150 Autobiographical and historical representations of maternal

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Expanding Documentary 2011: Conference Proceedings. Vol. 1, No. 2, December 2011
Autobiographical and historical representations of
maternal embodiment and the single mother in
the hybrid documentary Maverick Mother
Dr Janet Merewether
Lecturer, Macquarie University, Sydney, Australia
Introduction
This paper and digital presentation will examine the autobiographical mode of authorship
employed by the Australian first-person documentary Maverick Mother (Merewether, 2008),
commissioned by SBS television in 2007, and directed/produced by Janet Merewether for
Screen Culture. I will argue that both the production and audience reception of the feminist
autobiographical documentary remains a highly political process, despite the second wave of
feminist activism having permeated most western cultures close to fifty years ago.
Maverick Mother, a creative fifty-two minute documentary, employs what Merewether defines
as a hybrid structure and methodology in order to represent both the ‘spinster’ filmmaker’s
reproductive agency and her subsequent experience of embodied maternal subjectivity. The
film charts Merewether’s journey from un-partnered woman to ‘single mother by choice’, a
term coined by psychotherapist Jane Mattes in the early 1980s in order to define the cohort of
educated self-reliant older mothers who were forming female-headed families consciously,
without the involvement of a biological or social father (Mattes, 1994).
Fig. 1: Pregnant Filmmaker
The application of the ‘personal camera’ as defined by Laura Rascaroli (2009) enables
Merewether to challenge conventionally negative representations of the unwed mother as
victim, social pariah, mother of the illegitimate, ex-nuptial or ‘bastard’ child. Maverick Mother
juxtaposes contemporary video diary, dramatised tableaux-vivants, archival and home-movie
footage in order to explore the pressure exerted by a woman’s biological clock, and to compare
Merewether’s experience as a forty-year old primigravida living in 21st century Sydney, with
mothers in the nineteenth and twentieth centuries, for example in 1965, the year that she was
born.
The documentary integrates journal-entry style video self-representation (capturing family
interactions and the experience of single motherhood by choice), with scripted studio
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reconstructions that serve to ironically subvert conventional art historical and cinematic
representations of the (frequently vilified) single mother. Here, the hybrid autobiography
becomes that which Michael Renov defines as a form of domestic ethnography (Renov, 1999b,
p. 141), enabling the personal and familial to be framed within a wider political and social
context.
The subjects
Maverick Mother’s production process simultaneously positions the filmmaker as solo mother
subject and film auteur, a ‘bad girl’ who transgresses the conventional boundaries of
documentary form and nuclear family structures. This work of non-fiction considers the
question: can a mother sustain her critically reflective practice as an artist, whilst immersing
herself in the enveloping, visceral experience of solo motherhood?
Fig. 2: Biological Clock
The director intends to reveal the emerging social discourse around the contemporary working
woman’s experience of the biological clock, and the finite limits of female fertility. The
filmmaker’s initial concept was to base the documentary around the experiences of three
women subjects in their late thirties and early forties, as they make the momentous decision to
form a family without the presence of a biological father. These heterosexual women had been
involved in relationships with unwilling or reticent partners and husbands in the past, and
consequently were, as Leslie Cannold (2005) observes, ‘thwarted mothers’. One was pursuing a
pregnancy using donor sperm and AI (artificial insemination) at a private fertility clinic. Another
was considering the possibility of IVF technology using donor egg and donor sperm sourced
from the United States, and the third was the filmmaker, who was in the process of joining the
waiting list of a donor insemination program at a large publicly funded hospital in Sydney.
Given the intensely private and grief inducing nature of childlessness, the ‘barren’ state that in
2007 political conservatives John Howard and Tony Abbott would refer to as ‘social infertility,’
(applied to women who were too smart, too ugly or too irreverent/ independent to be ‘the
marriageable kind’) coupled with the shame and sense of failure at not having being
considered suitably maternal by their former partners, the two women selected eventually
declined to be filmed. Thus the autobiographical form for this film was chosen by default, or,
more accurately, by attrition. The filmmaker considered it more important as an educated
woman with access to equipment and an audience to bring this issue into the public domain,
than to retain personal modesty or privacy. Just as Morgan Spurlock chose to put his own
physical and psychological health at risk by consuming McDonalds food for a month in
Supersize Me (Spurlock, 2004), Merewether considered that self-representation through the
autobiographical documentary was a more ethically acceptable production mode for a project
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which potentially involved sexuality, pregnancy and birth. Most importantly, she had no
husband to criticise her actions, or to pressure her into the act of self-censorship, a common
yet insidious form of suppression of women’s views in society.
