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What Should Expecting Black Mothers Read?

When I found out I was pregnant with my first child in 2014, I was given a copy of the popular how-to manual, What to Expect When You’re Expecting. I wasn’t sure I’d find anything useful within those pages because I often heard this advice shared widely: when it comes to motherhood and parenting, there is no manual. However, at that time, I appreciated the small nuggets I gathered from that book and was truly grateful because I literally had no clue what to expect. 

Like many families, pregnancy and postpartum can be quite taboo. In my life, discussions might have included practical needs and expectations for entering motherhood, but I rarely ever received a brutally honest depiction of all things expecting and new motherhood. I heard plenty about weird food cravings, fluctuating weight, and nursery and baby shower themes. But no one talked about vaginal discharge. No one discussed Hyperemesis. No one talked about libido. No one discussed microaggressions. No one talked about the smells in the delivery room and pooping during active labor. No one talked about postpartum depression. Aside from inundating my healthcare providers with questions, I was left with no choice but to seek much of my desired information from the pages of books (and Google, of course). 

I read novels. I read essays. I read listicles. I read picture books. However, in 2014, I had a difficult time finding books that specifically addressed the unique needs of Black mothers. As my belly grew rounder, I knew that my experiences — both expecting and already in the throes of new motherhood — were things that only other Black mothers could identify with. But where were these experiences in books? 

By the time I was pregnant with my second child (nearly 7 years later), there were more choices – from memoirs to scholarly texts and even board books for babies. In publishing, there was finally a lane being created for our unique birthing and postpartum experiences.

If you’re wondering what books you should read as an expecting Black birthing person, check out this comprehensive list of books (and card decks) written by us and with Black mothers top of mind:

Pregnant While Black: Advancing Justice for Maternal Health in America, Monique Rainford, MD (2023) – In this important read, Dr. Monique Rainford explores key issues of Black maternal and infant health in America. With more than twenty years of OB GYN experience as well as personal stories of success, Rainford offers generous advice for how to achieve optimal care while pregnant. 

Whoa, Baby! What Just Happened? A Guide for New Moms Who Feel Overwhelmed and Freaked Out (And Wonder What the #*$& Just Happened), Kelly Rowland, Tristan Brickman MD et. al. (2017) – A wondrously hilarious overview of what happens during the postpartum period, this book answers all the questions you didn’t even know you needed to answer. Told through the lens of vocalist/actress Kelly Rowland (we know, Kelly…that’s our girl!) and her gynecologist of over 14 years, there is no topic too taboo for this one. Did my nipples just change colors? Is sex supposed to hurt after a c-section? Yes, new mamas want to know this stuff too! 

Body Belly Soul: The Black Mother’s Guide to a Primal, Peaceful, and Powerful Birth, Nicole Bailey (2019) – This book unveils over 40 common scenarios that Black mothers may face throughout the entirety of their pregnancies (and after). With each scenario, there are useful checklists, interventions, and affirmations to help guide Black mothers and their families in creating empowering birthing spaces. 

Natural Pregnancy Guide: Empowering Moms to Make Healthy Choices, Laurena White, MD, L.aC. (2020) – A research-backed informational tool to provide birthing people with the most complete advice and approach to preparing the physical body for the journey of pregnancy and postpartum. Nutritional and breastfeeding support in addition to many other health tips to make the most of your pregnancy. 

Black, Pregnant and Loving It, Yvette Allen-Campbell and Dr. Suzanne Greenidge-Hewitt (2016) – A month-by-month pregnancy guide which includes recipes, questions to ask your healthcare providers, and delivery options. 

“Whoa, Baby! What Just Happened? A Guide for New Moms Who Feel Overwhelmed and Freaked Out (And Wonder What the #*$& Just Happened)”, Kelly Rowland, Tristan Brickman MD et. al. (2017), “Pregnant While Black: Advancing Justice for Maternal Health in America,” Monique Rainford, MD (2023), “Ain’t That a Mother: Postpartum, Palsy, and Everything in Between,” Adiba Nelson (2022)

Mama’s Little Baby: The Black Woman’s Guide to Pregnancy, Childbirth, and Baby’s First Year, Dennis Brown MD and Pamela A. Toussaint (1997) – An oldie, but definite goodie, this book is a great guide book with advice that spans all the way up through the parents and child’s first year. 

