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Untitled — By Adam Germain

あそこ何 asoko nani what exists out there

宇宙の秘密 uchuu no himitsu secrets of the universe

何もない nani mo nai nothing is out there

 

 

春初め haru hajime beginning of spring

青春終わり seishun owari springtime of youth is ending

星に行く hoshi ni iku head off to the stars

 

なぜがいるか naze ga iru ka why do I exist?

空中見える sora naka mieru in the sky it can be seen

意味がない imi ga nai there is no meaning

 

偽の友

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nise no tomo a sham of a friend

尊重はうそ sonchou wa uso your respect was just a lie

死去が来た shikyo ga kita (our) death(s) have arrived

An Excerpt from “Real? : An Analysis of Phillip K. Dick’s Do Androids Dream of Electric Sheep” — By Ryan Davis

After a series of life-changing events cause him to reevaluate his basic worldview, Rick Deckard comes towards a very interesting conclusion by the end of the book (Dick 606). Finding a frog, he briefly gets excited that he could have a living pet as he always wanted, but he soon learns that it is mechanical. However, rather than be crushed by this discovery, he embraces it. He decides that he wants to care for the mechanical creature anyway, and in doing so completely breaks out of the capitalist cycle that had been dominating his world. He knows that there is practically no difference between the mechanical frog and a real frog, and ultimately decides that he’s okay using the mechanical one instead. Through this decision, Rick Deckard makes it impossible for his decisions to be manipulated by anything in the story, because he’s decided that he doesn’t need something to be practical, universally popular, or even real for him to be confident in believing in it. This runs rather counter to the standard Marxist idea that love of objects is what will allow for the classes of the economy to be manipulated. Typically, it is understood that Marxist studies “…[follow] Marx in defining commodity fetishism as a force that instills life into inanimate objects by endowing them with the vitality of human relations; the paranoia that this process generates becomes a necessary condition of postmodernity,” (Enns 68). However, with this new development, Deckard is able to fetishize whatever commodity he wants without being tied down to following the leader. Enns later argues that “…paranoid schizophrenics and androids become interchangeable in Dick’s works because they are both figures of hybridity that “are associated with unstable boundaries between self and world,” (Enns 68). By this, he continues the theme of reality as being an unimportant detail in life. There’s no reason for Deckard to keep buying into whatever the corporations want him to.

This is also explored in the character of Mercer. A popular religion, Mercerism asks people across the world to fuse with this suffering man in order to connect humans on a level we all understand: overcoming great obstacles, even in death. One of the twists of the novel involves Rick Deckard discovering that Mercerism is a completely staged and fake set up, and is completely a government creation. In theory, this would render the whole religion pointless, and make any and all time invested in the system a complete waste. Mercer convinces Deckard, however, not to see it that way. Mercer argues that if you agree with the ideas behind the religion anyway, then there’s no reason you shouldn’t keep on believing in it. It doesn’t matter if it’s real or not, that isn’t the point. The point is that the message, or that idea, or that animal that a person wants to own so bad. If the real thing and the fake thing are truly indistinguishable, than there is no reason to select one over the other beyond simple convenience. Mercerism allows humans to all share an experience of the most intense emotions on the spectrum, as Mercer climbs up that hill towards his death. There is shown to be real merit in people having this kind of strong connection to each other. If this is the case, then Dick seems to be arguing that people should just take part in it all anyway, especially if it makes the world a better place (Dick 580).

According to Jill Galvan, “Do Androids Dream tells the story of one individual’s gradual acceptance of these changing parameters,” (Galvan 414). There could be no greater explanation of

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the point of this story. It forces Rick Deckard’s mind to open up to new possibilities. It changes his perspective. It makes him understand that he doesn’t have to be a simple sheep following the masses, under the rule of his corporate masters. He can break off and do his own crazy thing, and in many ways, that’s the best thing for him to do. His new perspective comes with liberation and freedom. A great deal of responsibility comes with it, of course, as the danger of completely detaching from society and becoming a non-factor is entirely possible. But this world is so depressed; it’s like this might even be what Rick Deckard wants. To just exist somewhere else, not having to stay all caught up in the crazy trends of his human brothers and sisters, but rather

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to control his own choices based on what personally works best with him seems to be the goal he wants the most out of life by the end. This novel has many, many layers of fictional re-invention going on, but it all comes to a single point at the very end. Ultimately, there’s just something fantastic about the difference between the real and unreal, and we just can’t understand it. We just need to accept it.

