Motherhood Enchained:
Exploring the Portrayal of Motherhood in Toni Morrison’s Beloved
Motherhood as a human concept has often focused on a woman’s necessity to care for her children more than herself. Her care and adoration for her creations must be flawless and pristine, an almost biblical figure despite any hatred, hostility, or contempt she may receive in return. A mother’s survival and happiness is purposeless if her children are not safe and happy. These ideas are completely unrealistic, especially regarding women in slavery. In American slavery, the relationship between mother and child was still affected by these notions, despite living in a world of abusive control and critical survival. In Renee Lee Gardner’s article “Subverting Patriarchy with Vulnerability: Dismantling the Motherhood Mandate in Toni Morrison’s Beloved,” Gardner focuses on how Sethe fights against the idea of motherhood being the defining trait of women. By committing infanticide, Sethe resists the societal construct of motherhood and the assigned responsibility that is pushed on to her. While these points are insightful, I would argue that Sethe’s actions also represent the sacrifices she had to make as a woman in slavery for her own power, for the protection of her children, and because of the lack of supportive and loving relationships in her life.
Sethe’s decision to kill her baby, while violent and disturbing, is in part a form of protection of her child. Gardner states that the act in itself was more of an act of resistance against the notion of motherhood: “The refusal here is a product not of direct rebellion, but of a resistance to the notion that a woman’s sole duty is to protect her children-citizens, or to the notion that doing so is necessarily in their best interest” (Gardner 209). This perspective is important. Sethe is resisting the idea that her life should be overshadowed by her children’s safety. However, I argue that Sethe’s actions are, in part, protection of her children. Sethe’s love for her children becomes obsessive. When she is reunited with both Beloved and Denver, she slowly spirals into a complex state of extreme guilt and extreme happiness: “I have felt what it felt like and nobody walking or stretched out is going to make you feel it too. Not you, not one of mine, and when I tell you you mine, I also mean I’m yours. I wouldn’t draw breath without my children” (Morrison 242). Sethe feels not just physically connected to her kids, but spiritually. Sethe doesn’t kill her baby solely as a representation of fighting the idea of what motherhood should be, she loves her child too much to force it to live. To truly see this, we have to look into Sethe’s past. Sethe’s life as a slave on Sweet Home is horrific. The audience is left unaware of most of the events that occurred to Sethe and the other slaves on Sweet Home, but they can see that the trauma Sethe is facing now, along with Beloved returning to the physical world, is a response to it: “I don’t have to tell you about Sweet Home –what it was– but maybe you don’t know what it was like for me to get away from there” (Morrison 190). Sethe is sexually assaulted on the farm the night she plans to escape. The milk from her body is forcefully taken from her by a pack of the boys the slavemaster is related to, and this event changes Sethe’s life both physically and mentally. She is scarred by the violation of her body, and by the violation of her baby’s nourishment. By killing her baby, Sethe is promising that what happened to her will never happen to her daughter. Her daughter will never have to live in a world with a master deciding her fate day by day or with men prepared to harm her. Gardner writes, “This double bind is of interest in terms of our ability to translate the sacrificial choice Sethe makes, which involves a devastating unwillingness to mother a daughter into slavery, and a subsequent level of self-blame that prevents her from being willing to mother again” (Gardner 211). Gardner argues that Sethe is both keeping her child safe from the burden of slavery and acting out in guilt, a statement I agree with. Understanding Sethe’s life in slavery is crucial to making sense of her actions. She is saving her daughter from a life of torture in taking it away. Her decision to kill is an act of motherhood, of protection. Sethe makes her decision out of the obsessive, fearful love she has for her child and its future.
