Because of the rich ambiguity of Harold Pinter’s poetic language, Family Voices can be interpreted in many ways. On the simplest and most realistic level, the play seems to be about failure of communication within families. Though mother, father, and son speak in the play, they do not hear one another, nor do they ever connect physically. In truth, all three vacillate between expressions of love and yearning for one another and expressions of direct and indirect hostility (“If you are alive you are a monster,” says the mother in monologue 4). Perhaps because of these ambivalent emotions, all lie during the play, and all mask their feelings with clichés, which they employ almost as weapons. “Lady Withers asked me about you, mother,” the young man says in his fourth monologue. “I said, with absolute conviction, that you were the best mother in the world.” Hersh Zeifman has gone so far as to call Family Voices a parody of communication.
Others have seen the play as an exploration of the complex way in which a child’s family is replaced by surrogates as the young person matures. There are, after all, two families in the play: the son’s family, which he has at least overtly escaped, and the new family, the Witherses, in which he places himself. The audience hears the specific words (voices) of all the Witherses—save for Jane, who may be too young to have developed a consistent voice.
Much of the dramatic...
(The entire section is 541 words.)