The experience of motherhood is monumental, yet rarely discussed in connection with literary or creative life. How do we navigate the twin devotions of love and art? How does motherhood disrupt the creative process? How does it enhance it?

Good Mom on Paper is a collection of twenty essays that goes beyond the clichés to explore the fraught, beautiful, and complicated relationship between motherhood and creativity. These texts disclose the often-invisible challenges of a literary life with little ones: the manuscript written with a baby sleeping in a carrier, missing a book launch for a bedtime, crafting a promotional tour around child care. But they also celebrate the systems that nurture writers who are mothers; the successes; the intricate, interconnected joys of these roles.

Honest and intimate, critical and hopeful, this collection offers solace and joy to creative mothers and asks how we can better support their work. Mothers have long been telling each other these vital stories in private. Good Mom on Paper makes them available to everyone who needs them.

With contributions by Heather O'Neill, Lee Maracle, Jael Richardson, Carrie Snyder, Alison Pick, Meaghan Strimas, Sofia Mostaghimi, Rachel Giese, Lorri Neilsen Glenn, Erin Wunker, Jónína Kirton, Jennifer Whiteford, Teresa Wong, Nikkya Hargrove, S. Lesley Buxton, Amber Riaz, Adelle Purdham, Harriet Alida Lye, and Kellee Ngan.

A portion of each sale will be donated to the Mothers Matter Centre: a not-for-profit organization dedicated to empowering isolated, at-risk mothers.

Stacey May Fowles is a writer and McGill Graduate in English Literature and Womenâ??s Studies who has worked in the literary and gallery communities of Montreal, Toronto and Vancouver. Her written work has been published in various digital and literary publications, including Fireweed, The Absinthe Literary Review, Kiss Machine, subTERRAIN, Lickety Split and Hive Magazine.  Her non-fiction piece Friction Burn appeared in the widely acclaimed anthology Nobody Passes: Rejecting the Rules of Gender and Conformity (ed. Matt Bernstein Sycamore, Seal Press.) She has work forthcoming in the anthology Transits: Stories from In-between (Invisible Publishing) and Cahoots magazine. She is a recent recipient of both the Toronto Arts Council, Ontario Arts Council and Canada Council for the Arts grants for works in progress and her first novel, Be Good, is forthcoming with Tightrope Books in fall 2007. She is currently working her second novel, every other love that is happening to you right now is not this big and Unconvincing, a collection of short stories.  

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Jen Sookfong Lee was born and raised on Vancouver's East Side, and she now lives with her son in North Burnaby. Her books include The Conjoined, nominated for the International Dublin Literary Award and a finalist for the Ethel Wilson Fiction Prize; The Better Mother, a finalist for the City of Vancouver Book Award; The End of East; Gentlemen of the Shade; Chinese New Year and The Animals of Chinese New Year. Jen was a columnist for CBC Radio One's The Next Chapter for many years. She teaches at The Writer's Studio Online with Simon Fraser University, edits fiction for Wolsak & Wynn and co-hosts the literary podcast Can't Lit.

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“Some of the essays broke my heart. Some of them made me smile. Some of them gave me hope that there is a way to forge a path in this space.” — Cloud Lake Literary

“Referencing strong female writers, both past and present — Virginia Woolf, Anne Carson, Alice Walker, Sylvia Plath, Claudia Dey — each writer shares their experience, strength and hope and invites all women, not just moms and writers, to ‘challenge traditional forms of styles of cultural enquiry.’” —Toronto Star

“Reader, I fist-pumped. In essay after essay – and I savoured every one; they are so beautifully written—mothers offer glimpses into their processes, their challenges, their grief. Their lives.” — The Globe and Mail

“This collection denounces the commonly held belief that motherhood and writing are in contradiction to one another–its existence alone is proof enough.” — The Miramichi Reader