Sethe has no true loving relationships in her life, causing her to survive as a mother without anyone to support her, leading her to make the decision to kill her baby. Paul D cares about Sethe and her happiness uniquely as her romantic partner, but even he does not see Sethe for who she truly is for most of the novel. When she reveals the truth about her killing her baby, he is unable to comprehend it: “That ain’t her mouth. Anybody who didn’t know her,or maybe who just got a glimpse of her through the peephole at the restaurant, might think it was hers, but Paul D knew better. Oh well, a little something around the forehead–a quietness--that kind of reminded you of her. But there was no way you could take that for her mouth and he said so” (Morrison 181). Paul D cannot fathom that Sethe, or at least his idea of her, has the ability to kill her child or speak of her actions years after doing so. Even when Sethe tries to explain the pain she feels, Paul D believes there has to have been another way. His perception of her as a pretty, innocent girl on Sweet Home is wrong in so many ways; he cannot understand that she would do something like this. He still doesn’t truly know her. Not long after he learns this news, Paul D leaves the house, not planning on returning. Paul D is unable to understand since he is not a parent and has not lived the life Sethe has. He cannot see the ways in which Sethe loves her children so deeply that she is willing to kill one of them for their protection. Paul D does not know Sethe well enough to guide her to a different decision, and he cannot understand her reasoning to do so. Baby Suggs is the only mother figure Sethe has, and while she is a more nurturing force in Sethe’s life, Baby Suggs does not know Sethe as a child. The damage to Sethe’s mind and body has already been done on Sweet Home, making Baby Suggs an amiable person in Sethe’s life rather than a mother figure. Baby Suggs cannot give Sethe advice on how to raise a child, or the pain that may come with it. So, when Sethe is met with the situation of bringing her child into a world where she has no one to turn to, she makes the decision on her own. Sethe doesn’t love her baby the same way the idea of motherhood depicts because she never experienced the love of a mother herself. Nurturing is foreign to her. The one person in her life who might be able to help her is her husband, Halle. But, he disappears after witnessing Sethe assaulted. He is too traumatized and confused by the experience to help her. Sethe never has a true loving relationship with Paul D, Baby Suggs, or anyone else in her life, causing her to make a disturbing, but calculated, decision for the child she is expected to love.
With decision making comes power, and simply saying Sethe does not have power in her life is an understatement. As a slave, Sethe is abused, overworked, and beaten, and as a woman she is taken advantage of and underestimated. Her life on Sweet Home is a prime example of how much she has to fight just to stay alive: “Sethe was alone and weak, but alive, and so was her baby” (Morrison 108). She has no person to help her in her struggles. Sethe has no freedom over her own life: her work, meals, and sleep are all decided by a slavemaster that physically and emotionally abuses people on Sweet Home. Sethe is pregnant as a young teenager, and is sexually assaulted soon after. As a slave, she is not paid for her continuous labor that she is treated horribly for. The few memories that Sethe flashes back to are gruesome and troubling, making it very understandable not to want to bring a child into her life. “What I had to get through later I got through because of you. Passed right by those boys hanging in the trees. One had Paul A's shirt on but not his feet or his head. I walked right on by because only me had your milk, and God do what He would, I was going to get it to you. You remember that, don't you; that I did? That when Igot here I had milk enough for all?” (Morrison 113). Sethe escapes Sweet Home purely for the protection of her child, it is a decision she makes for herself despite living on a plantation where everything is decided for her. By killing her baby, she is putting power back into herself. She is deciding for herself how her life and the life of her offspring will be, despite the shackles of slavery and the blindfold of motherhood.
Overall, Sethe’s actions are more than just a rebellion against motherhood. They are brought on by a fierce need to protect her family and herself, encouraged by the lack of love she receives in her life. The burdens of slavery are the main factors to her actions and what she gains from them. Sethe gives herself a type of freedom from removing the child from her life at this time, finally having the ability to make a decision for her own interest. She protects her child from having to know a shackled life of control and brutality, as she herself has nowhere and no one else to turn to.
Works Cited
Gardner, Renee Lee. “Subverting Patriarchy with Vulnerability: Dismantling the Motherhood Mandate in Toni Morrison’s Beloved.” Women’s Studies 45:203–214, 2016, (pp. 203–214), 10.1080/00497878.2016.1149029
Morrison, Toni. Beloved. Knopf Doubleday, 2004.