A Deleted Scene from Steve Harmon’s debut film Monster — By Amanda Burch

Warning: The following material is rated PG-13 for violence and minor sexuality.

 

Scene: The interior of a jail cell. It is dark; faint moonlight comes from a high window. It illuminates the room enough for us to see the shabby mattress with its tattered blanket. Sitting on the floor by the head of the bed sits a young man or about 16. It is our protagonist, Steve Harmon. The top of his prison issued orange jumpsuit is hanging around his waist; a white

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wifebeater stands out against his dark complexion. On the floor next to him lies an open journal, a pen between the pages.

Close up (CU) of Steve’s face. The remnants of tears are seen on his cheeks. A voiceover plays over top of the scene.

Steve: Another night in this

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dungeon. Another night without sleep. How can anybody sleep in this cold?

CU of his socks, zooming out to a mid-shot (MS) of the boy.

You put on the only pairs of socks you own, and you still can’t feel your toes. You would think they’d turn up the heat in this place, but who really wants the prisoners to be comfortable? It’s anything but comfy here. The floor is freezing, it’s dark, and you can hear the guy getting raped a couple cells down. I try really hard to ignore the screams, but some things are really hard to ignore.

Aerial shot of Steve and bed. Slowly zoom in to the tattered pillow.

I’d be more comfortable sleeping on the cement than on that bed. The lumps are killing my back. It smells like sweat and piss. I don’t know how anybody could sweat in this place. Maybe it gets hot in the summer. I hope I’m not here in the summer.

CU on a tear as it rolls down his face.

What am I talking about? There’s no hope in here. Every day is the same. They lead us to the cafeteria, pushing and shoving when we go too slow or step out of line. Somebody might get tazed if he starts smart mouthin’ off to the guards.

Zoom out. Steve’s face takes up the entire screen. We can see the desperation growing in his eyes. The whites of his eyes are bloodshot. His lips are chapped, cracked and bleeding from dehydration.

They feed us slop as if we were pigs being prepared for slaughter. It looks and tastes like baby food. I’ve stopped eating it. It only makes me throw up.

Cut to a shot of the bars of Steve’s jail.

The last time I threw up all over the Boss’s shoes. He’s not really the boss, just a guard who thinks he’s tough. Needless to say he was not happy. He smacked me around a lot, but the worst part was when he made me lick my own vomit off of his shoes. He wouldn’t let me stop until it was all gone. I wanted to die right then and there. Boss said next time, it wouldn’t be his shoes I was putting in my mouth.

CU of the pen in Steve’s notebook. We can see that the end has been broken off, leaving a sharp, jagged edge.

I haven’t told anybody about it. Boss said if I did, then I’d be the next one screaming in the dark. I don’t want to do it. I don’t want him to rape me. I just want to go home…

Steve takes up the pen, and brings the jagged edge into the light.

They won’t let me go home. I’m never getting out of here. My lawyer can’t understand what I’m going through. I can’t tell her anything. If I tell her what happened, then King will hurt me during lunch or rec time. If I tell her about Boss, he’ll kill me. I have to keep quiet, but that means I’ll have to stay here. I don’t want to stay here.

Steve brings the sharp end of the pen, a makeshift

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blade, to the vein at the base of his wrist.

I just want to go home.

He draws the blade over his wrist. CU on the thin trail of blood begins to well up and drip onto the floor.

I just want to go home.

Blackout.

“A Day At Work” by TD Baker

Empty chairs face

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the pallid walls

As time slowly crawls

And the length of the day draws on.

 

We have all gone to Mars

There is nowhere

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to go for lunch

And no saucers, not even on the shelf.

