behaving erratically,” you are correct! She just might.

    Britney’s story is just one in a sea of others through which Doyle shows how we treat famous women who are struggling. Whether they are suffering from depression, addiction, or other mental illness, we are all too ready to write them off as national jokes. Never mind that our voracious appetite for their sexuality, their beauty, and their imperfections and stumbles are likely to have played some part in creating that suffering. We collectively quiver with anticipation as the train barrels down the tracks, and giggle gleefully as the carnage ensues. Then, to add patronizing insult to grievous injury, we often draw the poor wrecked woman (or her memory, as the case may be), back into the fold of public adoration. It’s no longer cool to make fun of Britney, in case you didn’t get the memo. Also, remember Amy Winehouse? We tortured her while she was alive for her addictions and her ugly, abusive relationships, but as soon as she died, she became a veritable angel—a paragon of talent, ripped away from us all too soon through no fault of our own. Well, Sady Doyle is not about to let us get away with that faulty narrative so easily.

    Indeed, Doyle asks readers, particularly women readers, to challenge ourselves to uncover our own culpability in trainwreck culture. She bids us to ask ourselves why—what is it that we gain from pitying Billie Holiday and dismissing Sylvia Plath, while glorifying Jackson Pollock and deifying David Foster Wallace? How can we laugh at Whitney’s Diane Sawyer “Crack is whack” interview and then cry at her funeral? Readers can judge for themselves, but Doyle makes a strong case for those old oppressive dynamics of victim-blaming and patriarchal bargaining as the twin culprits. If we blame the trainwrecks, we afford ourselves the illusion that was has happened to them can never happen to us—that our integrity, intelligence, and confidence can never be stripped away as punishment for the crime of being imperfect. If we align with the patriarchal forces at the root of other women’s oppression, then we can, momentarily at least, benefit from some of their effluent power.

    It’s a fallacy, of course. In the words of Audre Lorde, “I am not free while any woman is unfree, even when her shackles are very different from my own.” Doyle shows us that we have so very much to gain by rejecting trainwreck culture—and shows us that such is indeed a viable choice. We can refuse to participate in the public shaming of women for any reason. Whether they are women we know or women we don’t know, whether we condone their behavior or not—we can simply decline to play the game in favor of respect for one another’s humanity. In exchange, we can be affirmed in the knowledge that we all have a right to be thinking, feeling, imperfect humans. We can remember with certainty that we are not ornaments or blank slates on which others can etch either their fantasies or their hatred, depending on their mood. We are people who have our own thoughts, opinions, and desires. And, like all people, we have the right to screw up royally and not be publicly whipped for it. In short, we have the right to be respected, and left alone if we choose. If some women in our culture (like, say, celebrities), do not have this these rights, then none of us have them.

    Next month’s selection: Homegoing, by Yaa Gyasi

    The post Feminist Book Club: Trainwreck: The Women We Love to Hate, Mock, and Fear…and Why appeared first on Barnes & Noble Reads.

     
  • Monique Alice 4:30 pm on 2016/09/21 Permalink
    Tags: fiona davis, john hart, , noah hawley, shari lapena, , whodunnits   

    6 Cozy Mysteries for Sweater Weather 

    Well, everyone, Labor Day has come and gone—and you know what that means. If you look closely, you can begin to see a tinge of autumn on the edges of the leaves. Sweater season is nearly upon us, and before we know it, it’ll be far too chilly to do anything besides curl up on the couch with a mug of something hot and one of the mysteries below. Better be safe and stock up now—you never know when an early blizzard could hit.

    Iron House, by John Hart
    Brothers Michael and Julian grew up at Iron House for Boys, a menacing old monolith buried deep in the Carolina mountains. Their past was shrouded in mystery, and they clung to each other for survival in a harsh world of bullying and abuse. When a bully ends up dead, one brother takes the blame and the boys are separated. Years later, their very different paths cross again—and again, death seems to follow the brothers wherever they go. Desperate for a fresh start, Michael is torn between whether to protect his brother or the woman he loves. The two brothers must dig deep into their past to solve the mystery of where they came from. Only then will they be able to stop a present-day killer on the hunt for revenge.