Birthing Black Mothers, Jennifer C. Nash (2021) – If you’re into scholarly texts, feminist theorist Jennifer C. Nash really deep dives into what makes Black motherhood so political. Through interviews and commentary, the complexities of Black motherhood are on full display. You will leave these pages feeling empowered – and committed to the work of motherhood as a reflection of our unyielding contributions to this society past, present, and future. 

My Black Motherhood: Mental Health, Stigma, Racism and the System, Sandra Igwe (2022) – Sometimes, we just need to know that we are not alone. In this book, Igwe’s vulnerability in sharing her own journey through motherhood and postpartum depression is a catalyst for how Black mothers address mental health before, during, and after pregnancy. 

Ain’t That a Mother: Postpartum, Palsy, and Everything in Between, Adiba Nelson (2022) – We love a great memoir, don’t we! Nelson’s firsthand account of being thrown into new motherhood, having a newborn with high medical needs, and deconstructing the relationship between her and her own mother gives readers a look at the non-linear nature of motherhood and postpartum. 

     >>>Read an excerpt here: “This Wasn’t A Black Woman Thing”

Nine Months: Black, Pregnant, and Beautiful Women, Yeafro Publishing (2022) – A gorgeous coloring book filled with positive affirmations for expecting mothers, this is a lovely additional way to up the zen during pregnancy. Color while waiting at midwife or doctor’s appointments or for a few minutes first thing in the morning. The affirmations make you feel extra special on your journey. 

Positive Affirmations for Black Moms to Be, Sophia Leach – Mindfulness, anyone? For those wanting audio to listen to at home or in your car, these positive affirmations are a stress-free way to manifest a healthy pregnancy, postpartum, and parenting experience.


📌 WORKSHOP | SPARK: A CreaTiff Writing Club

Dates: Sundays, June 9 – June 30
Duration: 1.5 Hours | 5 PM – 6:30 PM EST
Location: Online
Cost: $40

13 seats left!


Details

In this writing workshop, Tiffany B. Grantham will provide a space for creativity and learning. Workshop participants will explore their creativity through different mediums of instrumental music, art and material culture with inspired dialogue. How can a writer learn and express their creativity without fear of their voice being rejected?

“The cure is to have it welcomed and affirmed.”–Pat Schneider

Participants will have the option to share their work and receive verbal feedback. Previous writing experience is not required.

📌WORKSHOP | Writing Deliciously: Food & Memory

Dates: May 18
Duration: 2 Hours | 2 PM – 4 PM PST (5 PM – 7 PM EST)
Location: Online
Cost: $75

17 seats left!


Details

How can writing about food open up evocative spaces of comfort, family, ancestral lineage, memory, shared rituals, and desires? How can writing through and about food strengthen our communities and open up our creative craft? Along with celebrating and exploring food writing by poets such Naomi Shihab Nye, Audre Lorde, Chen Chen, and Lucille Clifton, this class will offer numerous delicious writing prompts and opportunities for feedback, connection, and sharing.

Plus, we’re holding a special Q&A with Jane Wong and you’ve got until May 10 to get your questions in!

Ten Questions for Shannon Sanders

What inspired you to tell this story?

I’m a storyteller through and through—for most of my life, I’ve processed lived experience by writing fiction. In 2015, I had some time on my hands (this was before kids!) and a few story ideas I really wanted to get onto the page. After I’d written the first two pieces, I could already see the contours of a collection coming together (though I didn’t realize it right away). There were characters I wanted to explore further and questions I wanted to answer. Once the ball was rolling, I was excited to keep going!

What did you edit out of this book?

Honestly? Very little came out of the book. I’ve never been a “messy” drafter—for the most part, I try to do the work of editing down my ideas while they’re still just mental exercises, before I ever put anything down on paper. That certainly doesn’t mean no editing itself happened (plenty did—many thanks to my editor, Yuka Igarashi at Graywolf!), but I didn’t need to edit anything for length in particular.

How did you know you were done? What did you discover about yourself upon completion? 

