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While literature relies on internal monologue to express the tension between mother and son, cinema relies on the

Perhaps the most common figure in modern storytelling. She is not evil, simply gone—whether through death, work, addiction, or emotional numbness. The absent mother forces the son into a premature adulthood or a lifelong quest for female approval. In J.D. Salinger’s The Catcher in the Rye , Holden Caulfield’s entire neurosis can be traced to the death of his brother Allie and the emotional collapse of his mother. He is desperate to protect the innocence of children (including his sister Phoebe, a maternal stand-in) because he failed to protect his mother from grief. TRUE INCEST MOM SON TABOO SEX Maureen Davis AND

In a different register, Jennifer Kent’s The Babadook (2014) uses horror to explore post-partum depression and a widowed mother’s simmering resentment toward her son, Samuel. The monster (the Babadook) is literally the mother’s unspoken wish to be rid of the child who trapped her in grief. The film’s genius is that it never resolves this cleanly. In the end, Mother and son learn to "feed" the monster together—acknowledging the hatred while choosing love. It is perhaps the most honest depiction of maternal ambivalence ever filmed. While literature relies on internal monologue to express