Filming the video diary: a camera in the kitchen
Filming the video diary commenced during the final stages of post-production on a previous
documentary Jabe Babe – A Heightened Life (Merewether, 2005) when the filmmaker was
thirty-eight years of age. The camera was kept charged and accessible for a period of over two
years, sitting on the kitchen bench at the ready, amongst the jumble of domestic detritus
which included teacups, sugar, marmalade and unopened mail. Life was busy, the pregnancy
outcome uncertain, the filming haphazard and irregular. The chances of a conception were
slim, and options including internet sperm donation, sex with a bisexual friend and the hospital
infertility clinic pursued.
Financing and broadcaster pre-sales were not yet an option as there was no story arc, no
predictable journey, possibly no baby. Unlike 1970s and 1980s commissioning decisions based
on a one-paragraph premise presented by the filmmaker, such as Two Laws, made
collaboratively by the Borroloola Aboriginal Community with Carolyn Strachan and Alessandro
Cavadini (Borroloola, Strachan, Cavadini, 1981), who, today, would take the risk to commission
a contemporary documentary with no certain ‘outcome’? SBS Television was approached only
after the filmmaker’s son was six months old, after a fruitful conception and birth.
The direction of the film was changing. Initially a documentary about the choice to become a
solo mother, the birth of a boy child instigated a thematic shift, which now included the
consideration of the changing role of the father in Australia, from the detached dominant
patriarch to the nurturing, involved parenting partner. What impact would growing up without
a residential father have on a young boy? In addition, what were the ethical and emotional
considerations now that the extended family were involved as social actors, unwitting
characters in the filmmaker’s somewhat intrusive video diary project?
The filmmaker’s to-camera monologues bore a stylistic similarity to the lo-fi contemporary vlog
postings now proliferating on the internet, however, unlike the purposefully artless vlog, would
later be historically contextualised and mediated in the selective process of editing. Maverick
Mother was to be assembled thoughtfully and gradually through a longitudinal process, rather
than for immediate consumption, in a style more akin to Ross McElwee’s wry autobiographical
study of history, the Civil War and love in the American South in Sherman’s March (McElwee,
1986).
Unlike so-called observational documentaries, where the camera is considered an objective,
detached recording apparatus, operated by a crew member who has no (apparent or revealed)
direct involvement with the subjects of the film, in Maverick Mother, the video camera
becomes a vehicle which prompts a series of altercations, arguments and candid interactions
between the conservative patriarch (father) and the sexually liberated feminist (daughter).
Contentious subjects are discussed within the microcosm of the family, which mirror the wider
societal discussions taking place in religious and political contexts. This film was produced
during the conservative Howard/Costello Liberal era in Australia, and the filmmaker chose to
incorporate the conservative political perspective within the text of the film, through the voice
and views of her own father, in order to avoid being dismissed as a radical separatist.
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Fig. 3: The Father
The filmmaker’s father voices a range of concerns. What are the implications of there being no
father who is willing accept paternity? ‘There cannot be avoided some stigma of not knowing
who your father is, or not having a father who’s willing to say, hey, I’m it’. How will this aberrant
family unit appear on the family tree? ‘I mean, I am used to looking at family trees, and I don’t
know how this fits’ (Merewether, 2008: 36min). In the grandfather’s eyes, this baby is a
b*stard, illegitimate: in the mother’s eyes, a miracle love-child conceived during a one-night
stand. How does the filmmaker’s decision to become a solo mother by choice, consciously
omitting of the role of the residential father, reflect on her own father’s success and relevance
as a parent? ‘I have very little memory of the young babies or anything. You know I didn’t ever
do anything did I?’ (Merewether, 2008: 7min)
In Maverick Mother, the ‘camera in the kitchen,’ a contemporary camera-stylo, becomes
integrated into the quotidian pattern of existence, a fixture of the domestic landscape which
surrounds the pregnant woman then new mother. Merewether uses the self-reflexive device of
a mirror when recording medical consultations with her doctor, in order to reiterate the
autobiographical mode of production.
