Moderns And Their Mothers' Reach

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— Moderns and their Mothers’ Reach — Death of a Salesman (Arthur Miller), Cat on a Hot Tin Roof (Tennessee Williams) By Patrick McEvoy-Halston May 2006 In Terrible Honesty, Ann Douglas argues that moderns felt they needed to find a way to free themselves from the influence, from the control, of their Victorian predecessors, and discusses how their cultural products were means to this end. Free, they created one of the richest cultural periods of all time. But she also argues that moderns well knew that a price would have to be paid for all this self-fulfillment and self-growth. She writes that they knew that at some point the Maternal, the “object” they repressed and beat back, would stage a return and make them pay for their insolence. Some theorists—especially those influenced by object-relations thought—argue, however, that the nature of how most of us experience our own self-growth and freedom ensures that moderns would themselves stage the return to a matriarchal environment—that is, that she wouldn’t need to return, for they would feel compelled to come pay her a visit. In this essay I will argue that prominent modernist plays served to both help effect the matricide Douglas argues modernist cultural products “produced” and to vicariously offer means to temporarily return to the maternal environment they so loathed and feared. Specifically, I will explore how Brick and Margaret, in Tennessee Williams’ Cat on a Hot Tin Roof, and Biff, in Arthur Miller’s Death of a Salesman, are made to seem empowered moderns who exist outside of a maternal environment but who risk upon their return to this environment, the loss of their hard-won, highly prized independence. Douglas makes a very bold argument in Terrible Honesty: she more than argues that modern New York was moved by a desire to effect cultural matricide, to war against mothers and
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