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A discovery engine for meaningful knowledge, fueled by cross-disciplinary curiosity.
A Brain Pickings project edited by Maria Popova in partnership with Noodle.
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Babies scare me more than anything. They’re tiny and fragile and impressionable—and someone else’s! As much as I hate borrowing stuff, that is how much I hate holding other people’s babies. It’s too much responsibility. Of course they are lovely and warm and adorable, and it’s so funny when they decide they like you and hold you in return, but I am frightened of doing something wrong that will alter them forever. Give them a weird look and they might be talking to their therapist about me fifty years later.

[…]

It might not be a fear of kids themselves, as in truth I usually get along with them pretty well. They like my tattoos and my uncomplicated child/adult face. They identify with my orange shoes. I look like I would let them get away with stuff, and I do. My fear of having children is that, frankly, I just don’t want to love anyone that much. I have my own problems with love, and I have processed and played the same games for a lifetime, but what if I had to do that with someone I actually MADE?! (Or went all the way to China and adopted. This is not a joke—I have long thought I would adopt one of those baby girls from China, because really, who’s going to know the difference?)

Comedian Margaret Cho on (not) parenting.

I have been a dad for 6 years, a mom for 12, and for a time in between I was both, or neither, like some parental version of the schnoodle or the cockapoo.

[…]

I understand the reluctance many people have to play down the importance of gender, or for that matter, biology, in parenting; a world in which male and female are not fixed poles but points in a spectrum is a world that feels unstable, unreal. And yet to accept the wondrous scope of gender is to affirm the potential of life, in all its messy beauty. Motherhood and fatherhood are not binaries. And that, I’d argue, is a good thing.

[…]

All of this gives me great hope for the future of the American family, for our open-mindedness and the great potential of our sons and daughters. But just as I begin to become overly optimistic, I remember seeing some television show featuring transsexual women and their children, back in the 1970s.

My grandmother was watching it. “Oh for God’s sake,” she said, sucking on her Kent filter king, “those people aren’t women.”

“They’re not?” I said. She had no idea that I was a woman like the ones she was dismissing. How could she have known? I was just a boy then.

“Of course not,” said Gammie.

“They have children,” I pointed out. “And breasts. And — you know. Vaginas.”

She shot me a look. Ladies of her generation didn’t say vagina or vote for Democrats.

“That’s not what makes someone a mother,” she said.

“Really? What does?”

Gammie took a long drag on her cigarette.

“Suffering,” she said.

For mothers and fathers alike, there are times when the line between suffering and joy can be as vague as the line, for transgender people, between masculine and feminine. But surely it is those moments we feel everything at once — maleness, femaleness, melancholy, ecstasy — that make us most human.

Absolutely beautiful essay on what makes a mother by Jennifer Finney Boylan, who used to be James Finney Boylan. Pair with the New Yorker’s heart-warming celebration of gender diversity this Mother’s Day.

Boylan’s fantastic recent book, Stuck in the Middle with You: A Memoir of Parenting in Three Genders, is a must-read.

The acquirements which I hope you will make under the tutors I have provided for you will render you more worthy of my love; and if they cannot increase it, they will prevent its diminution…. I have placed my happiness on seeing you good and accomplished, and no distress which this world can now bring on me could equal that of your disappointing my hopes. If you love me then, strive to be good under every situation and to all living creatures, and to acquire those accomplishments which I have put in your power, and which will go far towards ensuring you the warmest love of your affectionate father.
In this 1783 letter, Thomas Jefferson lays on his 11-year-old daughter the weight of parental pressure that deems the missive a far cry from history’s best letters of fatherly advice

Maya Angelou reads her wonderful children’s poem Life Doesn’t Frighten Me, illustrated by Basquiat

SoundCloud / brainpicker
Life Doesn’t Frighten Me – Maya Angelou’s courageous children’s verses, illustrated by Basquiat, a priceless primer on poetry and contemporary art for little ones, and a timeless reminder of the power of courage in all of us.

Life Doesn’t Frighten Me – Maya Angelou’s courageous children’s verses, illustrated by Basquiat, a priceless primer on poetry and contemporary art for little ones, and a timeless reminder of the power of courage in all of us.

A two-year-old judges books by their covers:

The Great Gatsby: “This book is about singing. It’s about singing ‘Barbara Ann.’ Those are the lights, and there are lions in those lights.”

The Grapes of Wrath: “This is about the mountains, and there is slippery sand. The man doesn’t got a face. I have a face and the crocodile has a face, and he does not have a face, but he is going to be okay without a face.”