Fig. 4: Patient and Dr Mann
What is not apparent in the footage is the considerable effort required, especially after the
birth, for Merewether to: set up the camera, consider the composition, position the tripod,
keep the batteries charged, tapes at the ready, whilst caring for a newborn baby on her own.
Merewether’s attention was split between the requirement for a director’s ‘objective’
mechanical proficiency, and her subjectively embodied nurturing role, both conducted in a
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state of sleep deprivation. The motivating force was the opportunity to enact and film the
viscera, intimacy and imagery experienced by mothers, so often considered taboo in
commercial feature and documentary films: pregnant bellies, darkened nipples, natural birth,
bleeding, breastfeeding, vomit, excrement, nappy changes. These events challenge boundaries
of ‘good taste’, and reference the abject and monstrous images of the maternal that, Barbara
Creed suggests, constitute the horror film genre (Creed, 1993). Indeed the birth scene in
Maverick Mother is preceded by an ironic, gory pastiche, referencing David Cronenberg’s The
Brood (Cronenberg, 1979).
Fig. 5: Horror Birth
The abject is represented as the everyday, contextualised by a woman filmmaker and revealed
publicly rather than concealed as taboo, normalized rather than construed as threatening or
terrifying ‘other’.
Fig. 6: Milk Vomit
The lightweight digital camera is also utilised as a political tool. Jackie Farkas films
Merewether’s midwife-supported natural birth in a calm, dimly lit environment, in contrast to
the representation of birth in conventional fiction and non-fiction films, where anxious women
are positioned passively on their backs, medicated, electronically monitored and frequently
subjected to emergency surgical procedures by authoritative obstetricians. Likewise, the act of
breastfeeding, normally relegated to anthropological film records of indigenous women, is
unflinchingly represented in Maverick Mother, in order to challenge the suppression of
functional images of the nipple and breast, and to counter the visual euphemism of ‘the bottle’
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as employed in commercial cinema, and the consequent subliminal, indirect promotion of the
multi-national infant formula industry.
Fig. 7: Maternal Ecstasy
The non-sentimental video diary captures Merewether’s ongoing yet unsuccessful attempts to
contact her baby’s genetic father through phone text communications, highlighting the
centrality of interactive mobile technologies in personal (or impersonal) communications. The
intimate filming modes defy standard crew structures, shooting schedules and censorship
rules. The autobiographical form enables the filmmaker to control her mode of selfrepresentation 24/7, the camera serving as a ‘virtual husband’, a witness to extreme events
experienced by the filmmaker-as-solo mother. The strength of the autobiographical form
reveals itself in several scenes, generating an emotional rawness and affect that simply could
not be captured with a conventional, intrusive camera crew, living off site. In one scene, shot in
the middle of the night, the filmmaker holds her baby as she cries.
Little baby Arlo. We were trying to go to sleep and then he suddenly…made this
terrible sound beside me in bed…and he was…choking on his own vomit, and I
watched as his little face turned completely bright red in front of me. He went beetroot
red. And his whole body went completely rigid and stiff and I thought that he was
asphyxiating. So I raced out into the corridor and called the ambulance. I just feared for
the worst. I thought…I thought my little baby was going to go. But he’s here now
anyway. He recovered so fast…(Merewether, 2008: 37min)
Another example of emotional candour occurs later, when the filmmaker visits her ailing father,
who is seriously ill in hospital with a blood infection. Having been warned by nurses that he
was weak and at risk of dying within days, the director makes a visit with her camera, in order
to show him photographs of her son’s genetic father. Fearful that this may be her last visit, she
sets up the camera at the foot of his hospital bed, and films the moment where she hands over
an image of her son’s (olive skinned) genetic father. In contrast to the expected positive
response, her dying father, with barely concealed rage, spits out the words ‘I don’t mean to be
rude, but I have seen dogs that look like that.. (He’s got the) look of a canine’ (Merewether,
2008: 52min). His ongoing love for his grandson seems at odds with his ongoing criticism of his
unmarried daughter. “Well, you can’t say it’s natural, can you? You’re only giving Arlo half a life.
He knows nothing about fathers, absolutely nothing. He only has a blinkin’ mother. You’re
bringing him up, keeping him away from men” (Merewether, 2008: 48min).
The first-person monologues and video diary entries in Maverick Mother serve to capture the
emotional tensions, inter-generational misunderstandings, moral complexity yet capacity for
forgiveness that exist within the extended family unit. Jon Dovey suggests that these new
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modes of first-person documentary constitute a contemporary form of freakshow (Dovey,
2000), where the personal and subjective become central as the public performance of
identity.