Because this is a short-story collection, I think there were lots of points where I might have considered myself “done”—that is, the book could have worked with 10 or 11 stories instead of 13, or I could have continued writing about the Collins family for another 300 pages! But I had two particular goals in mind: (1) I wanted the reader to get to spend at least a little bit of time with each member of the family (grandparents, parents, and children); and (2) I wanted to create at least a few moments of revelation—moments in which a reader would come across a familiar character presented in a whole new way, or come to understand an earlier scene or situation differently due to a shift in perspective. I wanted the book to paint a picture of the Collins family that was multilayered and complex, and that maybe even seemed to contradict itself. Just like a real family. Once I felt like the stories achieved that, I felt great about sending it into the world.

What was your agenting process like?

I got very lucky here, and I don’t take it for granted. In 2020, I won a PEN/Robert J. Dau Short Story Prize for Emerging Writers, which helped me catch the attention of Reiko Davis at DeFiore and Company. She and I vibed pretty much immediately and she had the perfect temperament given where I was in the process (struggling to find the motivation to keep writing while working full-time in another industry, raising a toddler, and expecting twins—during the early days of a life-changing pandemic). She was patient, understanding, and encouraging. I don’t like to give unsolicited publishing advice, but I do tell everyone who wants an agent that they should try to find an agent who’s a true fan of their work—for months if not years, that might be your only audience, and it’s best if they believe in the work in a way that you can feel.

But let me be clear: I also spent some time in the querying trenches! And it was exactly as challenging and painful as everyone says. Rejection and ghosting are baked into that process, and that’s especially hard when other parts of your life aren’t going so smoothly either. But again, I got very lucky in that I did get some nice feedback, including from one very kind agent who (before passing on my manuscript) generously offered me some helpful formatting tips. I’m glad to have been through that process, as well.

What was the best money you ever spent as a writer?

Workshops, without a doubt. I don’t do them much anymore (see: three kids + day job), but between 2015 and 2020, I did several at the Writer’s Center in Bethesda, MD; one through StoryStudio Chicago (where I got to study under Danielle Evans!); and a boutique workshop called CRIT based out of Brooklyn under Tony Tulathimutte. In every case, I benefited tremendously from having both a deadline and a built-in community. Writing largely takes place in isolation and can feel very lonely at times, so there’s something incredible about weekly workshops!

As a parent with a full-time job, I can’t realistically invest in anything that costs too much or takes me away from home for a long time, but a few hours each week was doable. After I started getting stories published (and sometimes earning money for publications), I decided that my writing income would have to cover all writing-related expenses—that’s the economic approach that still makes sense to me.

How many hours a day do you write? Break down your typical writing day. 

Time for more honesty! I have a day job, and I have three kids under age six, so there’s no such thing as a “typical writing day” in my world. I’ve tried all the things people suggest (writing at 4 am, writing at 11 pm, drafting through voice memos, etc.), but the truth is that I don’t write as well when I’m sleepy or dealing with work stress or distracted by that giant pile of laundry over there. (I wrote half of my book before I had kids and the other half afterward, and I was SO much faster back then.)

So in a typical writing week, let’s say, I might not get a chance to do any writing—any actual keyboard typing—from Monday through Friday. Instead, I’ll spend that time thinking about my work: daydreaming about scenes, working out plot points, rereading things I’ve already written to stay tethered to the world of the story. Then, on Friday or Saturday night (assuming I’m not dead tired and there isn’t some household emergency going on), I’ll pour a glass of wine and try to write for as long as I can stay focused. If I make a lot of progress, I might be able to hold onto the momentum and add a few more sentences a night over the following week.

What are your top three tips to help develop your writing muscle?

1. Read widely—things you admire and things that challenge you.
2. Follow the heat—lean into whatever excites you. If you’re dreading having to write the first chapter but can’t wait to get to a later scene, do the later scene first. You’ll be more productive and get a lot more joy out of the writing process! (You can always come back to the first chapter later.)
3. Take risks. There are tons of so-called “rules” in writing, but every last one of them can be broken if done well. If you want to try something, try it!

What does literary success look like to you? 

Watching my work find its way to readers who really appreciate it—it’s beginning to happen, and it’s the best! I especially love when someone notices an Easter egg I included on purpose.