 

Monet’s work is hung to color the room,

But only succeeds in being acknowledged.

A chill bites the air as the heater is turned on.

 

Soon it will be time to leave,

Only to return in the morning

To do it all over.

 

Time is an illusion.

Lunchtime doubly so.

The Book of Glass By Nolan Fleming Smith

The Book of Glass

musical interpretation of a short

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The Raccoon By Anthony Zick

The Raccoon

They say fast music makes you work faster

I say it just makes you dance

and you can’t dance

not at work

not for show,

or even in the bathroom

where suddenly your cover could be blown

And the night goes on

like a relative projecting red-bomb warnings

and the headphones sing away

someone else’s lovesick heart

or blue-suede blues

and, as I’m changing the bag in the day-care diaper pail

I am only moving on duty

the kind of duty with a “t” and a “y”

the kind of duty that doesn’t feel like a gift

but an obstacle to Oblivion

and Oblivion is sexy as hell

Except that it is Hell

I take up the last trash bags to

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and open the lid

in reasonable peace, for a done day

and I see

a raccoon in the shadow of the bin,

it’s face paranoid and sad

But regal it rakes itself out of the can

Slumps its loaf body over the edge

Points its wet nose straight at my chest

and sings, in perfect tune

“Oh ignominious Night! Fold your darkness away!

Alive! Alive am I! A paranoid rodent!

Royal black stripes on greasy grey fur!

The king or the Queen of all Raccoons

For all this suburban boy knows. But more!

God gives him gapes at the living!

For who is the giver of living?

Break him, oh Beauty

banish the crown of his heart and humble it hard

On a fleeting, sad-back animal feeding

on old crackers and yogurt in trash-bags, dancing

in this

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Mother Where Art Thou? By Aisha Almazro

Mother Where Art Thou

I have always acknowledged the power of literature, it can take you places, it can influence who you become in the future, one book can simply change who you are. Thus, I have always believed in the importance of introducing literature to children, as much as we can. Literature mixes perfectly with children’s wide imagination. Yet, after becoming a mother, my outlook to children’s literature has completely changed. I have begun to question if the literature we grew up with is the right one for our children to grow with as well because of the simple fact that every literature, every classical fairytale has always misses one thing, the biological mother. Therefore, I want to explore the classical tales and the modern ones in the hopes of trying to find the mothers in them and how they differ.

New worlds that are introduced to children can enrich their lives, their imagination. Children are always drawn to magical worlds where animals talk and men fly. We can see the stories they read reflect through their action, how they imitate what they read, how their idols are always the heros in the stories. However, these fairytales have always forgot the most important person in every child’s life, the mother. Fairytales lack the role of the mother, the hero always suffered the loss of the his or her mother by death, writers favorite fate to end the mothers character. A child is never exposed to the mother-child relationship, never shown the maternal love. Even though children growing up are influenced by their mother and she is the closest to them in their childhood. Yet, stories have always forgot this point.

If you asked an adult and a child nowadays about their favorite fairytale, the first thing that would come to their mind is one of the classical ones, girls will choose the stories with beautiful princess who marries the prince and boys will choose those with a reckless hero who wins against evil eventually. Yet, why is the mother not included? Why do writers tend to exclude her from the picture. For example, when we look at one of the classical tales of all time, Cinderella.

She is an unhappy girl who’s mother was dead and her father married a widow with two daughters, the story as they say, is a fairy tale history. When we look at such a famous world-wide tale and what it teaches, first of all, Cinderella’s story starts without any indication of her relationship with her mother, the sacred bond is slaughtered before it begins. However, she is exposed to an “evil” stepmother and step sisters. Thus, her journey begins in search of escaping her misery by trying to “fall in love” and marry the prince, the solution all heroines try to accomplish. This plot makes me wonder what are we teaching our children by it?