Scriptwriting and Studio Shooting: embedding the personal within the art/historical
After eighteen months of filming the video diary, Merewether undertook extensive historical
research and the formal scriptwriting process. A hybrid structure developed whereby her
personal story (microcosm) would be embedded within wider social, moral, political and art
historical perspectives on the role and acceptance/criticism of the single mother (macrocosm).
Studio dramatisations and archival inserts would serve to ironically subvert and critique
historical, fine art and photographic representations of ‘good’ and ‘bad’ mothers.
Fig. 8: Fallen Woman
Merewether would enact a range of personae including Fallen Woman, White Trash Mother,
Mother and Father, the Madonna, Seductress and Shamed Teenager. Actresses would play
additional roles such as Spinsters, Cum-Spattered Lover, Professional Childless Woman, Buxom
Cavewoman and Horror Birth Mother. Digitally composited visualisations add a selfdeprecating sense of irony to counterpoint the intensity of the actualité diary footage.
Merewether inverts the humiliating state of being single by positioning herself as a special
offer ‘on the shelf’ of a supermarket, situated between pickled onions and foot powder,
complete with bar-coded use-by date ‘Age 40’.
Fig. 9: On the Shelf
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Another multi-layered, digitally composited shot represents a biological clock, where
spermatozoa-shaped hands rotate on a fleshy egg-like clock-face (numbered not from ‘1’ to
‘12’ but from ‘31’ to ‘42’), flanked by rotating Adam and Eve figures. The urgency of impending
infertility and menopause after the age of forty-two is represented by a flashing red siren. The
figure of the lactating mother appears on numerous occasions, including a reworked quotation
of Cindy Sherman’s Untitled #205 History Portrait, itself a post-modern pastiche of an original
by Raphael. Later sequences position the nurturing, breastfeeding mother against backgrounds
of war and conflict in World War 1, a nuclear blast and New York’s burning twin towers.
Fig. 10: Milk Mother
Alexandra Juhasz observes that women and ‘bad girls’ utilise hybrid and avant-garde forms of
autobiography as a form of “politicized..self-expression: a woman performing and archiving her
defiance against the rules of sex and gender” (1999, p. 96). She adds that ‘The transgressive
content of the work demands that formal rules are broken as well’, and this documentary’s
hybridity and post-modern performativity indeed challenge purist notions of objectivity,
sobriety and non-intervention employed by the majority of male observational documentary
filmmakers working in Cinéma Vérité or Direct Cinema modes, as well as expository ‘Factual
Television’ producers.
Fig. 11: Janet as Mother and Father
Archival footage is frequently employed in Maverick Mother to ironically critique parenting
roles found in the conventional nuclear family. In one sequence, 1960s footage of domestic
interactions between father and son, including checking for clean hands, is overlaid with an
ironic voice-over, as a male ‘voice of authority’ commands his son to ‘Clean your room, get out
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of bed, get your elbows off the table, get your hair cut, do your homework. I’ll give you a
belting if you don’t behave’ (Merewether, 2008: 44min). Other animated archival footage of a
diminutive woman waiting for her cake to bake is employed as a non-diegetic insert during the
moment of birth, to reflexively comment on censorship requirements in Australia which forbid
images of a baby’s head emerging from the vagina during prime-time viewing.
Fig. 12: Bun in the Oven
Archival footage also serves to critique the social construct of the nuclear family and the
limited choices available to pregnant women in both the 1870s and the 1960s. In the 19 th
century one of the only options for so-called ‘victims of seduction’ was to commit infanticide,
frequently by smothering or drowning, represented in the film by inflammatory articles from
the Melbourne newspaper The Argus and a dramatic reconstruction of an infant drowning.
Radio archive material, foregrounding the social research of Cornell University’s Dr Peggy
Drexler, author of Raising Boys without Men: How Maverick Moms are Creating the Next
Generation of Exceptional Men (Drexler, 2005), serves to highlight the potential advantages of
single motherhood. This interview supports Merewether’s argument that not all sons of solo
mothers by choice will emerge as delinquents, drug addicts, or criminals, rather, that by
growing up surrounded by a number of positive male role models rather than a single father,
they are, according to Drexler’s research, more likely to be peaceful, respectful of women, selfconfident and academically successful.
