Setting
The setting of the play ''night, Mother' serves as a poignant backdrop, reflecting the inner lives of its characters. The narrative unfolds in a typical ranch house, positioned at the end of a secluded country road. This isolation underscores the lonely existence of Jessie, who finds herself confined not just by geography but also by her own circumstances, notably her battle with epilepsy. The house, though unnamed in terms of a specific town, stands as a testament to her solitude and the gradual imprisonment she experiences as her condition progresses.
Within this ranch house, a division of domains emerges, mirroring the familial dynamics. The living room, warm and inviting, is a testament to Jessie's mother's contentment. It is adorned with various needlework creations, each piece contributing to a sense of domestic bliss that contrasts starkly with Jessie's reality. The mother finds joy and fulfillment in her surroundings, while Jessie remains trapped in the shadows of her ailment and isolation.
Adjacent to this domestic environment lies the land that once supported a farm, a domain that was intrinsically linked to Jessie's father. This farm operated with a certain autonomy from the house, symbolizing the father's separate sphere of influence. Just as he claimed the farm, the mother claimed the house, leaving Jessie caught between these two worlds.
Adding to the complexity of Jessie's situation is the presence of a small house, crafted by her husband, a carpenter. This dwelling, built in earlier years, represents a period of happiness and contentment for Jessie. It stands as a stark contrast to the larger ranch house, suggesting a time when Jessie's life was marked by warmth and personal fulfillment, a time that now seems distant and unattainable.
Historical Context
The early 1980s in the United States was a transformative period characterized by a tension between individual autonomy and the pervasive reach of societal norms and governmental influence. During this era, women particularly grappled with issues of identity and autonomy, manifesting through cultural phenomena like the rise in eating disorders and debates about personal freedom. Marsha Norman’s play, ’night, Mother, deeply explores these themes, reflecting the era’s conflicts through its narrative on alienation, autonomy, and the right to die.
Alienation, Isolation, and Anorexia
Despite a population of over 228 million, Americans in the early 1980s cherished the ideal of self-reliance, yet many, particularly women, faced a sense of alienation. The period was pivotal for women seeking individuality, amidst the failed ratification of the Equal Rights Amendment—a stark reminder of the persistent gender inequalities. This frustration often translated into a rise in eating disorders, such as anorexia and bulimia, seen as desperate attempts to exert control in a chaotic world.
These disorders acted as a form of passive rebellion, where the neglect of one's body was a long-term assertion of autonomy. In ’night, Mother, Jessie Cates embodies this struggle through her eating habits, reflecting a deeper existential battle. Her character resonates with numerous women of the time, each grappling with societal and personal constraints. Jessie's rejection of food symbolizes a broader quest for control and identity amidst overwhelming societal pressures.
Women Smokers
The era also saw a rise in women smokers, surpassing men, not out of a sudden affinity for tobacco, but as an assertion of self-definition and autonomy. Smoking became a symbol of rebellion against historical limits placed on women, who were often seen as property of their fathers and husbands. For Jessie, this act represented a rare choice free from external influence, highlighting the era's broader struggle for personal agency.
Jessie’s decision to smoke, despite societal expectations, underscores her pursuit of autonomy in a...
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life controlled by others. This choice is a microcosm of the wider feminist movements of the time, asserting independence and challenging traditional gender roles. Through smoking, Jessie exercises her agency, aligning with many women of the era who sought freedom from societal constraints.
The Right to Die
The controversial debate about the right to die also emerged prominently in the early 1980s, with cases like Karen Ann Quinlan’s highlighting ethical dilemmas in sustaining life through medical technology. This discussion gained traction well into the 1990s, with figures like Dr. Jack Kevorkian challenging norms by assisting in the deaths of terminally ill patients.
In ’night, Mother, Jessie’s choice to end her life is not due to illness but a reflection of a life she perceives as devoid of meaning, echoing arguments in favor of euthanasia. The play refrains from singularly rationalizing Jessie’s decision, focusing instead on her volition to act. Her neutrality in the context of the play invites audiences to consider the broader implications of autonomy and the right to dictate one's fate.
Jessie’s resolve to determine her end is a powerful statement of identity against an overwhelming sense of invisibility. By choosing the terms of her life’s conclusion, she asserts her individuality and challenges societal conventions, a theme resonating deeply with the era’s pursuit of personal agency.
