Introduction: “The Mother” by Gwendolyn Brooks
“The Mother” by Gwendolyn Brooks first appeared in 1945 within her groundbreaking collection, A Street in Bronzeville. This powerful poem delves into the profound and complex emotions of a woman grappling with the aftermath of abortion. Brooks employs stark imagery and a raw, confessional tone to explore themes of loss, guilt, and the enduring impact of such a decision. The poem’s strength lies in its unflinching honesty, offering a poignant and unfeared examination of a taboo subject, ultimately elevating it to a universal exploration of motherhood and regret.
Text: “The Mother” by Gwendolyn Brooks
Abortions will not let you forget.
You remember the children you got that you did not get,
The damp small pulps with a little or with no hair,
The singers and workers that never handled the air.
You will never neglect or beat
Them, or silence or buy with a sweet.
You will never wind up the sucking-thumb
Or scuttle off ghosts that come.
You will never leave them, controlling your luscious sigh,
Return for a snack of them, with gobbling mother-eye.
I have heard in the voices of the wind the voices of my dim killed children.
I have contracted. I have eased
My dim dears at the breasts they could never suck.
I have said, Sweets, if I sinned, if I seized
Your luck
And your lives from your unfinished reach,
If I stole your births and your names,
Your straight baby tears and your games,
Your stilted or lovely loves, your tumults, your marriages, aches, and your deaths,
If I poisoned the beginnings of your breaths,
Believe that even in my deliberateness I was not deliberate.
Though why should I whine,
Whine that the crime was other than mine?—
Since anyhow you are dead.
Or rather, or instead,
You were never made.
But that too, I am afraid,
Is faulty: oh, what shall I say, how is the truth to be said?
You were born, you had body, you died.
It is just that you never giggled or planned or cried.
Believe me, I loved you all.
Believe me, I knew you, though faintly, and I loved, I loved you
All.
Annotations: “The Mother” by Gwendolyn Brooks
| Line | Annotation |
| Abortions will not let you forget. | The speaker acknowledges the haunting nature of abortions. |
| You remember the children you got | The speaker refers to the children she carried to term. |
| that you did not get, | The speaker emphasizes the loss of the aborted children. |
| The damp small pulps with a little or with no hair, | The speaker describes the aborted fetuses in visceral terms. |
| The singers and workers that never handled the air. | The speaker imagines the potential lives the aborted children could have lived. |
| You will never neglect or beat | The speaker contrasts the care she could have given the aborted children with the neglect they might have faced. |
| Them, or silence or buy with a sweet. | The speaker continues to explore the hypothetical care she could have provided. |
| You will never wind up the sucking-thumb | The speaker imagines comforting gestures she could have made. |
| Or scuttle off ghosts that come. | The speaker references the haunting presence of the lost children. |
| You will never leave them, | The speaker suggests the guilt she feels for not being there for the aborted children. |
| controlling your luscious sigh, | The speaker hints at the emotional turmoil she experiences. |
| Return for a snack of them, with gobbling mother-eye. | The speaker uses a morbid image to convey her deep longing for the lost children. |
| I have heard in the voices of the wind the voices of my dim killed children. | The speaker suggests a supernatural connection to the aborted children. |
| I have contracted. I have eased | The speaker describes her emotional response to the loss. |
| My dim dears at the breasts they could never suck. | The speaker imagines nurturing the aborted children. |
| I have said, Sweets, if I sinned, if I seized | The speaker questions her own actions and morality. |
| Your luck And your lives from your unfinished reach, | The speaker acknowledges the impact of her choices on the aborted children. |
| If I stole your births and your names, | The speaker continues to explore the consequences of her actions. |
| Your straight baby tears and your games, | The speaker imagines the joys and challenges the aborted children could have experienced. |
| Your stilted or lovely loves, your tumults, your marriages, aches, and your deaths, | The speaker contemplates the full spectrum of life experiences the aborted children could have had. |
| If I poisoned the beginnings of your breaths, | The speaker emphasizes the irreversible nature of her choices. |
| Believe that even in my deliberateness I was not deliberate. | The speaker suggests that her decision was not made with malice. |
| Though why should I whine, Whine that the crime was other than mine?— | The speaker questions the value of self-pity. |
| Since anyhow you are dead. | The speaker acknowledges the finality of the abortions. |
| Or rather, or instead, | The speaker offers an alternative perspective on the situation. |
| You were never made. | The speaker suggests that the aborted children may not have existed at all. |
| But that too, I am afraid, | The speaker expresses uncertainty about the nature of reality. |
| Is faulty: oh, what shall I say, how is the truth to be said? | The speaker struggles to find words to express the complexities of her experience. |
| You were born, you had body, you died. | The speaker asserts the reality of the aborted children’s existence, even if it was brief. |
| It is just that you never giggled or planned or cried. | The speaker emphasizes the missed opportunities of the aborted children’s lives. |
