That quote says it all. It contains all the complexities and ambivalences of motherhood–the anger, the frustration, the fragility, and the joy as well. Rich’s is a mammoth of a book, a sort of encyclopedia of academic motherhood. Although it was written in 1976, reading it today still makes the reader feel like a major breakthrough is happening, a new light is being cast on a field which had been kept in the dark for ever. Many books have been written about motherhood since Rich’s Of Woman Born, yet the sense of urgency which pervades it still makes it today a compelling read.
Marie Darrieussecq (b. 1969) is a familiar figure in the French literary world, where she is mostly known as a novelist with titles such as Truismes (1996), Naissance des fantômes (1998). Her only foray in the field of autobiography is Le bébé (2002), in which she recounts her son’s first few months, and her coming to terms with motherhood. Despite her hints at a difficult pregnancy followed by a difficult, preterm birth, the tone of the book remains one of slightly amused detachment – the exhaustion of the first few weeks as well as the distress of being physically separated from a baby too small to be held are glossed over and delicately brushed aside. Darrieussecq’s account is not one of conflict or desperation, like Cusk’s A Life’s Work for example; she is exploring motherhood the way a writer experiments with a new object or a new form. Unlike other female writers whose voices were suddenly extinguished by the birth of their first child and who struggled first with the fatigue and then the guilt to recreate their own mental space, Darrieussecq’s voice flinches slightly, but is soon reestablished. She does not perceive writing and mothering as antagonistic activities, but as two streams of her own self harmoniously blending into one. She even experiments with a new form – the interrupted form of mother writing – and the very existence of the book, Le bébé is testimony to the persistence of her uninterrupted artistic abilities.