Conventional Rituals and Small Pleasures
The play also highlights the significance of small, conventional pleasures, as seen through Thelma's appreciation for them. While these may appear trivial, they underscore the fabric of everyday life and survival. The weekly manicure Jessie offers Thelma represents a rare moment of shared joy, highlighting their bond.
Despite Jessie's decision overshadowing these rituals, Thelma’s appreciation for small comforts, like her cupcakes, candy treats, crosswords, and knitting, becomes her salvation. These seemingly insignificant pleasures hold profound meaning, allowing her to continue finding purpose after Jessie’s departure. The play compels reflection on these small joys, suggesting they constitute the essence of existence.
"It is very difficult to face the possibility that there are women who have as little self-respect or reason to live as Jessie has, yet there are many lonely women who have no control over their lives or their bodies and who seem to have lost even the desire to assert themselves."
This poignant observation underscores the pervasive struggle for identity and purpose that defined the era, reminding audiences of the enduring quest for self-worth amid external constraints.
Style and Technique
The play 'night, Mother by Marsha Norman unfolds in real time, immersing audiences in a raw and intimate ninety-minute journey. Jessie Cates announces her intention to commit suicide, catalyzing a tense dialogue with her mother, Thelma. Through their exchanges, the play explores profound themes of identity, choice, and isolation, employing a combination of literary techniques that enhance its dramatic impact.
Act Structure
Traditional dramas often follow a five-act structure, a legacy from ancient Greek and Elizabethan plays that encompasses exposition, complication, climax, falling action, and catastrophe. However, 'night, Mother is a one-act drama, condensing these classical components into a single continuous act. The play begins with Jessie's shocking revelation about her impending suicide, which serves as the exposition, complication, and climax all at once. The subsequent actions—her meticulous preparations and her mother's desperate attempts to intervene—embody the falling action, culminating in the final catastrophe with the sound of a gunshot.
Use of Analogy
Analogy serves as a powerful tool in 'night, Mother to convey Jessie's perspective on life and death. Jessie employs a bus trip analogy to describe her future, illustrating why she feels suicide is her only viable option. This comparison not only clarifies her mindset but also bridges the gap between her inner turmoil and her mother's understanding, allowing audiences to grasp the depth of Jessie's despair.
Characterization
Characterization in 'night, Mother is critical in fleshing out the personalities and motivations of Jessie and Thelma. From the outset, Thelma is depicted as somewhat helpless and frivolous, yet as the drama unfolds, she reveals herself to be shrewd and perceptive. This evolution in Thelma's character not only deepens the narrative but also challenges stereotypes, portraying her as a complex figure coping with the impending loss of her daughter.
Dialogue and Realism
Dialogue in the play serves as the primary vehicle for exploring the central conflict. Jessie and Thelma's exchanges resemble an intense debate, with Jessie asserting her decision and Thelma countering with emotional pleas. The realism of their conversations is striking, reflecting the shorthand communication style often seen in long-term relationships. This authenticity enhances the audience's connection to the characters, making their pain and struggle palpable and relatable.
Drama and Tragedy
'night, Mother blurs the lines between drama and tragedy, delving into serious themes without reaching the classical heights of tragic works. The play's exploration of existential dilemmas, personal agency, and the inevitability of death situates it firmly within the domain of modern drama. Yet, the emotional weight and irreversible outcome of the narrative echo the essence of traditional tragedy, leaving a lasting impact on the viewer.
Naturalism
The play incorporates elements of naturalism, a movement that attributes human behavior to environmental and biological factors beyond individual control. This is evident in Jessie's revelation of her inherited epilepsy from her father, adding a layer of determinism to her plight. Such naturalistic influences underscore the inevitability and helplessness that permeate Jessie's decisions, framing her choice as a response to forces she cannot change or escape.
Plot and Themes
The plot of 'night, Mother is straightforward yet profound, centering on Jessie's preparations for her planned suicide. While the plot lays out the events, the themes delve deeper, exploring issues of identity, existential choice, loneliness, and mortality. By focusing on the interplay between plot and theme, the play invites audiences to reflect on the emotional and philosophical underpinnings of Jessie's ultimate decision.
Setting
The setting of the play is deliberately nondescript, taking place in a generic Midwestern home that could belong to anyone, anywhere. This universality is intentional, emphasizing the commonality of the themes and characters. The action transpires entirely within the confines of the Cates's living room and kitchen, reinforcing the sense of confinement and inescapability that Jessie feels in her life.