The story killed the mother, her bond, the maternal feelings between her and the child from the beginning. Thus, the child learn to exclude the relationship just like the story did, and focuses on the evilness, cruelty, unkindness and unfairness that is coming from the stepmother and her daughters. Not only the motherhood relationship is excluded, but also the sisterhood is devastated as well. If we are looking at the story from a child’s perspective, of what exactly the story is telling him, we see that first the stepmother, the closest mother figure to the hero, to be evil, it shows them that those who care about you can turn to be unkind and unfair. The same goes to the sisters who treats the heroin badly without any reason why, children learn that you may be mistreated for no reason. Thus, Rebellions is the only way for an adventure. Over all, what lessons the story is teaching then? it sure does not present the mother the closest giving person to a child, the fairness she deserves,, one might argue about the godmother but she is still far from being realistic, but yet we were told and still tell the magical story of Cinderella that lacked the magic of motherhood.

If we look at the modern fairytales, they are far from the princess and her prince, from innocence and sweetness. Modern fairy tales have became more complex in characters, more deep and yet, children are still enchanted by them. The modern fairytales have addressed the children readers more maturely, the way children should be addressed but it kept the elements of a good fairytales, by having magic, adventure, heros and heroins, the love and rebellions as well. For example, Harry Potter, one of the well known tales around the world. Harry Potter can be considered a fairy tale, or as professor Daumer sees it, the male Cinderella. it is a fairytale for the magic that wraps the story all together and the adventurous characters that pulls the children to read this story. Yet, are modern fairytales similar to the classical ones regarding what it intend to teach children about their mothers?

When we look at Harry potter, the story of the wizard going through his adventures in the Wizarding world fighting evil and making friends. Even though our hero is orphan, yet his mother and the mothers theme are empowered throughout the story. For example, Harry does not know his mother, but he knows she sacrificed her life for him, he know that sacrifice was the invisible force behind his strength to fight evil “Your mother died to save you. If there is one thing Voldemort cannot understand, it is love. He didn’t realize that love as powerful as your mother’s for you leaves its own mark. Not a scar, no visible sign … to have been loved so deeply, even though the person who loved us is gone, will give us some protection forever. (…) It was agony to touch a person marked by something so good.” (Philosopher’s stone P17)

Harry’s mother is not the only mother in the story, there is also Mrs. Weasley, Harry’s best friend’s mother, she is shown as the caring kind mother who showers her kids with love and kindness, kissing them goodbye and always asks about their being, and when they were in danger “NOT MY DAUGHTER, YOU BITCH” she was the ultimate protection every mother turn to when her children are in danger. Finally, there is Malfoy’s mother, who is even though the mother of an evil son and the wife of an evil man, still loves her son unconditionally, she remind us of Harry’s mother, she sacrificed her life by lying to Voldemort just to see her son. These are all examples of different mothers to different characters, yet they all share the same strong sacred bond to their children.

This makes us question the difference between the classical fairytales and the modern ones. In my opinion, there is a reason why they differ. First of all the writers simply differ. For example, Harry Potter was written by J.K Rowlling, a mother who knew what parenting is, knew

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the bond and the importance of it to children and parents and thus, indulged that theme throughout the story with different characters, it teaches our kids that no matter how good, bad, poor or rich you are, you are still loved by your mother, she is someone who is willing to sacrifice her life to you and she is one who should be looked up to. Not only it teaches our children but also the parents to acknowledge and appreciate the maternal bond between them.

Finally, psychologists, specially Bruno Bettelheim who wrote “The Uses of Enchantment” Argues with the fact that classical ones were written without any parental figure just because it helps children to be more independent and see their hero on his own

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going through a journey to fight evil people. Psychologists believes that presenting such evilness and dis-attachm them from their comfort, their mothers helps them mature and prepare them to the real world. Introducing such dark themes to develop a sense of meaning and purpose since it allowed them to “grapple with their fears in remote, symbolic terms.” I also notice how children have always behaved in a way that they reach a point where they try to imitate adults and having your mother taking care of you is not much of adult act, and that is why those motherless heros are more appealing to children who want to relate to those characters. In my opinion, a story can be appealing to children by having the adventurous characters and enchant them by magic and still have the mother in the story line like Harry Potter, the modern fairytales have empowered the role of the mother, yet the classical ones seemed to have abolished her role completely.

