![]() When one person stops playing their usual role in the family, the system will usually experience some degree of disequilibrium or chaos. ![]() Daughters Who Change and The Resistance Responseįamilies are complicated systems. And it may be the single most empowering thing as well. It may be the hardest thing you ever do in your entire life. At a certain point, you may reach a crossroads where the cost is too much, and you have to make a choice. Rather, it is often a choice made after years of trying every other possible avenue to preserve the connection and see it evolve to a higher level. I believe that this isn’t something chosen in a flippant, cavalier way. But a core theme leading to going no contact is realizing that your mother’s dysfunctional behavior has demanded an enormous cost to your mental/emotional well-being and you’re simply no longer willing to pay that cost. There are so many reasons why people make this choice. It takes enormous strength and fortitude to follow through with this. For others, the estrangement can be permanent. Sometimes the distance can be brief and short-term. It’s still considered taboo to be estranged from one’s family especially to be estranged from one’s mother. Learn why going no contact and estrangement from your mother may be a healthy choice for you. But for some of us, it’s impossible to heal ourselves and remain in connection with our mothers. I’ve seen it happen and it’s truly inspiring. In this scenario, the healing actually creates a new, deeper connection between mother and daughter, which is a beautiful thing to witness. For some of us, healing the Mother Wound is possible while staying connected to your mother. Indeed, the matriarch herself is effectively the ninth subject of the biography of the eight children” as Honourable Kwame Preprah states in the Foreword.The decision to go no-contact with a family member is a deeply personal one. D13, South Suntresu, Kumasi, to overcome the many hurdles along their individual paths in life as being due to their mother, Madam Maye Charlotte Hudson (Mrs. The book achieves the purpose of showing the “remarkable togetherness and the mutual support system that enabled the children of House No. ![]() The person whose presence permeates the story is the matriarch – Mrs. The structure of the narrative, which makes it possible to flow, is simply to follow the fortunes of these siblings sequentially in turn through the main phases of their development. However, it is worth recalling that before she died, and in an act that exemplifies the major theme of this book, Naana secretely transferred all the money in her own bank account into that of her six year old niece, Abena Tutuwa Ahwoi, the daughter of her brother, Kwamena. Theodora Naana Adu-Gyamfi passed away at the age of 28 and so her role ends early except in passing references. Efua Bram-Larbi, Theodora Naana Adu Gyamfi and Mrs. These are the dramatis personae in order of appearance – from the womb – Ato Ahwoi, Kwesi Ahwoi, Mrs. And at the heart of that good story is human progress against the odds capsuled in the life of these eight individuals. It is not every book project that produces a good book, but this book has done so because at the heart of the project is a good story. It would be right to describe it as an exercise in literary democracy! The ‘Ahwois” principally is the collective name of three brothers – Ato, Kwesi and Kwamena – who have played prominent roles in Ghana’s recent history, but the siblings also include five girls, Ama, Adoma, Efua, Naana and Sister Aggie, who also played their part in this thrilling story in their own unique ways.įor such a collective recall of personal histories to work, a principal requirement is a willingness of all the parties involved to treat the project seriously of equal importance is the need to treat everyone’s personal history as important, which is what this book has succeeded in doing. This book is a collection of life stories of the eight children of Madam Maye Charlotte Hudson, also known as Esi Tutuwa but known to some people as Esi Nkwagye and to the people of South Suntresu, Kumasi as Mrs. To actually achieve the purpose and turn it from a project into an enthralling reading experience deserves all the plaudits this book is likely to gather. To do it in a coordinated combination of first and third person “voices” would appear to be a bit implausible. A collective biography of eight siblings was always going to be a daunting challenge, even if each person told their own story and got it together in one volume. D13, South Suntresu, Kumasi, as an intriguing project is an understatement.
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