| Believe me, I loved you all. | The speaker reaffirms her love for the aborted children. |
| Believe me, I knew you, though faintly, and I loved, I loved you All. | The speaker expresses her deep affection for the children she lost. |
Literary And Poetic Devices: “The Mother” by Gwendolyn Brooks
| Device | Definition | Explanation | Example from Poem |
| Alliteration | Repetition of initial consonant sounds in close proximity. | Used to create rhythm and a sense of unity in the phrases. | “Sweets, if I sinned, if I seized” |
| Anaphora | Repetition of the same word or phrase at the beginning of successive lines. | Emphasizes the relentless memories and the weight of the decisions made. | “You will never neglect or beat / You will never wind up the sucking-thumb” |
| Apostrophe | Addressing someone absent or a personified abstraction. | Brooks addresses her unborn children, a poignant personification of her thoughts and feelings of loss. | “Believe me, I loved you all.” |
| Assonance | Repetition of vowel sounds within words in close proximity. | Contributes to the musical quality of the poem and enhances mood. | “The singers and workers that never handled the air.” |
| Caesura | A natural pause or break in a line of poetry, usually near the middle. | Creates a pause for emphasis, reflecting the mother’s contemplation and inner conflict. | “I have eased / My dim dears at the breasts they could never suck.” |
| Consonance | Repetition of consonant sounds, typically at the end of words. | Adds a lyrical sound and emphasizes the harsh realities and the repetitive thoughts of the mother. | “Your straight baby tears and your games,” |
| Enjambment | Continuing a line after the line break without a major pause. | Conveys the ongoing nature of the mother’s thoughts and emotions, reflecting her inability to separate her feelings from her everyday reality. | “You were born, you had body, you died. / It is just that you never giggled or planned or cried.” |
| Hyperbole | Exaggeration for emphasis or rhetorical effect. | Illustrates the depth of the mother’s emotional pain and guilt. | “You will never wind up the sucking-thumb / Or scuttle off ghosts that come.” |
| Imagery | Visually descriptive or figurative language. | Provides vivid images to evoke feelings that mirror the mother’s emotional state regarding her abortions. | “The damp small pulps with a little or with no hair,” |
| Irony | A contrast between expectation and reality. | The title “The Mother” itself is ironic considering the theme of abortion; it challenges the conventional definition of motherhood. | The whole poem is an example of situational irony. |
| Metaphor | A direct comparison between two unrelated subjects without using “like” or “as.” | Used to make a comparison that highlights the intensity of the emotions involved. | “I have heard in the voices of the wind the voices of my dim killed children.” |
| Paradox | A statement that contradicts itself but still seems true. | Reflects the complex feelings of guilt and justification the mother experiences. | “Believe that even in my deliberateness I was not deliberate.” |
| Personification | Attributing human characteristics to non-human things. | Personifies the unborn children, giving them qualities and actions they never had the chance to manifest, deepening the emotional impact of their absence. | “The singers and workers that never handled the air.” |
| Repetition | Repeating words or phrases for emphasis and effect. | Used throughout the poem to emphasize the mother’s ongoing struggle with her memories and guilt. | “You will never” repeated multiple times. |
| Rhyme | Correspondence of sound between words or the endings of words. | Sparse in the poem, which may reflect the disjointed and fragmented thoughts of the mother. | “forget” and “get” in the first two lines. |
| Simile | A comparison between two unlike things using “like” or “as.” | Rare in this poem, but would typically be used to make explicit comparisons to help readers visualize concepts or emotions. | Not explicitly used in this poem. |
| Symbolism | Use of symbols to signify ideas and qualities by giving them symbolic meanings. | Various elements in the poem symbolize broader themes of loss, regret, and the unfulfilled potential of the unborn. | “The damp small pulps” symbolizing unrealized lives. |
| Synecdoche | A figure of speech in which a part is made to represent the whole. | Utilizes a part of something to refer to the whole, often to emphasize a specific aspect of a larger theme. | “My dim dears at the breasts they could never suck” uses “breasts” to represent motherly nurturing. |
| Tone | The attitude or approach that the author takes toward the work’s theme. | The tone is mournful and reflective, characterized by a profound sense of loss and regret. | The overall contemplative and sorrowful expression throughout the poem. |
| Zeugma | Use of a word in a way that modifies or governs two or more other words. | Typically used for stylistic effect to create a dramatic contrast or to enhance the emotional expression in the poem. | “I have eased / My dim dears at the breasts they could never suck.” The word “eased” governs multiple actions. |
Themes: “The Mother” by Gwendolyn Brooks
1. The Haunting Presence of Loss: Brooks’ poem delves deeply into the profound and enduring impact of abortion on a mother. The speaker is haunted by the children she lost, imagining their potential lives and the experiences they could have had. This loss is not merely a fleeting memory but a constant presence that shapes her thoughts, emotions, and identity. Phrases like “Abortions will not let you forget” and “The singers and workers that never handled the air” highlight the persistent grief and longing that the speaker experiences.