Ariel By Nichole Prater

Ariel was perfect in my five year old eyes. She was tall, I was short. She had long, red, straight hair. I had short, white, curly hair. She got to wear a coconut bra and have an awesome green sparkly tail. I had to wear oversized Lion King T-shirts with black leggings (the ones that had the annoying strap on the bottom of the feet) and white Keds. Let’s just say, I was no Ariel.

I knew every word to Disney’s The Little Mermaid movie. My mom said I watched it literally four or five times a day. I knew the songs, the dialogue, I even knew the dances. My favorite part of the movie was when Ariel wanted to be human and she is sitting on the rock watching the Prince from the distance and at the most intense part of the song she flings herself on top of this huge rock, flips her hair back, as big ocean waves hit the rock at the same time. I can’t really tell you why exactly I liked this part so much, all I know is that I was fascinated by the whole scene. So fascinated in fact that I would often get my hair wet in the sink, brush out the curls and put the hair over my face, run up to the back of our couch, fling myself on top, flip over my hair, and sing with Ariel all at the exact same time. My mom didn’t like this so much, I usually got the entire living room wet with the flinging of my hair, and was often sent into my movie scene room.

I had Ariel sheets, and the bedspread. I had the guppy nightlight, and the crab stuffed animal. I had a fish tank in my room that had the castle from the movie in it and I would pretend that all the

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fish could talk to me and I could talk to them. My walls were covered in stickers and painted with bubbles that when I stepped inside I really felt like I was under the sea. Ariel was my Barbie.

I liked the adventures Ariel got

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to go on. She got to search for “treasure” which really always consisted of human objects, like forks and spoons, and I liked how she never gave up on who she wanted be. At the time I didn’t want to give up being Ariel. So just like her I would go on adventures too. I would take the forks and spoons out of the kitchen drawer lay them around the house, then a week later go on my adventure and try to remember where I had put them. Most of the time however, my adventure would be cut short because my mom would vacuum and find most of the forks and spoons herself. Which I later found out, we had actually went through eight vacuums that year, and two different sets of silverware.

At age five I was the only child and grandchild on both sides of my family. So one summer day I decided that I wanted to be called Ariel. Nichole was such a boring name at the time, and I didn’t have any brothers or sisters like Ariel did, so I thought it would only be fair if I had a cool name like hers. It was pretty easy to get everyone in the family to call me Ariel. I think they just felt bad because I had no cousins or brothers and sisters to play with.

As a special treat my mom even bought me the red spray on hair dye that you often find around Halloween. With my white hair that hair dye worked perfectly. My hair was as red as a fire

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truck for three days. Everyone had finally called me Ariel, even my classmates in kindergarten. I was ecstatic, I had finally reached my dream of being her, although I didn’t have the tail or coconut bra, the red hair was all I really needed. For three days I thought that I was just like her because I didn’t give up on my dreams of wanting to be her. Then I washed my hair, or tried to at least. What my mom and I didn’t realize is that we were supposed to wash the dye out the exact same day that we put it in. So when I washed mine my hair didn’t exactly go right back to that white color my mom had hoped, it turned pink. For the next two days in school I was called pinky, until it finally washed out over the weekend.

After the dying the hair episode I started to realize that it wasn’t very easy being Ariel. I didn’t want to dye my hair red anymore because I didn’t want to be called Pinky when I tried to wash it out. I didn’t want to wear the coconut bra, because my fake one was really uncomfortable over my shirt. I couldn’t imagine not having two legs, because it was really hard to walk with my feet tied together. So I went back to being Nichole again. Although I kept all the novelty items in my room, and I still watched the movie often, it wasn’t worth the effort trying to be a cartoon character. My mom and dad liked me better as Nichole anyway. They liked that I was still short, and had curly, white hair, because I was still their baby. They said that if I wanted to dye my hair fire truck red when I was eighteen that I could, but then they just wanted me to be me for as long as possible, and I agreed.

