For much of literary and cinematic history, the mother-son relationship was trapped in binary clichés. On one side stood the —the long-suffering, morally pure mother (e.g., the unnamed mother in Battleship Potemkin or Marmee March in Little Women ). Her son’s journey is one of grateful departure. On the opposite end lurked the Devouring Mother , whose love is a velvet noose. From Medea’s infanticide (Euripides) to the smothering, possessive Mrs. Morel in D.H. Lawrence’s Sons and Lovers , this figure prevents her son from forming any autonomous identity.
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In literature, is a letter from a Vietnamese-American son to his illiterate mother. Vuong writes: “I am writing to tell you that I am still here. That you are the only one who knows what it’s like to be a mother to a monster—and a son to a ghost.” The book refuses resolution. The mother is both abuser (the slaps, the silences) and survivor (of war, of poverty). The son’s love is inextricable from his rage. For much of literary and cinematic history, the