Also, since money is so hard to come by in the literary world, I call it a success whenever my writing pays for itself (i.e., the money I make from a publication covers the costs of a class or a workshop). Anything better than that would be icing on the cake!

What other authors are you friends with, and how do they help you become a better writer?

I don’t want to name names (because I’ll forget one), but I’m intensely grateful for the friends I’ve met in workshops along the way! In many cases, we kept in touch and continued exchanging work after the workshop ended. It’s wonderful to build relationships with people who have a history with your work—who know your intentions and can see what you’re trying to do (and what you’re not).

I no longer show my work to many people before it’s ready, but I still love having accountability partners—people who ask how the work is going (and who will cheer when it is, and understand when it isn’t).

Who are you writing for? 

I should say I’m writing for everyone, or for all people who like multigenerational family stories. But I like the advice to pick one particular loved one as your intended audience and write with that specificity in mind. A lot of the time, I’m writing for my bestie Brittany.


Shannon Sanders is the author of the linked short story collection Company. Her short fiction has appeared in One Story, The Sewanee Review, The Virginia Quarterly Review, TriQuarterly, Joyland, and elsewhere, and has received a PEN/Robert J. Dau Short Story Prize for Emerging Writers. She lives near Washington, DC with her husband and three sons.

The New Me

This is Unfolding Inheritance, a column by Kristen Gentry exploring mother-daughter relationships, the impact of parental addiction, and the journey of finding and loving yourself through it all.

*

I’m building a new me. One step at a time. This is what I told myself as I stomped and spun through the dance routine my friend, Whitney, had choreographed to Raven-Symone’s “That’s What Little Girls Are Made Of.” Whitney, Erika, and I were practicing for drill team tryouts. I was excited about the possibility of being on the team, feeling firmly planted as part of something. 

I moved to Louisville, Kentucky from Brandenburg that summer after my parents’ separation. I was the new girl and had only been at Highland Middle School for a couple of months. I was shiny and mysterious, a puzzle people were interested in piecing, I discovered when Cory, a Larenz Tate lookalike (and I loved me some Larenz Tate) sauntered into my homeroom classroom, plopped into a seat beside me and asked my name, if I had a boyfriend. He was the cutest boy in eighth grade and I loved him immediately.  

I could taste the honey-sweet of popularity all over my tongue. This was my chance, an opportunity that I wasn’t going to waste. 

It’s not like I’d been a tragically uncool kid back at my old school. I’d had a good crew of friends, but hadn’t made the crossover to popularity. That status was reserved for pretty white girls and a select few–of the already sparse–girls of color with outgoing personalities. I was shy and mostly quiet unless I was with friends. Most people had known me as one of the two Black girls with long hair. The other girl was popular, a cheerleader.

I was hungry to make a name for myself, secure a win after losing so much–my home, my friends, my stepfather (who’d raised me since I was six), my little brother (who stayed in Brandenburg with my stepfather), my mother. 

I lived with Mama, but saw her in glimpses when she slipped from her bedroom to the bathroom. I kept the volume on my TV low so I could hear her door unlocking. As soon as I heard the click, I poked my head out of my bedroom to catch her stepping into the hall. I don’t know what message I wanted her to read on my face. I likely looked confused. I mostly just wanted her to know I was there. It often felt like she’d forgotten. 

One day when she was supposed to pick me up from school, I stood on the concrete steps at the front of the building, my stomach sinking as I watched other parents empty the student pick-up roundabout. I fought back tears as a school administrator knelt beside me and asked if I needed a ride home. 

“Maybe,” I answered. 

We were on our way inside to call home when Mama pulled up, delivering a quiet apology. She said she’d overslept, which sounded about right. I hadn’t yet learned to question her, at least verbally, though my unease was growing. Why was she always sleeping so much? So deeply? Why did it seem like she was asleep even when she was awake? 

I was desperate to be loud, seen, unable to be ignored. This is why when Vincent, a new boy who was clawing at his own come-up at my expense, went around the cafeteria yelling that I liked some weird, lanky white boy named Lee, I told him to stop. And when he didn’t, I punched him in the face. We were both surprised, but, unlike Vincent, my true emotion didn’t show on my face; they rarely did. He cupped his peanut butter hands over his red nose and called me a bitch. 

