At the heart of poetic tradition is a figure of abandonment, a woman forsaken and out of control. She appears in writings ancient and modern, in the East and the West, in high art and popular culture produced by women and by men. What accounts for her perennial fascination? What is her function—in poems and for writers? Lawrence Lipking suggests many possibilities. In this figure he finds a partial record of women's experience, an instrument for the expression of religious love and yearning, a voice for psychological fears, and, finally, a model for the poet. Abandoned women inspire new ways of reading poems and poetic tradition.

In recent years, public debate has raged over the issue of maternal choice. While personal testimony and political argument have received widespread attention, artistic representations of birth and abortion have been submerged. Judith Wilt offers the first look at how contemporary writers tell and retell the stories that shape our perceptions about abortion. She reveals that the struggle to plot these painful, complex narratives of choice, control, guilt, loss, and liberation has preoccupied an astonishing number of our most distinguished novelists, male and female alike. Readers of twentieth-century novels are more likely to encounter plots centered on maternal choice than those dealing with the more traditional problems of courtship and marriage.

In the opening of the book, Wilt discusses real case histories of several women. After studying the ambiguities of their decisions, she turns to their counterpoints depicted in contemporary fiction. Working from a feminist perspective, Wilt traces the theme of maternal choice in works by Margaret Atwood, Margaret Drabble, Joan Didion, Mary Gordon, Alice Walker, Toni Morrison, Gloria Naylor, Marge Piercy, Thomas Keneally, Graham Swift, Ernest Hemingway, William Faulkner, John Barth, John Irving, and others.

Behind the political, medical, and moral debates on abortion, Wilt argues, is a profound psychocultural shock at the recognition that maternity is passing from the domain of instinct to that of conscious choice. Although never wholly instinctual, maternity's potential capture by consciousness raises complex questions. The novels Wilt discusses portray worlds in which principles are endangered by sexual inequality, male power and hidden male fear of abandonment, impotence, female submission, and covert rage, and, in the case of black maternity, the hideous aftermath of slavery.

Wilt provides a resonant new context for debates—whether political or personal—on the issue of abortion and maternal choice. Ultimately she enables us to rethink how we shape our own identities and lives.

Africa Wo/Man Palava offers the first close look at eight Nigerian women writers and proposes a new vernacular theory based on their work. Flora Nwapa, Adaora Lily Ulasi, Buchi Emecheta, Funmilayo Fakunle, Ifeoma Okoye, Zaynab Alkali, Eno Obong, and Simi Bedford are the writers Chikwenye Okonjo Ogunyemi considers. African womanism, an emerging model of female discourse, is at the heart of their writing. In their work, female resistance shifts from the idea of palava, or trouble, to a focus on consensus, compromise, and cooperation; it tackles sexism, totalitarianism, and ethnic prejudice. Such inclusiveness, Ogunyemi shows, stems from an emphasis on motherhood, acknowledging that everyone is a mother's child, capable of creating palava and generating a compromise.

Ogunyemi uses the novels to trace a Nigerian women's literary tradition that reflects an ideology centered on children and community. Of prime importance is the paradoxical Mammywata figure, the independent, childless mother, who serves as a basis for the new woman in these novels. Ogunyemi tracks this figure through many permutations, from matriarch to exile to woman writer, her multiple personalities reflecting competing loyalties—to self and other, children and nation. Such fragmented personalities characterize the postcolonial condition in their writing. Mapping geographies of pain and endurance, the work opens a space for addressing the palava between different groups of people. Valuable as the first sustained critical study of a substantial but little known body of literature, this book also counters the shortcomings of prevailing "masculinist" theories of black literature in a powerful narrative of the Nigerian world.