    The Couple Next Door, by Shari Lapena
    When Anne and Marco Conti’s babysitter cancels at the last minute, they decide to leave their infant daughter, Cora, in her crib while they make an appearance at a neighbor’s party. To their horror, they return home to find Cora missing and suspicious tire tracks marring the driveway. Police are befuddled by the couple—as devastated as they seem, their stories don’t seem to entirely add up. Detectives Jennings and Rasbach will have to work overtime to crack the case if they want to bring little Cora home safely.

    Death on the High Lonesome, by Frank Hayes
    Sheriff Virgil Dalton’s little Southwestern town of Hayward used to be a nice, quiet place to live. Lately, though, people in Hayward keep turning up dead. First, Deputy Jimmy Tillman is badly injured by a body falling from a highway overpass. Then, an elderly woman reports her husband missing—and Virgil’s office manager shows up just in time to find her dead. To get to the bottom of the whole mess, Virgil sets out on horseback for the eerie High Lonesome mountain range. The cowboy lawman will need all of his skills to bring a killer to justice.

    Before the Fall, by Noah Hawley
    When a late-night charter flight from Martha’s Vineyard to New York goes down, passenger Scott Burroughs manages to rescue four-year-old JJ from the wreckage and swim for shore. The media frenzy of hero-worship that ensues weighs heavily on Scott’s survivor’s guilt, and he struggles to make sense of what has happened along with the rest of the nation. Through a series of cleverly woven flashbacks, we learn that nearly every passenger aboard had a dark past and something to hide. By the stunning conclusion, it becomes clear whether it was terrorism, mechanical failure, or good-old-fashioned revenge that sealed the fate of the flight that never made it home.

    The Trespasser, by Tana French
    The newest installment of the Murder Squad series focuses on Detective Antoinette Conway, who is the victim of unending department harassment despite her stalwart dedication to the job. When a beautiful young woman turns up dead in her pristine flat at a table set lovingly for two, some detectives on the Murder Squad feel the case is open and shut. Conway, however, has a sickening sense that there is more to the story—a sense that is confirmed by a dark figure lurking on the edges of the victim’s life. As the pressure to solve the case builds, so does the tormenting of Antoinette Conway—and the nail-biting climax that ties it all together.

    The Dollhouse, by Fiona Davis
    In the 1950s, the famous Barbizon Hotel for Women housed New York’s aspiring models and it-girls of the day. On the hunt for a good story, present-day journalist Rose becomes captivated by the grisly 1953 death of the resident maid, Esme. Hoping to solve the mystery of Esme’s death once and for all, Rose moves in with longtime Barbizon fixture Darby, whom she soon learns may know more about Esme’s demise than she is willing to let on. Through artful juxtaposition of the modern era with the glamor of the 1950’s, the story weaves an intricate web of intrigue and deception through the decades. It seems certain that Rose will uncover who killed Esme—but will she get more than she bargained for in the process?

    What mysteries will you be cozying up with this fall?

    The post 6 Cozy Mysteries for Sweater Weather appeared first on Barnes & Noble Reads.

     
  • Monique Alice 4:00 pm on 2016/09/15 Permalink
    Tags: , poetry we love   

    7 Feminist Poetry Collections that Empower and Inspire 

    For centuries, the world’s most embattled social and political movements have expressed themselves in part through poetry—and feminism is no different. The poetry collections below give us a window into the quiet, solitary moments of some of the modern era’s leading feminist voices. By turns fearless, intimate, wry, and laugh-out-loud funny, these collections will strengthen your soul and inspire you to celebrate your own experience.

    Milk and Honey, by Rupi Kaur
    There has been a resurgence of interest in feminist poetry of late, thanks in part to this gripping collection of poems from newcomer Rupi Kaur. This New York Times bestseller is filled to the brim—not only with Kaur’s vivid prose, but with her own captivating illustrations as well. Her narrative tells of the pain of loss and the elation of triumph, capturing in finely wrought detail the experience of being a young woman in today’s world. Kaur’s collection is sure to be a staple on both nightstands and syllabi for years to come.

    The Collected Poems of Audre Lorde, by Audre Lorde
    Equal parts rage and tenderness, the work of Audre Lorde defies neat categorization. That fact should come as no surprise, however, since Lorde herself was the very same way. The self-proclaimed “black lesbian mother warrior poet” was uniquely qualified to rail against the racism, sexism, homophobia, and general marginalization that burdened her life until her death from cancer in 1992. This collection of over 300 of her most poignant poems is an essential addition to every feminist’s bookshelf.