The Politics of Production and Reception of the Feminist Autobiographical Documentary
Maverick Mother offers a critique of the sanctity and assumed ‘naturalness’ of the nuclear
family. Michael Renov argues that, rather than ‘something shameful’, feminist autobiography
serves as embodied knowledge, where ‘subjectivity, a grounding in the personal and
experiential, (funnels) the engine of political action’ (1999: 88-89). The autobiographical form
of Maverick Mother releases the filmmaker from the constraints of the conventional film crew,
and challenges the status quo by representing a contemporary single mother freed from
marriage, unjust laws and social stigma. The documentary considers and critiques the social
and political discrimination historically suffered by these so-called fallen women, medically
pathologised as psychologically unstable or maladjusted, a polluting influence, morally corrupt,
more akin to addicts and murders than virtuous mothers.
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Fig. 13: White Trash Mother
Before the mid 1970s when illegitimacy laws were overturned, ex-nuptial children were
considered filius nullius (sons of nobody), denied inheritance and full legal rights. Maverick
Mother addresses the institutional challenges for unmarried mothers at this time. Women
were unable to secure a bank loan without the signature of a husband, could expect around
half the pay of their male colleagues, were dismissed from public service jobs if they married,
and had no access to affordable quality childcare. Archival images of Australian domestic and
suburban life serve to illustrate the limited role defined for women by the government,
churches and society of the time. A woman’s capacity to raise and financially support a child
born out of wedlock was limited before the Whitlam Labor era of social reform, when Bill
Hayden, lobbied by feminist organisations such as the Council of Single Mothers and Their
Children (CSMC), extended the Commonwealth Widows’ Pension Scheme in 1973 to include
never-married mothers.
Whereas these social issues are presented in historical terms in Maverick Mother, it is
important to acknowledge that the vilification of and discrimination against unmarried
mothers continues to be a contemporary feminist issue in developing countries, conservative
patriarchal cultures in Asia, and Christian countries such as the United States. This
documentary has been considered a deeply subversive and political film when viewed by
women in the context of Asian film festivals such as TIDF, the Taiwan International
Documentary Festival and the IWFFIS, International Women's Film Festival in Seoul. The
uncensored representation of birth and breastfeeding also precludes it from public broadcast
screenings in the United States, where, ironically, hyper-violent imagery is accepted and even
embraced.
Maverick Mother juxtaposes the comparatively tolerant male attitudes within the Australian
family, where the filmmaker’s brothers serve as protectors of their nephew, with the brutal
punishment for adultery imposed by many Middle Eastern countries today. A dramatic
reconstruction of a woman being stoned by a group of men highlights this infringement of
human rights in the film. In 2011 Australian society supports an unmarried woman to raise a
child without fear of discrimination or violence: this is indeed a rare privilege when viewed in
the international context of gender inequality. This is also evidenced by the fact that the film
was financed by government sources (Film Finance Corporation and the New South Wales Film
and Television Office) with a pre-sale from the Australian government broadcaster SBS. This
comes as a shock to women filmmakers in, for example, Taiwan, South Korea and India, who
simply would not have the right, the encouragement or the confidence to air these views
publicly without fear of retribution or social exclusion. The role of feminist documentary
filmmakers in Australia thus serves to contribute to political and social activism in wider
cultural contexts, and across national borders.
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Fig. 14: Madonna and Child
In Maverick Mother, Merewether’s active choice to create a solo parent family structure is
represented as the positive choice of a social progressive, rather than the pitiable state of a
victim of circumstance. In this sense, as Debbie Ging (2004) argues, the contemporary feminist
filmmaker constructs a cinema “of resistance, whereby the use of parody, irony, and reappropriation continue to challenge the status quo” (p. 68) here in relation to both
conventional television documentary, and the socially sanctioned structure of the nuclear
family. The hybrid autobiographical form provides an ideal structure within which maternal
embodiment and the subjective experience of solo motherhood by choice can be creatively
and critically situated within a wider historical framework.1
Notes
1. All images in this paper are included with permission from Janet Merewether. © Janet
Merewether/Screen Culture Pty Ltd 2007. Maverick Mother: http://www.maverickmother.net
Winner: ATOM Award for Best Australian Documentary (General) 2008
Winner: ATOM Award for Best Australian Documentary (Human Story) 2008
Winner: TIDF Taiwan International Documentary Festival – Audience Award 2008
Winner: TIDF Taiwan International Documentary Festival – Jury Special Mention 2008
Nomination: Best Directing, Documentary, Australian Directors’ Guild Awards 2008
Nomination: Best Editing, Documentary, Australian Screen Editors’ Awards 2008
Notes on presenter
Dr. Janet Merewether is a filmmaker and Lecturer in Screen Production at Macquarie
University. Her films have won numerous Australian and international prizes including ATOM, IF
and AFI awards, and she has recently published articles in SCAN, Hecate and Somatechnics
journals. Documentaries include Jabe Babe - A Heightened Life (2005) and Maverick Mother
(2008).