A War With No Champion:
The Use of Violence as a Coping Mechanism in Black Boy
In Black Boy by Richard Wright, Richard experiences oppression his entire life, and is necessitated to learn to cope with it. He uses violence to cope with the oppression he faces from his family and society around him. Despite attempting to protect himself, Richard unintentionally uses violence to further the abuse of himself and Black people as a whole for the sake of survival.
Ever since Richard was a very young boy, adults used violence against him to make him do what they wanted. Both his parents mentally and physically abused him, so he used these tactics against others as he grew up. As Black people raising a child in the South, Richard’s parents experienced large amounts of oppression throughout their entire lives. Richard’s parents knew that trying to fight back against the oppression they faced could likely get themselves killed. His parents had no way to let go of their anger or frustrations with the way they are treated, so they used their small power over Richard to have some sense of control. Richard was beaten when he questioned his parents’ authority, so he eventually used violence against persons in other situations. Richard’s parents experiencing oppression gave them very few options in their lives, so they used violence against Richard as a way to cope with the iniquity they faced, furthering the oppression onto their son. Richard used violence to protect himself from his uncle when he threatened to whip him for being rude. “Now, listen, Uncle Tom,’ I said, ‘you’re not going to whip me. You're a stranger to me. You don’t support me. I don’t live with you. ‘You shut your foul mouth of yours and get into the back yard,’ he snapped” (Wright 159). Richard threatened to cut his uncle with a razor, and kept his arms out in preparation of hurting his uncle. Richard did not want to be hurt, but knew that fighting back was the only way for him to survive the situation. Richard learned at a young age that violence was a way of survival. The oppression he faced from his family only furthered that idea, so he continued the cycle. The coping mechanism of violence is one of unsteadiness. On one hand, it is needed. Richard could not sit there and accept the abuse from his uncle, otherwise the injuries that could have been acquired would have been fatal. But, in giving into the pull of violence, he is continuing the lesson that was literally beaten into him. Violence is needed for the survival of few, and may lead to the death of any.
Using violence as a coping mechanism protects one to a certain extent, however increases the likeliness of struggle for future generations. Although violence perpetuated the stereotypes that Black people were dangerous, it was needed for their own survival. “If I had been planning to murder her, I certainly would not have told her, and, rationally, she no doubt realized it. Yet habit had overcome her rationality and mader her ask me: ‘Boy, do you steal?’ (Wright 146). The white woman Richard worked for thought he was untrustworthy, despite her being a stranger and no reason to think of him as a criminal. The woman was not aware of her own prejudice, and did not try to change her way of thinking. “I faced a wall in the woman’s mind, a wall she did not know was there” (Wright 148). White people held their stereotypes of Black people close to their hearts, even when they eventually found out they weren’t accurate. By using violence to cope with oppression, one was protecting themself while also proving the oppressors right. But, by not using violence in situations like Richard’s, they may get hurt or killed. “I leaped, screaming, and ran past her and jerked open the kitchen drawer; it spilled to the floor with a thunderous sound. I grabbed the knife and held it ready for her… ‘Leave me alone or I’ll cut you!” (Wright 108). Richard was prepared to use violence against an adult to protect himself, despite the danger he was in. He could have died in his circumstances if he did not fight back. Even if using violence proved the oppressor's views wrong, their viewpoints would likely not change due to the barriers in their minds. The use of violence as a coping mechanism was a losing battle for Black people, their oppression too complex to be fixed with one act.
Violence as a coping mechanism for oppression was needed for survival, but simultaneously hurt the person doing the action and the Black people around and coming after them. Despite Richard’s desire to prove white people wrong, using violence would only harm him and others because the answers to the oppression they faced was so deceiving, from any point of view. After all, it is very hard to survive in a society where all is pitted against you.
As I Lay Dying Character Study: Cash
The silence that came after pa introduced us to his friend was one I ain’t ever heard before. Pa’s face was blurry, a proud smile and combed hair and a clean face that I’ve never seen before.
So pa told us about the woman who now has his last name, while I stared at the graphophone in her hand and Dewey Dell and Vardaman kept eating their bananas and Jewel stared at a shop nearby. My eyes stared ahead, but my mind left the conversation.