2. Guilt and Regret: The speaker is burdened by a complex interplay of guilt and regret over her decision to terminate her pregnancies. She questions her own morality, wondering if she could have made different choices or if her circumstances were beyond her control. The poem explores the internal conflict and self-blame that can arise from such a decision. Lines such as “I have said, Sweets, if I sinned” and “If I poisoned the beginnings of your breaths” reveal the speaker’s deep-seated remorse and the weight of her choices.
3. The Ambiguity of Existence: Brooks’ poem raises profound philosophical questions about the nature of existence and the meaning of life. The speaker contemplates whether the aborted children ever truly existed or if they were merely potential lives. The poem delves into the complexities of these questions, exploring the boundaries between life and non-life, and the impact of human choices on the trajectory of existence. Lines like “You were born, you had body, you died” and “Or rather, or instead, You were never made” challenge the reader to consider the profound implications of abortion and the fragility of human life.
4. The Power of Love and Imagination: Despite the pain and loss she experiences, the speaker’s love for her children remains unwavering. She imagines their lives, their personalities, and the experiences they could have had. This imaginative capacity allows her to connect with her lost children on a deep emotional level, even in the absence of physical presence. Lines like “Believe me, I loved you all” and “Believe me, I knew you, though faintly, and I loved, I loved you All” demonstrate the enduring power of love and the human capacity for imagination, even in the face of tragedy.
Literary Theories and “The Mother” by Gwendolyn Brooks
| Literary Theory | Application to “The Mother” | References |
| Psychoanalysis | The poem can be analyzed through a psychoanalytic lens, focusing on the speaker’s unconscious desires, fears, and guilt related to abortion. The speaker’s internal conflict, guilt, and longing can be interpreted as manifestations of unresolved emotional trauma. | “Abortions will not let you forget,” “I have said, Sweets, if I sinned,” “I have eased My dim dears at the breasts they could never suck” |
| Feminist Criticism | A feminist reading of the poem can explore the ways in which the speaker’s experience of abortion is shaped by societal expectations and gender roles. The poem can be seen as a critique of patriarchal norms that often place the burden of reproductive choices on women. | “The damp small pulps with a little or with no hair,” “You will never neglect or beat Them, or silence or buy with a sweet,” “I have contracted. I have eased My dim dears at the breasts they could never suck” |
| Existentialism | An existentialist interpretation of the poem can focus on the speaker’s search for meaning and purpose in the face of loss and uncertainty. The poem can be seen as an exploration of the human condition, the fragility of life, and the existential questions that arise from confronting mortality. | “Or rather, or instead, You were never made,” “But that too, I am afraid, Is faulty: oh, what shall I say, how is the truth to be said?” “It is just that you never giggled or planned or cried” |
Critical Questions about “The Mother” by Gwendolyn Brooks
- What role does memory play in shaping the speaker’s experience of loss?
- In “The Mother,” memory acts as a relentless force that prevents the speaker from escaping the emotional repercussions of her past decisions. Brooks uses repetition and anaphora to underscore the persistence of these memories: “You remember the children you got that you did not get” and the repeated “You will never” phrases highlight how past actions continually shape the speaker’s present emotional landscape. This constant invocation of memory serves as a painful reminder, ensuring that the children she did not have remain a perpetual presence in her life, influencing her identity and emotional state.
- How does Brooks utilize imagery to convey the theme of loss and unrealized potential?
- Brooks employs visceral and poignant imagery to portray the profound sense of loss and the unrealized potential of the unborn children. Descriptions like “The damp small pulps with a little or with no hair,” evoke a vivid image of what has been lost, emphasizing their underdeveloped state and the naturalness of their existence that was never fully realized. This imagery not only humanizes the unborn but also intensifies the emotional impact of their absence, allowing the reader to feel the tangible void they leave behind, thereby magnifying the mother’s grief and loss.
- In what ways does the poem challenge traditional notions of motherhood?
