Yes, I continue to be woefully behind in my reading. And yet I still have feels and WordPress hasn’t cut me off, so I persevere in spilling my brain-insides onto the interwebs when said brain-insides begin bubbling. This time, a fairly spoiler-lite discussion about Izzy Wasserstein’s use of POV in her March PseudoPod story, “The Good Mothers’ Home for Wayward Girls.”
A little setup just for context: the story concerns a group of girls being “cared for” (scare quotes entirely called for) by the Mothers, misshapen psychic creatures who are ostensibly keeping the girls safe from unnamed terrors outside their walls, but whose security comes at steep personal cost for their wards.
As stories often do, this one starts with a new arrival to the existing status quo. It would have been natural to choose that new girl (Bel) to be the story’s POV. Or, really, any of the other girls. What I find fascinating is that Wasserstein decided to do all of those things by giving us a collective first person POV (“we”).
I say collective rather than plural because it becomes clear as the story unfurls that who we’re hearing from both is and is not the girls. The first person aspect gives us a close POV, wherein we’re privy to emotions, but the collective aspect simultaneously distances us from any given girl whenever she acts as an individual. Bel, Jaq, Kate, Miranda, and Molly are only part of the POV when they are not taking action, or when their actions align with the group.
In a story where standing out seems to universally result in pain and torment, this inclusive yet exclusive POV is a constant addition to that tension. Whenever we see a name, that person is at risk, because for however long we see them, they’re exposed. In a horror story, there’s a secondary benefit in that the POV ensures no one is safe via metafictional armor; no one is required to continue telling the story, after all.
“We” also underscores the ways this story turns on group choices. Yes, individuals do and say things (often to their own detriment), but the crux of the story, the point of no return of it, is a moment wherein an individual action turns the collective will of the group. What “we” think and do is what changes the world for good or ill.