CATHARSIS? By Cari McLeod

“At least you have your health.”
– isn’t that what they say?
But what about you, as you pray and decay,
You haven’t got your health,
nor your wealth,
nor your youth,
Neither have you gotten the truth.

It took your hair,
It even took your fair –
skin. Reshaped, remade,
removal of the infection, for what you paid.

But this wasn’t what you paid for,
& now those things they told you, that lore –
What was if for?
What was it –
for five years, if you’re lucky?
Hold out for that 17% chance, if you’re plucky.

But It took that too,
& all that’s left to take is you,

& you are all I’ve got
left to hold

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I won’t let It take
you to that place we forsake.
I won’t go there,
I refuse to despair.

So forget

your health
& your wealth,
Forget your youth
& the truth

– you thought you knew
but you don’t, so don’t stew
in what was, or could have been, in another life;
this is your lot, rife with strife –
I’m so sorry, so … So, I’m
nauseated most of the time,

But, I won’t let it take me there
Even through tears, I’ll refuse to despair.
I’ll refuse, even when it comes
to take you, & it drums
your last beats, I’ll refuse.

& if they

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ever try to accuse
you of giving-up, living
you better believe I won’t be forgiving.

& I’ll live everyday defending
this idea we have of unending
Grace, even if we are pretending.
– as if it’s not impending,
this ending.

The “Intimate Public” of Mommy Blogs: A Genre Study By Chelsea Lonsdale

The “Intimate Public” of Mommy Blogs: A Genre Study

Motherhood has been culturally recognized as a distinct social position, though its status is often considered within the context of other systems. With the emergence of digital writing and online communities, motherhood has become a unique phenomenon taking the blogosphere by storm, simultaneously bringing both an intimate and social perspective to the forefront of mothering research. In this paper, I will provide an overview of the content scope, participants in, and implications of the subgenre of blogs known as “mommy blogs,” a framework within which women writers nurture an “intimate public” through deliberate and communal interaction.

 

Scope

Women have remained the subordinate half of a patriarchal system, causing a distinction between the public and private spaces that they occupy. Mothers in this system have been selected as caretakers and domestic preservers, leaving them little room in which to explore or process issues beyond the private home. In certain societies, such as those with low socio-economic status or less industrialized economies, women-centered kinship networks provide substantial support for the community as a whole. However, in mainstream, middle-class American society, mothers have a delineated path that they are expected to follow; one that both controls and presents ideals by which these women are supposed to abide, encompassing the many expectations placed on mothers that define culturally what “good” and “bad” mothering look like. These myths are often presented under the guise of parenting “experts,” who have published numerous books that populate the shelves at bookstores and libraries, or through websites that promote certain parenting styles in a hyper-idealized format. All the while, women who consume this information do so from a point of solitude; whether they stay at home or opt for a career, they are expected to embody an impossible number of identities and roles that severely limit the honest representation of what a mother really wants. Without the solidarity provided in the past by collaborative groups, such as women-centered kinship networks (Cherlin, 2009) or such groups as ladies literary clubs, mothers become isolated and cutoff from the intimate bonds necessary to survive. Mommy blogs have provided both a window into and a means to cope with the daily demands of mothering from an honest and evolving perspective; by both sharing their own experiences and having access to the experiences of others, women gain emotional and social support that is otherwise absent in our current social structure. Lauren Berlant (2008), in her book The Female Complaint, calls this “intimate public” an achievement:

Whether linked to women or other nondominant people, it flourishes as a porous, affective scene of identification among strangers that promises a certain experience of belonging and provides a complex of consolation, confirmation, discipline, and discussion about how to live as an x (p. viii).

Because blogs are characterized by their interactive nature as well as their intentionally small audiences, they also provide qualitative insight for researchers on the realities of motherhood and mother identity that would be otherwise unobtainable through interviews or other traditional forms of data collection. Researchers are

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actively involved in the subgenre of mommy blogs through participation and observation; several of the articles used to support my claims have been written by self-identified mommy bloggers, who are also working in the field of sociology.