- “The Mother” challenges traditional notions of motherhood through its exploration of abortion, a topic that inherently contests societal expectations of maternal instincts and duties. The poem’s title itself is ironic, presenting a paradox between the identity of a mother and the act of abortion. Brooks further complicates this by expressing deep maternal love and grief for the unborn: “Believe me, I loved you all.” Through this, she suggests that maternal feelings are not confined to children who have been born and that motherhood can encompass complex, contradictory emotions and experiences.
- What is the significance of the poem’s structure in conveying its message?
- The structure of “The Mother,” characterized by enjambment and a lack of consistent rhyme, mirrors the tumultuous and fragmented emotional state of the speaker. The use of enjambment, as seen in lines like “You were born, you had body, you died. / It is just that you never giggled or planned or cried,” allows thoughts to spill over from one line to the next, reflecting the ongoing nature of the speaker’s grief and the continuity of her thought process. This structural choice enhances the raw and unstructured reality of the speaker’s emotional landscape, making the poem’s message more immediate and impactful.
Literary Works Similar to “The Mother” by Gwendolyn Brooks
- “The Love Song of J. Alfred Prufrock” by T.S. Eliot: Both poems explore themes of isolation, alienation, and the fear of aging.
- “The Second Coming” by William Butler Yeats: Both poems evoke a sense of impending doom and the breakdown of societal structures.
- “Dulce et Decorum Est” by Wilfred Owen: Both poems address the horrors of war and the loss of human life.
- “Annabel Lee” by Edgar Allan Poe: Both poems explore themes of love, loss, and the supernatural.
- “I Wandered Lonely as a Cloud” by William Wordsworth: Both poems feature a speaker who reflects on nature and the passage of time.
Suggested Readings: “The Mother” by Gwendolyn Brooks
- Thorsson, Courtney. “Gwendolyn Brooks’s Black Aesthetic of the Domestic.” MELUS, vol. 40, no. 1, 2015, pp. 149–76. JSTOR, http://www.jstor.org/stable/24569957. Accessed 25 Aug. 2024.
- Harris, Victoria F. “THE VOICE OF GWENDOLYN BROOKS.” Interpretations, vol. 11, no. 1, 1979, pp. 56–66. JSTOR, http://www.jstor.org/stable/23240454. Accessed 25 Aug. 2024.
- Evans, Robert C. “‘ABORTIONS WILL NOT LET YOU FORGET’: A CLOSE READING OF GWENDOLYN BROOKS’S ‘THE MOTHER.’” CLA Journal, vol. 54, no. 3, 2011, pp. 223–38. JSTOR, http://www.jstor.org/stable/44325794. Accessed 25 Aug. 2024.
- Flynn, Richard. “‘The Kindergarten of New Consciousness’: Gwendolyn Brooks and the Social Construction of Childhood.” African American Review, vol. 34, no. 3, 2000, pp. 483–99. JSTOR, https://doi.org/10.2307/2901386. Accessed 25 Aug. 2024.
- Ford, Karen Jackson. “The Last Quatrain: Gwendolyn Brooks and the Ends of Ballads.” Twentieth Century Literature, vol. 56, no. 3, 2010, pp. 371–95. JSTOR, http://www.jstor.org/stable/41062482. Accessed 25 Aug. 2024.
- Angela Jackson. “In Memoriam: Gwendolyn Brooks (1917-2000).” Callaloo, vol. 23, no. 4, 2000, pp. 1163–69. JSTOR, http://www.jstor.org/stable/3300037. Accessed 25 Aug. 2024.
Representative Quotations of “The Mother” by Gwendolyn Brooks
| Quotation | Context | Theoretical Perspective |
| “Abortions will not let you forget.” | The speaker acknowledges the enduring impact of abortion on her life. | Psychoanalysis: This line reveals the speaker’s unresolved emotional trauma and the haunting presence of her lost children. |
| “The damp small pulps with a little or with no hair,” | The speaker describes the aborted fetuses in visceral terms. | Feminist Criticism: This image challenges traditional gender roles and highlights the physical and emotional toll of abortion on women. |
| “I have said, Sweets, if I sinned, if I seized Your luck And your lives from your unfinished reach,” | The speaker questions her own morality and the impact of her choices. | Existentialism: This quotation explores the speaker’s search for meaning and purpose in the face of loss and uncertainty. |
| “Believe that even in my deliberateness I was not deliberate.” | The speaker suggests that her decision was not made with malice. | Psychoanalysis: This line reveals the speaker’s internal conflict and the ways in which she attempts to justify her actions. |
| “You were born, you had body, you died.” | The speaker asserts the reality of the aborted children’s existence, even if it was brief. | Existentialism: This statement challenges the traditional understanding of life and death, suggesting that existence can be fleeting and fragile. |