Crash Movie Essay

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¤ It isn’t just the narrative’s exhausted ideas about the mother/child bond that get under my skin, it’s also that mimics a prurient gaze that it clearly thinks of itself as undoing, and does so at the level of its artistic and formal techniques.

Many critics marveled at the technical feats of the novel; it is no small artistic task to focalize narration so tightly through a child’s point of view, and Jack’s voice is realistic and compelling.

asks us to perform the politically important task of closely examining women’s experiences of all those topics.

What’s not to love about a bestselling feminist novel about sex and motherhood? The story of a mother and child as they first live in and then escape captivity (“Ma” was abducted as a teenager by a man named “Old Nick”), has troubled me since its publication.

It lives inside the kinds of stories we find pleasurable or challenging and in the moments we fail to examine why.

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So how, then, to represent or smartly explore these dark waters of our broken and unnurturing world?

And true, Ma is an impressive mother, keeping her son — conceived and birthed during a horrifying captivity — entertained, safe, and nourished under the most extreme circumstances.

Yet even in this most disordered world, we are asked to make judgments on Ma’s mothering, judgments that sit in a strange symbiotic relationship with the kind of admiration we’re simultaneously asked to experience.

How, exactly, is our interest in cover of the four-foot-tall breast-feeder?

Put differently, the novel makes troubling use of its central metaphor: that the “Room” in which Jack and Ma are locked is like a womb, representative of the deep, primal bond between mother and child.

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