To Kill a Mockingbird: “It’s about a yucky pond, and she has a button on her shirt. She lost her button in the pond.”

What I wonder about is why we love our children so asymmetrically, so entirely, knowing that the very best we can hope for is that they will feel about us as we feel about our own parents: that slightly aggrieved mixture of affection, pity, tolerance and forgiveness, with a final soupcon - if we live long enough - of sorrow for our falling away, stumbling and shattered, from the vigour that once was ours.

[…]

Our love for anything cannot be explained by our possession of genes, any more than our love for football can be explained by our possession of feet. … It is not that the big emotions we feel - love or lust or loyalty - are more mystical than their biological origins but exactly that they are far more material, more over-loaded with precise dates and data, associations and allegiances, experiences and memories, days and times.

The mechanism of life may be set in motion by our genes, as the mechanism of football is set in motion by our feet, but the feelings we acquire are unique to our own weird walk through time.

My own best guess about the asymmetry of parental love lies in a metaphor borrowed from the sciences. Merely a metaphor, maybe, but one that - as metaphors can - touches the edge of actuality.

One of the rules of mathematics and physics, as I - a complete non-mathematician - read often in science books, is that when infinity is introduced into a scientific equation it no longer makes sense. All the numbers go blooey when you have one in the equation that doesn’t have a beginning or an end.

Parental love, I think, is infinite. I mean this in the most prosaic possible way. Not infinitely good, or infinitely ennobling, or infinitely beautiful. Just infinite. Often, infinitely boring. Occasionally, infinitely exasperating. To other people, always infinitely dull - unless, of course, it involves their own children, when it becomes infinitely necessary.

Adam Gopnik on the pain when children fly the nest.

Pair with history’s most moving letters of parental love.

Advertisement for Gymbo School & Gym Shoes, 1930, from MoMA’s fascinating design history of childhood.

Advertisement for Gymbo School & Gym Shoes, 1930, from MoMA’s fascinating design history of childhood.

When I turn in the art I’m worried that it’s totally inadequate. When the book arrives in stores a year later I only see mistakes. A few months later I love it.

Illustrator Alex Rex, creative hand behind Neil Gaiman’s charming Chu’s Day, shares the nitty-gritty of his process in making a picture-book.
When I turn in the art I’m worried that it’s totally inadequate. When the book arrives in stores a year later I only see mistakes. A few months later I love it.

Illustrator Alex Rex, creative hand behind Neil Gaiman’s charming Chu’s Day, shares the nitty-gritty of his process in making a picture-book.

Most Beds are Beds for sleeping and resting, but the best Beds are much more interesting!
The Bed Book – a rare British first edition of Sylvia Plath’s vintage verses for kids, illustrated by the great Quentin Blake.
Most Beds are Beds for sleeping and resting, but the best Beds are much more interesting!

The Bed Book – a rare British first edition of Sylvia Plath’s vintage verses for kids, illustrated by the great Quentin Blake.

If your mother tells you to do a thing, it is wrong to reply that you won’t. It is better and more becoming to intimate that you will do as she bids you, and then afterward act quietly in the matter according to the dictates of your best judgment.
Young Mark Twain’s mischievous advice to little girls.
If your mother tells you to do a thing, it is wrong to reply that you won’t. It is better and more becoming to intimate that you will do as she bids you, and then afterward act quietly in the matter according to the dictates of your best judgment.

Young Mark Twain’s mischievous advice to little girls.


Good little girls always show marked deference for the aged. You ought never to ‘sass’ old people unless they ‘sass’ you first.

 Mark Twain’s Advice to Little Girls.
Good little girls always show marked deference for the aged. You ought never to ‘sass’ old people unless they ‘sass’ you first.

 Mark Twain’s Advice to Little Girls.

Happy World Water Day! Celebrate with Plink Plink, a lovely vintage illustrated story about water’s life-giving gifts from 1954.

Happy World Water Day! Celebrate with Plink Plink, a lovely vintage illustrated story about water’s life-giving gifts from 1954.

Heart-warming gallery of Space Foundation’s 2013 student contest winners. Pair with You Are Stardust, a wonderful children’s book about the universe. 

If tomorrow’s citizens are dreaming of space exploration, why isn’t the government?

( It’s Okay To Be Smart)

Lovely vintage cover for Olga Adams’s 1952 book Children and the City by designer Frankie Faruzza, from MoMA’s fantastic Century of the Child retrospective. 

Lovely vintage cover for Olga Adams’s 1952 book Children and the City by designer Frankie Faruzza, from MoMA’s fantastic Century of the Child retrospective.