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63 pages 2 hours read

Jessamine Chan

The School for Good Mothers

Fiction | Novel | Adult | Published in 2022

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Background

Literary Context: Feminist Speculative Fiction

“Speculative fiction” is an umbrella term for fiction that conveys human themes but not in an entirely realistic way—including genres like fantasy, science fiction, and magic realism, where aspects of the setting or plot deviate from what’s possible in real life. Speculative fiction gives authors the opportunity to imagine what the world could be like if magic existed, or if science became more advanced. Often, these genres build either dystopian or utopian societies and worlds, offering opportunities for social critique that highlights issues in the real world. Because of this, a wide array of feminist speculative fiction has been written to explore issues that affect women or focus on gender/sex, such as marriage, motherhood, medical ethics, economic inequality, and how race and sexual orientation inform or intersect with womanhood.

Since the second wave of feminism beginning in the late 1960s, feminist speculative fiction has been prominent. Notable examples of this genre include The Left Hand of Darkness by Ursula K. LeGuin (1969), The Female Man by Joanna Russ (1975), Woman on the Edge of Time by Marge Piercy (1976), Kindred by Octavia Butler (1979), The Handmaid’s Tale by Margaret Atwood (1985), and Beloved by Toni Morrison (1987). Through elements like ghosts, time travel, and advanced medical technologies beyond what actually existed at the time, these authors examine the past, present, and future through the lens of gender or sexual inequality. These texts expose issues of the past and warn about the future, imagining what catastrophic things would happen if certain ideas, governmental styles, or technologies were taken to their logical conclusions. The School for Good Mothers questions The Ethics of Government Interference in Parenting, and shows how the practice of “protecting” children by removing them from their established families can easily get out of hand and make matters worse. Additionally, the novel questions The Ethics of Artificial Intelligence, of technology, in the monitoring, evaluation, and education of parents.

Social Context: Child Protective Services in the United States

Although Child Protective Services’ new schools for bad parents in the novel are fictional, Child Protective Services (CPS) is a real agency of the United States government, the purpose of which is to protect children from abuse and neglect (“Child Protective Services.” ChildCare.gov). CPS investigates children and families who might be experiencing abuse and neglect, and often removes children from their homes.

Most of the novel’s depiction of CPS is realistic until the schools are introduced. It would not be unrealistic for Frida’s neighbors to call CPS after she left her daughter Harriet unattended for two hours, and it would not be unrealistic for them to monitor Frida to some degree, interview her, require her and her daughter to obtain therapy, and possibly remove her daughter from her custody, either temporarily or permanently. If CPS finds established families to be unfit, they can remove children and place them in foster care, where strangers get paid to temporarily take care of the children, which can sometimes become permanent. More often, siblings from large families are separated into different foster homes, and children move to new homes each year. There is no requirement that someone needs to be a parent or have expertise in parenthood to work for CPS. The United States is not the only country with an organization similar to CPS, although it is called different names in different countries and does not always function the exact same way. However, not all countries have a version of CPS.

CPS is a controversial organization. Although it is theoretically beneficial for the government to be able to remove children from abusive households, many people criticize the organization for being too quick to remove children from established households, with no concern for how this often traumatizes children (Scott, Brenda. Out of Control: Who's Watching Our Child Protection Agencies?, Huntington House Publishers, 1994). Often, CPS removes children temporarily while their case is being handled, which can be disruptive, and become even more disruptive if they’re permanently removed—especially if they constantly rotate between foster homes.

Since CPS can use “neglect” as a reason to remove a child, there can be a slippery slope in terms of whose children are taken away for what reasons. In the novel, “neglect” can mean things like texting or working while a child is playing, and the child getting hurt. There have also been many cases of foster parents abusing children—using allotted money for other things and neglecting their charges’ needs, physically abusing them, sexually abusing them, or partaking in other forms of abuse. Allegedly, these types of behaviors would be reasons to remove children from their original families, but often, they’re removed for less serious issues, then placed in situations that are worse.

Even in cases where foster parents are competent, it can be confusing and damaging for children to be removed from their original families (without the proper measures in place). Additionally, for parents of varying offenses, losing their children is painful and often does not lead to self-improvement. Criticisms of CPS mirror criticisms of the prison system, both of which are supposed to help people rehabilitate, but in reality, often discourage people and make it difficult for them to form stable lives. Frida’s downward spiral after losing custody resembles the experience of someone who is sent to prison to atone and rebuild their life, but instead, is failed by the system and becomes even more lost.

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