I found myself in the shop everyday since we finally put ma in the ground. With the coffin finished, I found myself thinking. It was the longest I had spent on woodwork, and now with it done and gone I’ve got more time for myself.
So I was able to build more woodworks with the extra hours in the day. Ever since ma was buried, my mind hasn’t wandered far from her. Every piece I carved seemed to remind me of the coffin. I wonder if I did ‘nough to protect her. I put my care into it, that’s true. It made it to Jefferson in one piece. Each new build was a reminder of if I’ve worked enough or if I done enough to help her. Found myself working every hour of the day; Shelves, stools, tables, what have you. It hasn’t left my mind. She hasn’t left my mind.
If I know anything, I know I gotta keep working. Doesn’t matter what I’m making, s’ long as the wood is cut and my mind is tended to. The crutch gets in the way, I don’t mind it much. My thoughts wander to Darl and if he’s well in Jackson. I play music with the graphophone that I reckon he would’ve liked. It almost made it feel like he was with me. I return to the woodshop before it gets me. Nothing seems to get me as long as I’m carving. I just need to keep carving.
And so I started selling new works I’ve made. Managed to make some money for myself. So I went out and bought a new version of the tool I lost on the river, the cash I needed I earned for myself. Dewey Dell was with Vardaman and saw I had money before I left for town, and she said,
“You better hide that, if pa sees you with it, he— He might not like it. ”
I nod and move along with my crutch. Pa was the one that said to pour the cement on my leg when it was broken. He took my money when I was asleep. He took Jewel’s horse from him when he wasn’t lookin’. He wouldn’t even buy the shovel to bury my ma.
I reckon I should keep working.
I never say much to him about what he’s done. I don’t wanna start any problems, ‘seems it's better to keep my mouth shut than say anything most of the time. Looks like Dewey Dell don’t trust him much anymore, either. I reckon it’s something to do with the new woman he brought home.
Jewel and I don’t talk much anymore. He’s been angrier since meeting pa’s woman, but hasn’t said much. I heard some noises coming from the house, shouting and the like, and soon after Jewel left. I reckon he’s made a home for himself somewhere.
I do wish I could make a home for myself somewhere.
I reckon I should keep working.
Character Study: Macbeth
Macbeth starts off in the play not wishing to be king, there is very little to no chance of inheriting the throne in his lifetime. But, because of the witch’s prophecy, his entire outlook changes. He suddenly cannot focus on anything else, the need to become king overpowers him. After he kills Duncan, Macbeth feels the weight of his deeds despite not feeling remorse for them. Macbeth affects every other character in the play in some way. Macbeth’s lack of empathy grows throughout the play, and urges him to continue to make the decisions he does. Macbeth gains a sense of unfound notability after learning he could become king, more deserving of something despite not working for it in the past. Macbeth takes this sudden potential and pushes it much further than what should be considered sufficient. Macbeth puts all of his worth as a person into becoming ruler. He goes insane with the thought of power, before even achieving it. Macbeth uses his excitement to feed his lust for power. He experiences some uneasiness before killing Duncan, but after Lady Macbeth scrutinizes him and questions his masculinity, Macbeth’s demeanor changes. “Wouldst thou have that which thou esteem’st the ornament of life and live a coward in thine own esteem, letting ‘I dare not’ wait upon ‘I would’, like the poor cat i’ th’ adage?” (Shakespeare 1.7). Lady Macbeth tells him he is not a man for feeling unsure about causing Duncan’s death, and Macbeth gets annoyed. He reacts defensively, he is so scared to show weakness he will kill a man to hide it. Macbeth is a strong person on the outside, but he is weak and vulnerable in his core. Macbeth only truly decides to kill Duncan after his pride is questioned. He makes his decision based on how he will appear on the outside, and if weakness can be found on him.