    The Dream of a Common Language, by Adrienne Rich
    With a career that has spanned seven decades, Adrienne Rich may be the most prolific of feminist poets. When she began writing in the 1950s, her work was described as excellent, but a tad on the formal and decorous side (in one instance, Rich herself was described as “a polite copyist of Yeats”). As her life unfolded throughout the ‘60s and ‘70s against the backdrop of The Women’s Movement, her work began to reflect the radical and chaotic brilliance of the time. Published in 1978, The Dream of a Common Language is considered by many to be the quintessential collection of Rich’s work at its most iconic. The poems in this collection are wildly original, showcasing Rich’s willingness to bend the rules of both language and decorum to their breaking point in the service of a fearless exploration of what is means to be a woman, a mother, and a fighter for freedom.

    Teaching My Mother How to Give Birth, by Warsan Shire
    In 2011, a little-known Somali-born London-based young woman released a collection of poems that set the Internet ablaze. The poet’s popularity has only grown since then, especially since she was featured prominently in Beyonce’s 2016 visual album, Lemonade. It’s easy to see why the Queen Bey is a fan—Warsan Shire’s style of writing cuts straight to the heart. No matter if you’re lucky enough to have never set foot inside a war zone, you will smell the carnage and feel the fear in your veins. If it’s been a while since you’ve fallen in love, your heart will swell in your breast and your fingertips will ache for the person whose name is written on your heart. London’s first Young Poet Laureate’s work reminds us that, come war or terror, oppression or heartbreak—the only true defeat lies in the crushing of the human spirit.

    Phenomenal Woman: Four Poems Celebrating Women, by Maya Angelou
    There is no greater ode to the experience of womanhood than Maya Angelou’s famous poem, “Phenomenal Woman.” An icon of American literature, Angelou’s words feel especially powerful when they line the page in verse. Her poetry is ripe with the fruit of a lifetime of soul-crushing sorrow and heart-melting joy. Although she didn’t always align perfectly with The Women’s Movement, Angelou was a lifelong warrior against oppression of every kind. When the patriarchy’s got you down, there is no stronger medicine than the poems in this volume. They help us remember that our true ills are hate, fear, and ignorance, and they can only be cured with love, courage, and understanding.

    The Collected Poems, by Sylvia Plath
    One simply cannot talk about feminist poetry without talking about Sylvia Plath. Plath may be best known for her tragic novel The Bell Jar, but the genius of her poetry is second to none. Published posthumously, The Collected Poems received the Pulitzer Prize for Poetry in 1981. Haunting, lyrical, sad—these are words that we think of when Plath’s name comes to mind, and they are apt descriptions for The Collected Poems. However, this volume is also reverent, fiery, and even joyous at times—eschewing the caricature of Plath as one-dimensional tragedy and enabling a celebration of the full range of her humanity.

    The World’s Wife, by Carol Ann Duffy
    If you’ve never heard of Carol Ann Duffy, your world is about to get bigger. Duffy earned the title of Britain’s Poet Laureate in 2009, and was, somehow, the first woman and the first openly gay poet to grace the position. (Can we say double-win for feminists everywhere?) As is befitting of a laureate, Duffy’s entire oeuvre is mind-bogglingly good—but The World’s Wife is a particular darling of fans and critics alike. The most probable reason for this is that it is hilarious. Through poetry, Duffy reimagines the narratives of classic tales from a woman’s decidedly non-passive point-of-view. From Penelope to Mrs. Quasimodo to Queen Herod, these women all have something to say, and it’s usually something that makes you laugh out loud. Duffy takes up the battle cry of feminists everywhere—that women are not just the world’s wives (and mothers, and daughters, and sisters, and best supporting actresses). We are human beings who are living our own stories—whether or not they fit into the patriarchy’s storyline.

    What are your favorite feminist poetry collections?

    The post 7 Feminist Poetry Collections that Empower and Inspire appeared first on Barnes & Noble Reads.