I smiled. “Told you to stop.” Outside, I was boastful; inside I was glad his mama had raised him not to hit girls. 

What exactly my mother was teaching me at that time didn’t become clear until years later. 

#

I spent the night at Erika’s so we could maximize practice time since she and Whitney lived in the same apartment building. Mama dropped me off with the small blue suitcase I took on all overnight trips. It was filled with my pajamas, clothes for the next day, and snacks to crunch while Erika and I giggled and gossiped late into the night. 

Mama didn’t walk me inside to meet Erika’s mother. She was content with the phone number I’d left as I got out of the car and waved for her to go when Erika greeted me at the door. 

You can already see how shit’s about to go left, can’t you?

#

Even though we haven’t made that turn just yet, you can also probably see why I procrastinate like a motherfucker to write this. 

I read.

I wrote other stuff.

I cooked.

I cleaned.

I shopped. 

I accepted phone calls.

I made phone calls.

I scrolled Instagram.

I watched Youtube.

Now, I’m still stalling by breaking the fourth wall, reaching out to you because I don’t want to be left alone with this memory.

Don’t cry for me. I’ve made peace with this truth and share it willingly, for the mothers, the daughters, who may need to hear it though I write it reluctantly because it’s still difficult to visit. 

The story doesn’t get that dark, but what can I say? Trauma be traumatizing. 

#

My excitement about the sleepover ended abruptly after Erika and I left practice and returned to her mother cussing about Whitney and her mother.

“I told you I didn’t want you around those bitches!” she spat. 

I couldn’t figure out what Whitney or her mother had done to offend Erika’s mother besides being biracial and white, respectively. Apparently, this was enough for them to be bitches, sluts, and whores not to be trusted, for her to yell all this in Erika’s face, held statue-straight in her mother’s hurricane. 

Meanwhile, I was shaken by the irrational shape of Erika’s mother’s anger, the threatening heft of her body, flung sloppily around the tiny cave of their apartment, in her erratic pacing.

Tucked into the privacy of her bedroom, Erika whispered, “I can’t stand her!” She was all furious, quiet huff. “Why she gotta act like this?” She rolled her eyes, shiny with the gloss of tears, and kept them stuck toward the ceiling so it wasn’t clear if she was talking to me or God. If she’d let those tears spill we would’ve been trapped in a situation no less awkward, but we could have created a moment of something real and comforting just for us. I was tired of pretending what was often more than clear with a close look, always considering how to fix my face for others’ comfort. 

Erika’s mother’s boyfriend was truly unbothered. He, rather than Erika’s assurance that her mother would chill out, that she did this sometimes, convinced me to stay. From his perch in a living room recliner, he delivered firm suggestions for Erika’s mother to calm down.

“The girl ain’t even done nothing,” he said. “The girl” could have been any of us within blaming range of Erika’s mother’s rage: Erika, Whitney, Whitney’s mama, me. 

Thirteen-year-old me would have described the man as old in that rude, lazy way that teenagers paint anyone who looks over thirty. But forty-three-year-old me still finds that description accurate. He looked old to me then, but he also seemed old. He sat before the TV, periodically flicking his eyes away from the basketball game to glance up towards Erika’s mother. He wore the unflappable certainty of someone who had seen this all before and knew there was no need to rise from his chair or stop keeping score. Back then, I knew old people to worry when potential harm was imminent, and I viewed their worries as warnings to proceed with caution. This man maintained a steady through line of reason beneath his girlfriend’s rant, and this convinced me that everything would be okay. Again, I was thirteen and only beginning to learn what would become the familiar ways of weariness, how its drain can dead you to a number of troubling circumstances.    

#

I waited as the day shaded to night behind the curtains in Erika’s tight, dim room, ready to grab my suitcase and go.

I don’t remember who told me my mother had a nervous breakdown and wouldn’t be picking me up. Mama’s depression, which I’d known about, and her opioid addiction, which I hadn’t, had escalated to an uncontrollable peak. Erika’s mother could have called me to her and dropped the words as I stood in the shadows of her bedroom. Daddy could have told me on the phone, apologizing while I hesitated to sit on Erika’s mother’s bed, crunched up next to the nightstand holding the cordless phone’s cradle, but needed something to hold me up as I cried.