Macbeth kills Duncan and Banquo to hide from himself. He becomes obsessed with the thought of being a ruler, but when he gets what he wants he does not know what to do. Macbeth only thinks about the witches’ prophecies and the thought that the crown could be taken away from him by Banquo’s son. Macbeth sends a man to kill Banquo, now refusing to do the deed himself. Macbeth fears his weaknesses, and is paranoid with the thought they could hurt him in some way. Macbeth sees Banquo’s ghost after his death. “Avaunt, and quit my sight! Let the earth hide thee” (Shakespeare 3.4). Macbeth is terrified of what he made happen, he is too deep over his head to go back. He doesn’t want to think of Banquo, he knows what he did was wrong, but refuses to take the blame for his own actions. Macbeth’s weakness is such a large part of him that he kills because he knows he will have a positive outcome, not waiting to think about the many terrible consequences that could come from his actions. Selfishness, mixed with self-hatred, is what makes Macbeth’s weakness overpower him.
Macbeth’s weakness is made from self-hatred, making his pride one of the pillars of his downfall. Throughout the play, Macbeth continually makes decisions to avoid coming to terms with himself, and for others to see him in a light where he has zero fragility. When Macduff arrives to fight Macbeth for the final time, Macbeth refuses, knowing Macduff may be the only person who could kill him according to the witches’ prophecy. But, Macbeth eventually agrees only after Macduff threatens to embarrass him. “Then yield thee, coward, and live to be the show and the gaze o’ th’ time. We’ll have thee, as our rarer monsters are, painted upon a pole, and underwit ‘Here may you see the tyrant” (Shakespeare 5.8). Macbeth knows he may lose this fight, and lose everything he’s been working towards for such a long time, but agrees to protect his pride. Macbeth knows he has weaknesses, but he would rather die than have himself and others to be completely aware of them. Macbeth is afraid of himself. He uses the witches’ prophecy to give him a glorious purpose, without knowing what he truly wants in his life. Macbeth cannot have other people think of him in an undignified way, so he writes a story for himself where he is the hero with no fears, and stops at nothing to get the ending he desires.
Macbeth uses his pride as a cloak for his weakness. The entirety of the play has him reaching for an unachievable goal, pushing everything else aside for something he will never get. When others criticize him, he feels the need to defend himself completely, never taking accountability for his actions. He pretends to be sure of himself and manly, but retreats when confronted. Macbeth is weak, but never is honest enough with himself or others to fully recognize it.
Actor’s Talkback: Macbeth
My performance of Macbeth fits into my overall interpretation of the text by showing his emotions. I tried to show Macbeth’s fear after killing Duncan and his uneasiness when Lady Macbeth gets angry with him. I walk backwards a bit when Lady Macbeth takes Macbeth’s dagger, he is ashamed he did not completely go with the plan they made and worried someone will be suspicious of them. Macbeth only truly cares about his deeds when another person judges him. When Lady Macbeth is disappointed in his carelessness, Macbeth attempts to hide any weakness that can be found so he will feel better about himself. He wants to do anything he can to get the throne, and he wants the throne to be seen as someone with authority. Macbeth only cares about his outward appearance, ashamed of who he is on the inside and not completely familiar with that person. Macbeth is disturbed from killing Duncan, but Lady Macbeth’s uncertainty makes him forget his uneasiness. Macbeth wants others to see him as an unfearing, strong person, but doesn’t know who he is underneath his veil.
Macbeth’s overconfidence in himself helps him in many cases, but hurts him in scenes like the one we chose to perform. Macbeth decides to kill Duncan because his uneasiness was disregarded and chastised by Lady Macbeth, showing how Macbeth’s actions were almost always influenced by others. Macbeth made his own decisions, but was too focused on other people that he continually made the wrong choice. Macbeth tried to hide his crimes by washing the blood off his hands. He did not care about Duncan dying as much as he cared about being caught. Macbeth chose to murder Duncan, but did not want to own up to what he decided to do. He blamed the killing on servants, and made Lady Macbeth hide the daggers with them after not doing it himself. Later, Macbeth hires others to kill Banquo because he was so paranoid of the crown being taken from him, despite already being king. Macbeth was troubled by the blood on his hands, but still refused to acknowledge that he was the person who put it there and that he deserved to be looked down upon for it.