 

How Blogging Works: The Who, Why, and How

In a 2008 ‘State of the Blogosphere,’ Sifry found that out of 133 million existing blogs approximately 36% of women and 16% of men published regularly about family issues (as cited in Lopez, 2009, p. 729). This points to the notion of “mommy blogging” as a qualified subgenre within the larger field, though this term has not always been received by its participants with pride. The participants within this “intimate public,” a term coined by Berlant (2008) in The Female Complaint, are generally white, middle-class, heterosexual females who are of childbearing age (Lopez, 2009). Lori Kido Lopez’s (2009) research focuses on the “radical” notion of mommy blogging, particularly its persuasive entrance by females into a male-dominated field. She challenges the domestic, or private sphere that women have been assigned to, acknowledging the digital space

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that this evolving community has settled within that has provided a venue for honest and provoking conversations pertaining to family subjects. Such topics include childbirth options, childcare, discipline, feeding, medical and health information, as well as parents-as-partners, single parenting, and mental health. Despite a failed representation of all mothers due to socio-economic restraints that limit access to technology (thus explaining the demographical data), mommy blogs shed new light on topics that have been marked as inappropriate for public discourse, which thus unpacks the myths of motherhood that the genre of parenting literature generally perpetuates.

Aimee Morrison, a self-identified mommy blogger and author of the paper “’Suffused by feeling and affect’: the intimate public of personal mommy blogging” (2011) explains in detail the rhetoric of mommy blogs, considering audience, purpose, and delivery as essential to understanding the affective nature of this subgenre. Morrison associates mommy blogs with network theory as these blogs rely on collective production and circulation, or a mutual and non-linear model of interaction between authors and their readers. She contrasts this with broadcast theory, which would involve a small group responsible for production of a text that is given to and received by consumers. Morrison (2011) identifies through an anonymous survey that more than 80% of respondents reported their readers to be other bloggers. This points to the unique property of mommy blogs, and blogs in general, that require an immediate and interactive response on behalf of the audience in order to flourish. Even more so, mommy blogs navigate this “intimate public” by maintaining small audiences and limiting their search-ability, relying on readership and network-propelled circulation to nurture their community. I find this to be incredibly interesting when compared to the communities that have provided a similar sense of companionship prior to or beyond the Internet, such as ladies literary clubs or women-centered kinship between families or neighbors; the community of mommy bloggers seems to have roots in these localized practices despite their international and often semi-anonymous presence.

Morrison (2011) continuously emphasizes the properties of an intimate public, those being a controlled audience (generally small and selective, as well as interactive) and the intimate, personal disclosure that determines topic choice and the amount of detail included. Therefore, though the authors maintain a certain degree of autonomy, the subgenre of mommy blogging is participant driven and thus forms a subculture within the genre. Mommy blogs are autobiographical by nature, updated frequently, and are accessible freely by anyone with an Internet connection (Lopez, 2009). Readers check in habitually, and authors use informal and narrative language producing a conversational tone (Lopez, 2009). Blogs are also often tagged, using keywords assigned to entries that associate entries with shared tags into searchable entities, which Lopez (2009) believes gestures to the “fragmentation of identity represented in blogs” (p. 738), though I will take this further and claim that fragmented identity is a concept associated specifically with the female identity, as evidenced by the many unattainable expectations placed on mothers and the many roles women must balance on a daily basis.

In terms of topic, what distinguishes mommy blogs from personal blogs written by women is the “recurrent theme of writing about children” (Lopez, 2009, p. 734); a choice that has led to marginalization even within the community of female bloggers. In a BlogHer 2005 conference, a conference attendee named Alice Bradley, claimed that ‘mommy blogging is a radical act’ (Lopez, 2009). This controversial statement at a conference for female bloggers that originally aimed to challenge misconceptions that females only blogged about children earned itself a session at the 2006 conference with Bradley’s claim as the session title (Lopez. 2009). Perhaps what Bradley calls attention to is the identity of mother and its need for reform and reclaiming: according to Lopez (2009), “the entire concept of being a mother is overwhelming and imbued with failure. Once women become mothers, their lives are taken over by society’s strict sets of rules and expectations.” This “new-momism,” a term attributed to Douglas and Michaels (as cited in Lopez, 2009, p. 731), is evidenced in the barrage of parenting literature thrown at new and expecting parents, in the social