Email: [email protected]
References
Cannold, L. (2005). What, no baby? : why women are losing the freedom to mother, and how
they can get it back. Fremantle, W.A., Fremantle Arts Centre Press in partnership with
Curtin University of Technology.
Creed, B. (1993). The monstrous-feminine: Film, feminism, psychoanalysis. London and New
York: Routledge.
Dovey, J. (2000). Freakshow: First Person Media and Factual Television: London and Sterling:
Pluto Press.
Drexler, P. (2005). Raising Boys without Men: How Maverick Moms are Creating the Next
Generation of Exceptional Men. Pennsylvania: Rodale Press.
160
Ging, D. (2004). The politics of sound and image: Eisenstein, artifice and acoustic montage in
contemporary feminist cinema. In J. Antoine-Dunne, P. Quigley (Eds.) The montage
principle: Eisenstein in new cultural contexts (pp. 153-170). Amsterdam and New York:
Editions Rodopi B.V.
Juhasz, A. (1999). Bad Girls Come and Go, But a Lying Girl Can Never Be Fenced In. In D.
Waldman and J. Walker (Eds.), Feminism and documentary (pp. 95-116). Minneapolis
and London: University of Minnesota Press.
Mattes, J. (1994). Single mothers by choice. New York: Three Rivers Press.
Renov, M. (1999). New subjectivities: Documentary and self-representation in the post-verité
age. In D. Waldman and J. Walker (Eds.), Feminism and documentary (pp. 84-94).
Minneapolis and London: University of Minnesota Press.
Renov, M. (1999b). Domestic ethnography and the construction of the “other” self. In J. Gaines
and M. Renov (Eds.), Collecting visible evidence (pp. 140-155). Minneapolis and
London: University of Minnesota Press.
Rascaroli, L. (2009). The personal camera: subjective cinema and the essay film. London and
New York: Wallflower Press.
Filmography
Cronenberg, D. (Director/Writer) & C. Heroux (Producer). (1979). The brood [Motion picture].
Canada: Canadian Film Development Corporation.
McElwee, R. (Director/Producer/Writer). (1986). Sherman’s march [Theatrical documentary].
United States: Homemade Movies Inc.
Merewether, J. (Director/Writer). (2005). Jabe Babe – a heightened life [Theatrical
documentary]. Australia: Go Girl Productions.
Merewether, J. (Director/Writer/Producer). (2008). Maverick Mother [Theatrical documentary].
Australia: Screen Culture Pty. Ltd.
Spurlock, M. (Director/Writer/Producer). (2004). Super Size Me [Theatrical documentary].
United States: Kathbur Pictures.
Strachan, C. & Cavadini, A., (Directors/Producers) with Borroloola Aboriginal Community.
(1981). Two Laws [Theatrical documentary]. Australia: Reddirtfilms.
Bibliographic Reference
Title: Expanding Documentary 2011: Proceedings of the VIIIth Biennial Conference, Auckland:
Vol. 1, No. 2, December 2011: Editorial and Peer-Reviewed Papers
Organised by Auckland University of Technology, Faculty of Design and Creative
Technologies in association with University of Auckland, Faculty of Arts.
Editor: Dr Geraldene Peters
Publisher: Auckland University of Technology, the School of Communication Studies, Faculty of
Design & Creative Technologies, 2011
ISSN: 2253-1475 (digital)
© Written text is copyright of the authors. All rights reserved. Except for the quotation of
short passages for the purpose of criticism and review, and for the online conference
proceedings, no part of this publication may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, electronic, mechanical, photocopying, recording or
otherwise, without prior permission.
All details correct at the time of publication, December 2011
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150 Autobiographical and historical representations of maternal

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