Mother's Day Lauds Bond With Deadly Breaks

In May, Mother's Day celebrates what most of us see as a sacred bond, natural and social, between mothers and children. But that bond is more tenuous than we like to think. A study in Forensic Science International looked at filicide cases (killing of a child by a parent) between 1976 and 2007 and found they occur about 500 times a year in the United States, with more than 40% of the murders committed by mothers. Cheryl Meyer, co-author of several books on the subject, said it's probable that a mother kills a child once every three days in the U.S. Filicide expert and forensic psychiatrist Phillip J. Resnick identifies five major reasons a mother might kill her child. One motive is misguided altruism--believing death is in the child's best interest, either based on the reality of a child's terminal illness or a conviction the child needs to be saved from a cruel world, especially if the parent intends to commit suicide. Of course, acute psychosis is another explanation, such as when a mother thinks her child is demon-possessed or obeys "voices." Sometimes the killer mom just wants to be rid of an unwanted child seen as a hindrance. Or perhaps the killing is the accidental result of cruel physical abuse or neglect. The least common motive is spousal revenge a la Medea: a mother killing her child to exact revenge on her spouse. Maternal filicide is a common theme in the true crime genre, and it has played a key role in well-known fiction works such as Toni Morrison's Beloved or Dennis Lehane's Shutter Island. In recent fiction, there's Veronique Olmi's haunting Beside the Sea, which captures the twisted altruism of a single mother who takes her beloved two sons on a last fun-filled trip to the seaside before freeing them from what she sees as an uncaring and dangerous world. Best-selling author Tami Hoag offers The Boy, in which detectives must solve the question of whether a mother, who ran panicked into the night after an alleged intruder killed her 7-year-old son, is suffering an unfathomable loss or is guilty of an unthinkable crime. Little Deaths by Emma Flint focuses on Ruth Malone, a single mother in 1965 Queens, NY, who works long hours as a cocktail waitress and insists she woke up to find her two small children missing. When their bodies are discovered, the lead detective concludes Malone is the killer, but a dogged tabloid reporter questions whether the unhappy mother is a killer, victim of circumstance or pawn of something more sinister. The Big Girls by Susanna Moore addresses both the destructive power of maternal instinct and our cult of celebrity by bringing together four characters at a women's prison: a woman serving a life sentence for murder of her children; the female chief of psychiatry; a male corrections desiring the psychiatrist, and an ambitious Hollywood starlet contacted by the convicted killer. For more on filicide in America, see https://www.cnn.com/2017/07/07/health/filicide-parents-killing-kids-stats-trnd/index.html

The Power of Those Famous First Words

The first line of a fiction novel is so important that the most famous are instantly recognized: "Call me Ishmael." (Moby-Dick by Herman Melville) "It was the best of times, it was the worst of times..." (A Tale of Two Cities by Charles Dickens) "Happy families are all alike; every unhappy family is unhappy in its own way. (Anna Karenina by Leo Tolstoy) "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." (Pride and Prejudice by Jane Austen) My son and husband just love the new sci-fi hit The Martian by Andy Weir, about an astronaut stranded on Mars; it begins with "I'm pretty much f--d." Memorable first lines grab the reader's interest, introduce the style or voice of the novel, and create expectations that the author will satisfy or confound. Many stock opening words set the scene, but the best go way beyond "It was a dark and stormy night." Consider how George Orwell's initially standard start to his novel 1984 is disturbingly transformed by the last word: "It was a bright cold day in April, and the clocks were striking thirteen." Some first lines hook the reader immediately by jumping right into action, as in Toni Morrison's Paradise: "They shoot the white girl first." Other fiction openers present a thesis or opinion before moving forward, beginning with a statement that engages or challenges the reader's experience and that grows in impact by the novel's last words. Austen and Tolstoy succeeded in the examples above. First lines also can draw in readers with suspense--about what will be revealed about events (The Martian), or about the narrator as in Albert Camus' The Stranger ("Mother died today."), or about both as in Kurt Vonnegut's Slaughterhouse Five ("All this happened, more or less.") Test yourself on how many first lines are etched in your memory with this quiz courtesy of The Christian Science Monitor: http://www.csmonitor.com/Books/2014/0612/Famous-opening-lines-Take-our-literature-quiz/Question-110