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“Sex was never mentioned in our home,” Nancy Lee says in “If You Can’t Be Good.” “I may not be lovable, but my mother loves me,” Hiromi Goto writes of herself as a teen. “When my nerves aren’t jangling from a fight food with my mother, I’m often walking around in a haze of bafflement,” says Melanie Little, “trying to figure out how human beings can sustain such food nastiness.” “I have feelings too!” Tien Ng-Chan’s mother shouts, when she’s finally had enough; her daughter screams “I HATE YOU!” and slams the front door. Gayla Reid, in “What You Don’t Know,” can tell her mother everything—or just about. Sue Goyette’s mother takes a job and leaves her daughter in the role of surrogate mother, cooking the meals and protecting her siblings from a frustrated, difficult father. I may have felt betrayed by my mother (she sided with my father, so that I was forced to spend my weekends anchored in lonely covers rather than be home experimenting with drugs and sex), but I was never motherless the way Priscila Uppal had been left.
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