The Unities
'night, Mother adheres to the classical unities of time, place, and action, as defined by Aristotle. The entire play unfolds in real-time over ninety minutes, fulfilling the unity of time without any interruptions. The unity of place is maintained by setting the action exclusively in Jessie's home, while the unity of action is achieved through the singular focus on Jessie's decision and its immediate consequences. This adherence to the unities creates a concentrated, intense experience that mirrors the urgency and finality of Jessie's choice.
Adaptations
'night, Mother was turned into a movie in 1986, featuring a screenplay by Norman and direction by Tom Moore. The film starred Sissy Spacek as Jessie and Anne Bancroft as Thelma. Despite being produced by Aaron Spelling, who is famous for melodramatic TV shows like Beverly Hills 90210 and Melrose Place, the film remains faithful to Norman's original work. Critics have argued that Spacek and Bancroft were too glamorous to convincingly portray the ordinary women from the play. The film received mixed reviews and is available through MCA/Universal Home Video.
Bibliography
FURTHER READING
Brown, Linda Ginter, Editor Marsha Norman: A Casebook, Garland (New
York), 1996.
This anthology features essays that delve into various facets of Norman's work.
It includes analyses of plays such as 'night, Mother, Getting Out, Third and
Oak, The Holdup, Traveler in the Dark, Sarah and Abraham, and The Secret
Garden.
Burkman, Katherine H. "The Demeter Myth and Doubling in Marsha Norman's
'night, Mother" in Modern American Drama: The Female Canon, edited by
June Schlueter, Fairleigh Dickinson University Press, 1990, pp. 254-63.
Burkman explores the mother-daughter dynamics in 'night, Mother by drawing
parallels between Jessie and Thelma and the mythological figures Demeter and
Persephone.
DeMastes, William W. "Jessie and Thelma Revisited: Marsha Norman's
Conceptual Challenge in 'night, Mother" in Modern Drama, Vol. 36, no. 1,
1993, pp. 109-19.
DeMastes critiques feminist interpretations of Norman's play and argues that
those who dismiss the play as conforming to male-centric realism should
reconsider, as it shows that feminist writers can effectively use realism to
narrate women's stories.
Hart, Lynda. "Doing Time: Hunger for Power in Marsha Norman's Plays" in
Southern Quarterly, Vol. 25, no. 3, Spring 1987, pp. 67-79.
Hart discusses how the themes of food and the desire to break free from an
oppressive existence are pivotal in several of Norman's works, including
'night, Mother and Getting Out.
Henry, William A. "Reinventing the Classic" in Time, February 7,
1983, p. 85.
Henry provides a favorable review of Norman's play, praising the dialogue and
Kathy Bates' portrayal of Jessie.
Morrow, Laura. "Orality and Identity in 'night, Mother and Crimes of the
Heart" in Studies in American Drama, Vol. 3, 1988, pp. 23-39.
Morrow investigates the mother-daughter relationships and how daughters strive
to form identities distinct from their mothers. She compares Norman's play with
Beth Henley's Crimes of the Heart, highlighting the significance of food
and orality in both.
Smith, Raynette Halvorsen. "'night, Mother and True West: Mirror Images of
Violence and Gender" in Violence in Drama, edited by James Redmond,
Cambridge University Press, 1991, pp. 277-89.
Smith argues that the portrayal of violence and gender stereotyping in both
Norman's play and Sam Shepard's True West serves to deconstruct myths of
feminine masochism that both playwrights have been accused of perpetuating.
Spencer, Jenny S. "Norman's 'night, Mother: Psycho-drama of Female Identity"
in Modern Drama, Vol. 30, no. 3, September 1987, pp. 364-75.
Spencer examines Jessie's quest to establish her own identity, independent from
her father, husband, son, and mother. She concludes that Norman's play focuses
more on the autonomy of mothers and daughters than on the theme of suicide.
Wolfe, Irmgard H. "Marsha Norman" in American Playwrights since 1945: A
Guide to Scholarship, Criticism, and Performance, edited by Philip C.
Kolin, Greenwood, 1989, pp. 339-48.
Wolfe provides a production history of Norman's plays, including excerpts from
various reviews. A bibliography is also included.
SOURCES
Gilman, Richard. "Review of 'night, Mother" in the Nation, May 7, 1983, pp. 585-86.
Kauffman, Stanley. "More Trick than Tragedy" in the Saturday Review, Vol. 9, no. 10, September-October 1983, pp. 47-48.
Smith, Patricia Keeney. "Theatre of Extremity" in Canadian Forum, April 1985, pp. 37-40.
