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Gwendolyn Brooks' "The Mother"
Gwendolyn Brooks' "The Mother" features a speaker who has undergone more than one abortion. She is brooding over the consequences of her actions.
The speaker opens her monologue by making a generalized statement about the memories and feelings of women who have aborted their babies.
This speaker then backs up her claims by offering her own experience as testimony.
Reading of Brooks' "The Mother"
First Movement: "Abortions will not let you forget"
The speaker states bluntly, "Abortions will not let you forget." She claims that the mother who has aborted will "remember the children" that she conceived but "did not get," that is, allow to be born.
The speaker then describes the bodies of the aborted fetuses as "damp small pulps with a little or with no hair," indicating that she has seen those bodies after they were removed from her uterus. She makes the melancholy remark that these children will never sing or work.
Second Movement: "You will never neglect or beat"
The speaker then seems to offer a rationalization that should comfort the mother who has aborted when she states, "You will never neglect or beat / Them, or silence or buy with a sweet."
And it is certainly true that the mother will never be able to abuse her aborted children. But then she deflates the rationalization by asserting that the mother also will never be able to comfort her aborted babies.
That mother will never see them suck their thumbs, and she will never be able to calm their fears of ghosts.
That mother who has killed her fetus will never know the joy of returning to her child "with gobbling mother-eye" after a brief period of separation.
Third Movement: "I have heard in the voices of the wind the voices of my dim killed children"
The speaker now moves to her own specific experience—shifting from the universal "you" to the first person singular pronoun: "I have heard in the voices of the wind the voices of my dim killed children."
This "mother" does not euphemize with terms such as "choice," "reproductive rights," or "mass of cells"; she uses the term "killed" and applies it to what was done to her "children."
This speaker's memory and her imagination combine to bring back those lost babies. She imagines suckling them with "the breasts they could never suck."
Fourth Movement: "I have said, Sweets, if I sinned, if I seized"
The speaker relates how she was not "deliberate" in her "deliberateness" of allowing their lives to be snuffed out; thus, she seeks to apologize to those whose futures she has stolen.
The speaker delineates some of the things that she has stolen from those aborted babies: "your births," "your names," "your marriages," "your aches," and "your deaths."
This speaker as failed mother suffers thinking of all that she has denied her progeny, but she tries to soothe her pain by realizing that even as she has denied them an ordinary physical existence, she has also denied them the trials, tribulations, and suffering with which such an existence is always fraught.
Fifth Movement: "Though why should I whine"
With utmost sorrow, the speaker frantically asks how all her whining can remove the "crime" that she realizes is only hers. She admits that they are dead but then equivocates, "Or rather, or instead, / You were never made." But then she contradicts that claim as "faulty."
They were, in fact, made; they did exist. Perhaps she can assuage her guilt by merely telling herself, "You were born, you had body, you died." But that will not work, because they never had the opportunity to "giggle[ ] or plan[ ] or cr[y]."
Sixth Movement: "Believe me, I loved you all"
The speaker finally settles on what she perceives as her only possible course for deliverance—a declaration of love for all of those dead babies.
This pathetic, would-be "mother" begs her aborted babies to "believe [her]" when she says, "I knew you, though faintly, and I loved, I loved you / All."
© 2016 Linda Sue Grimes