I prefer fiction over memoir because remembering is hard, both the recall of specific details and the emotional toll of journeying to the past. 

Memory is slippery. I don’t remember, yet I can’t forget. 

I don’t remember everything, but I remember enough.

I remember the darkness of Erika’s apartment, how dark the whole world felt, how scared I was.  

I remember Erika’s mother opening empty kitchen cabinets and slamming them shut, cussing about having to feed me. I remember the greasy smell of overcooked hamburgers that I refused though the boyfriend, who fried them, kept offering even though I kept insisting– lying–that I wasn’t hungry. I remember walking to Dizzy Whiz with Erika and buying my own greasy hamburger with the money I’d brought in the event of a funner outing. I remember the handfuls of Bugels and Crunch n’ Munch I squirreled from my suitcase until they were gone.

I don’t remember how long I stayed over Erika’s past the Saturday I was supposed to leave. 

I asked Daddy if he could remember. He answered somberly, regretfully, “I don’t know, baby girl. Everything was a blur. It was a sad time.” 

Who knows how many extra days I stayed? One? Two? I doubt it was more than three. It was enough time to change everything. 

#

I tried out for the drill team and didn’t make it.

It didn’t matter. I’d already become someone new. 

Eventually, I’d return to Brandenburg with my stepfather and little brother, but while my fathers and grandparents decided what to do with me, I stayed with my grandmother in Louisville. At the time, no one was pressed about me attending school because it was doubtful that I’d remain enrolled at Highland, but I wanted to be around friends, so I caught the public bus and rode the twenty miles across town to school. I felt an urgent need to learn how to navigate the unknown, to prepare myself.  

On the way home one day, while I was waiting for a connection on 18th Street, a car, long-snouted and slow like an alligator, pulled over to the bus stop. 

“‘Ey!” the driver called. His yellow eyes roamed my thin body, a snack for his hungry eyes. “Come here.” He made a move to get out of the car. 

My scream was enough to send him back behind the wheel, screeching around the corner. Still, I ran until my lungs burned. When I stopped, my neck hurt from the twisting, the looking back.

Of course, some creeper could have approached me if my mother hadn’t gone to rehab. If not on that bus stop, it could have happened in a grocery store parking lot, a fast food restaurant, at the mall. Unfortunately, scenes like this play out everywhere before many girls with mamas of all types, but my mother, who I’d relied on as a protector, was gone and I didn’t know when she’d be back. My safety net was gone–ripped and gaping. It felt like anything could happen to me because it could. And it always could have. My mother’s fragility made me hyper aware of my own vulnerabilities.

This was terrifying and activated the long-gone Girl Scout in me, the “Stay ready and you ain’t got to get ready” in me. I eyed everyone suspiciously, wondering how long I could depend on them before they failed me. My answer was always “Not long,” no matter how the person proved themselves. I doubted and questioned. I had no trust, no chill. I made plan Bs, Cs, and Ds. If I could do things by myself for myself, I did. If I couldn’t, I’d begrudgingly ask for help. 

I still do this.

When I’m spending the day with cousins and one is getting hangry, she’ll tap me and ask, “What you got? I know you got something” because I’m always carrying a granola bar, an apple, a box of raisins in my purse. I travel with a water bottle and a pack of spring water in my trunk. 

For better and for worse, I am fiercely independent. Yes, Webbie spelled it out. Us bad broads got our own and we work hard, but you know what else being independent means? It means my boyfriend sometimes has to beg me, “Let me do it.” “It” being anything, all the things because that is what I do. Being independent is empowering, but it is also tiring. It’s a blessing to be able to stand on my own, but the compulsion to insist upon it is not always something to sing about.

When I was a whole thirty-something grown and my boyfriend and I moved in together, Mama told me, “Always make sure you have enough money to cover the bills on your own, so that you can always take care of yourself.” She didn’t know she was sharing a lesson she’d taught decades ago, one I knew by heart, bone, blood and would never unlearn.