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practices surrounding motherhood represented in the media (television shows and advertising), and institutionally through maternity leave and lactation policies. These examples all serve as places for these rules to be taught and reinforced. Though mommy blogs intentionally limit themselves from broader public discourse (which Morrison argues is a hindrance to achieving social change), their presence in the blogosphere is growing and with that comes continued uncovering of the hyper-idealized image associated with motherhood identity.

What is at Stake for Families?

May Friedman (2010) in her essay “On Mommyblogging: Notes to a Future Feminist Historian,” says that “maternal isolation has directed many different waves of feminism” (p. 197). In placing the feminist movement on a timeline we see that these waves coincide with the societal elevation of women, and consequently the shift from women-centered kinship within communities to a more individualistic environment. Andrew Cherlin (2009), a prominent family sociologist, recalls the nineteenth-century ideal of True Womanhood which focused on the private, domestic lives of women that came to define the woman’s sphere; while this distinction limited women in terms of social clout, it provided for a network that included other female relatives and/or members of the community that became impractical to maintain when the boundaries between gendered spaces were challenged. Community in general, but particularly for women who have been subordinate in a patriarchal system, fosters identity development and empowerment through reflexivity. Created kinship, or the actively constructed ties that individuals create with others, provides emotional support and personal satisfaction common to both modern expectations of relationships as well as communal values. This type of connection found amongst mommy bloggers counters individualism by providing a new accessible space for those who may otherwise be limited by their lack of local resources.

While mommy blogs are collectively working to redefine aspects of motherhood identity, these blogs also serve as educational tools and are becoming recognized sources of reliable data. In an article titled “’Motherbirth or childbirth’? A prospective analysis of vaginal birth after caesarean blogs,” Dahlen and Homer (2011) discuss findings from a survey conducted by analyzing blogs to gather data pertaining to VBAC (Vaginal Birth After Caesarean) decisions. Like the other studies considered in this paper, Dahlen and Homer (2011) used Google Analytics to search for specific terms and themes in blogs which provided them a sample from which to begin analysis. Mommy blogs thus not only serve as the thread by which communities form and are held together, but also provide entirely subjective information for their readers. When faced with heavily implicated decisions pertaining to childbirth, childrearing, parenting, and partnership, women often turn to the internet to find answers. Blogs provide a unique take on the information usually presented objectively by medical professionals or other trusted authorities on parenting issues.

Conclusion

Despite their limitations, mommy blogs hold the power needed to access social change through solidarity, expounding on the “intimate public” and creating a space where both the public and private aspects of family life are engaged. These blogs illustrate contemporary motherhood identity as well as the social construction of expectations placed on parents while maintaining a space on the fringe of mainstream media. Through what Friedman calls “women’s storytelling” (p. 199), honest accounts of motherhood are given to the public as living data and thus an evolving archive is born through deliberate, consciously created communication. The subgenre of mommy blogs within a larger digital space, as well as the genre of parenting media, holds the potential for radical redesign that considers the actual dynamic needs of contemporary American families.

References

Berlant, L. (2008). The Female Complaint. Durham and London: Duke University Press.

Cherlin, A. (2009). Public and Private Families: An Introduction. New York, NY: McGraw-Hill.

Dahlen, H. & Homer, C. (2011). ’Motherbirth or childbirth’? A prospective analysis of vaginal birth after caesarean blogs. Midwifery. 1-7.

Friedman, M. (2010). On mommyblogging: notes to a future feminist historian. Journal of Women’s History 22(4). 197-208.

Lopez, L. K. (2009). The radical act of ‘mommy blogging’: redefining motherhood through the blogosphere. New Media Society 11(5). 729-747.

Morrison, A. (2011). “Suffused by feeling and affect”: the intimate public of personal mommy blogging. Biography 34(1). 37.