     
  • Monique Alice 12:40 pm on 2016/09/06 Permalink
    Tags: , , bnstorefront-oprah, glennon doyle melton, , , ,   

    Oprah Names a New Nonfiction Book Club Selection 

    Glennon Doyle Melton has unleashed a memoir of epic proportions with Love Warrior. This is the latest book from the Internet sensation, who, since beginning her blog in 2009, has steadily asserted herself as the online voice of an entire generation of mothers. After gaining a groundswell of popularity through her funny, relatable, and vulnerable blog, Melton published her first book, Carry On, Warrior: The Power of Embracing Your Messy, Beautiful Life, in 2014. The book shot to the top of bestsellers’ lists and received loads of acclaim from everyone from Brené Brown to Meredith Vieira. Two short years later, Love Warrior seems destined to surpass its predecessor, having already earned the honor of Oprah’s Nonfiction Book Club selection.

    In Love Warrior, Melton devotees will recognize her trademark blend of warmth, honesty, and unflinching truth. Where Carry On, Warrior centered mostly on motherhood, Love Warrior turns its focus onto marriage and what it means for two people to build a life together. Between her ex-model husband, three beautiful children, and a writing career that was rocketing through the stratosphere, Melton’s life and marriage looked picture-perfect. But, as she shares in Love Warrior, she was struggling underneath it all to truly know herself and the man to whom she’d been married for over a decade.

    The simple version of Love Warrior is: husband cheats, wife embarks on a quest to find herself. The real story, however, is so much deeper than that. In an attempt to make sense of her present, Melton circles back to her past. She begins with her near-perfect childhood, goes on to an adolescence pockmarked with self-doubt, and lands in a young adulthood besieged by bulimia, alcoholism, and vacant, soul-crushing sex. She leads us by the hand through the darkest hours of her life, when even her parents seemed ready to wash their hands of her and her priest treated her with derision.

    Melton is so completely honest in the rendering of her own desperation and self-disdain that the reader is struck with a yearning to climb through the page and lead her by the shoulders to a warm place and a hot meal. Her rock bottom is palpable—striking in its wretchedness, yet still relatable. Glennon Doyle Melton did not fit many people’s idea of a lost soul; she never sold her body for drugs, she wasn’t homeless, and she always held down a job. Melton is also purposeful in outlining her picket-fence childhood and uneventful, albeit painful, teen years. She seems to say pointedly that there is no easy origin story for her personal demons—nor was she, at her worst, a caricature of a person run off the rails. From the outside looking in, she appeared to be a perfectly functional, intelligent, attractive young woman with a loving family and a good education. Inside, though, she was drowning in pain, loneliness, terror—that moonshine-and-motor-oil cocktail that is the dark side of being alive.

    All of that changed on Mother’s Day, 2001, when Melton found herself staring down the barrel of a positive pregnancy test. Facing the prospect of motherhood, Melton chose to look her demons squarely in the eye for the first time. She began the long, hard road toward recovery from bulimia and alcoholism, and she and her then-boyfriend made the decision to wed and start their family. Through the intervening years, Melton paid her dues on the altar of mommy-dom—as anyone who has read her blog can attest. She and her husband were like so many couples with young children—two ships in the night, volleying babies and poopy diapers and soccer carpool schedules, often without making direct eye contact. It was a struggle, sure—but one in which the dividends far outweighed the cost. Until, that is, Melton’s husband dropped the bomb on her: he had been sleeping with other women.

    In the wake of this truth-telling, Melton doubles back to the work of self-discovery that had previously saved her from the trenches of despair. She digs deep, sparing nothing and no one from the high-powered beam of her soul searchlight. During the ensuing journey, she learns that she and her husband have each run from pain in their own unique ways. She learns about how she has continued to avoid the terrifying depth of her emotions—no longer through food or alcohol, perhaps, but through a simple failure to be present with herself and the ones she loves the most. Like a child learning how to walk, Melton sets out on unsteady legs to reclaim her life. She seeks healing and solace from community, family, and, most of all—from her true self. 

    More than simply a memoir about marriage, Love Warrior is what the title suggests: a manifesto for a fight. It is a fight that so many of us will face—against addiction, against fear, and against the desire of a wounded soul to protect itself by shutting out the light. Glennon Doyle Melton reminds each of us that we have, deep inside, a soldier who will fight for hope, for truth, and for love—if only we are brave enough to invite her into the world.

    Love Warrior is on shelves now.

     
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