TURNING POINTS – FREE AUDITION MONOLOGUES about key moments in the lives of women

Liliana Bernal performs the monologue Flowers at an acting workshop directed by Carole Fenstermacher in Naples, Florida.

Are you looking for FREE audition monologues relevant to women of all ages, including women over 40?

Look no further.

Turning Points is a suite of 42 contemporary audition monologues covering the key stages and decisions in women’s lives – available to actors, directors and drama students and teachers for FREE.

Choose ONE or SEVERAL – OR create your own Turning Points show

The lives of women are marked by difficult decisions.

Many of these decisions are unique to women – such as whether to have a child or an abortion. Many are made more difficult because of politics, religion and social mores.

There is no right decision. Each decision is determined by individual values and circumstances,  which is why I have tried to present various perspectives on each topic, without judgement.

My aim is to give voice to these decisions by offering female actors a suite of monologues relevant to their own experiences.

Some of the monologues are based on my experiences as a woman. Others are inspired by the many women I met in my 30-plus years as a journalist, or on the stories of other women in my life. 

Most are stand-alone monologues, so back story is up to you. Character names  and ages are only for guidance.  

Some have been previously published but are included here because they fitted the theme.

The individual monologues are made available for FREE as individual audition or performance pieces  on the condition that I am fully credited, and that you let me know when, where and how they are performed, and provide feedback and photos where possible.

Alternatively, all or a selection may be presented together in a 60-90-minute show called Turning  PointsKey Moments in the Lives of Women by JANE CAFARELLA, for a negotiated fee, depending on whether your group is amateur or professional. (Contact me at jane.cafarella@gmail.com)

Feedback is welcome. Tell me what resonates and what doesn’t, what works on the floor and in front of the camera and what doesn’t. Theatre is a collaborative art and I love to collaborate.

I wish you every success with your acting or directing journey, whether you are a beginner or a professional. As they say in the theatre: “Break a leg!”

Trigger warning: some of the themes may be confronting. Where possible, I’ve also tried to write some monologues that  amuse, as a sense of humour is  essential in this complex world – especially for women.

CHOOSE BY TOPIC

TO MARRY OR NOT?

I DO (DRAMA) – LAUREN, any age, tells her lover why she wants to marry him/her

I DON’T (DRAMA) – PHOEBE, any age, tells her lover why she won’t
marry him

NEVER (DRAMA) – NINA, 40s, tells her friend why she has never married

THE PERFECT DRESS (COMEDY/DRAMA) – ELLA, 20s-30s, explains her own marriage breakup while helping her friend find the perfect wedding dress.

ADVICE TO YOUNG LOVERS ON VALENTINE’S DAY (COMEDY – adapted from the short play) – ALICE, 50s +, gives advice to her granddaughter on her wedding day.

THE GLAD GOODBYE (COMEDY/DRAMA) – SHIRLEY, 60s, who is living in a hospice, reminisces with her husband on their wedding anniversary

THE TIDY GRAVE (DRAMA) – MARY, 40 + visits the grave of her recently deceased husband

THE LAST MINUTE (COMEDY/DRAMA) – MARY tells her husband why she won’t be doing Christmas this year.

MOTHERHOOD OR NOT?

FOR WHEN SHE COMES (DRAMA) – CATHERINE tells her unborn child what she can’t yet tell her husband (from the play e-baby)

SOGGY (COMEDY/DRAMA) – QUINN, 30s – 40s, tells her sister why she doesn’t want to have children

FAKE TEARS (DRAMA) – IRENE,30s – 40s, tells her sister about her miscarriage

LATER (DRAMA) – COURTNEY, 30s, confronts her husband after he tells her he doesn’t want children after all

THE SIXTH CHILD (DRAMA) – EILEEN, 40s, is seated in the confessional talking to her parish priest about her sixth child

QUIET (DRAMA) – BRONAGH, 30-40s, talks to her stillborn son as she dresses him.

THE DILEMMAS OF MOTHERHOOD

THE LESSON (COMEDY) – HAZEL, 30s-50s, tells her local mother’s group about what she’s learned from her son.

BECKY’S MUM (DRAMA) – SYLVIA, 30s+, explains why she sometimes regrets motherhood.

THE ADDICT 1 (COMEDY) – CLARA, 20s-30s, calls a support group about her son’s addiction

THE ADDICT 2 (DRAMA) – BRONWYN, 50 +, tells her friend about her plans to see her son for Mother’s Day – but the voice in her head tells another story.

SPECIAL NEEDS (DRAMA/COMEDY) – RUTH tells her friend how she learned to finally say ‘NO!’

THE GIFT (COMEDY) – WHITNEY, 40s, writes a post card to her husband on Mother’s
Day.

SOMETHING DIFFERENT (DRAMA) – LINDA, 40s-60s, tells her husband about her trip to the hairdresser.

TO LEAVE OR STAY?

GONE (DRAMA) – ANITA, 30s-40s tells her husband why she’s leaving.

PEACHY (COMEDY) – IMELDA, 40s-60s, tells her husband why she’s not leaving, despite his affair

THE SECRET SIN (DRAMA) – SARAH (any age) prays for guidance to help her husband overcome his porn addiction

HUNGRY (DRAMA/COMEDY) – ROSEMARY (any age) tells her porn-addicted husband why she’s leaving

FOOLISH (DRAMA) – FAYE, 50s plus, tells her husband why she’s staying – despite his affair

TO KEEP DATING OR USE A DONOR?

THE RIGHT TO CHOOSE (DRAMA) – LISA, 36, tells her mother that she’s pregnant – via a sperm donor.

UNBEARABLE (DRAMA) – PHILIPPA, 60s, tells her daughter why she doesn’t want to be a grandmother.

MR RIGHT (COMEDY) – CHANTI, 32, invites her YouTube subscribers to help choose her sperm donor.

PERFECT MATCH (COMEDY) – NORA, 37, tells her sister she’s about to hear the patter of little feet.

IMPERFECT MATCH (COMEDY/DRAMA) – LUCY, 30s-40s, tells her friend she’s finally met the man of her dreams.

GRATEFUL (COMEDY/DRAMA) – HANNAH, 17, asks her donor siblings for a group selfie to show her mother.

UNGRATEFUL (DRAMA) – ELIZA, 18, tells her mother why she’s no longer grateful to be donor conceived.

TO TERMINATE OR NOT?

THE HARDEST DECISION (DRAMA) – GRACE, 40s, tells her daughter about the hardest decision she’s ever had to make

NOT TOO LATE (DRAMA) – DENISE, any age, confronts a protester outside an abortion clinic

WORTH IT (DRAMA) – DOREEN, 30s to 40s, tells her suicidal daughter why her life is worth living.

INHERITANCE (DRAMA) – LORRAINE, 70 + tells her granddaughter a long-held secret

TO REPORT AN ABUSIVE RELATIONSHIP – OR NOT

THE GRASSY HILL (DRAMA) – DEBRA, any age, tells her abuser about an important decision.

FAULT LINES (DRAMA) – ANNA, any age, tells her sister-in-law about her brother’s abuse.

SNAPPED (COMEDY) – ALLIE, 40s -60s, tells a police officer about her passion for photography

THE FIRST TIME (DRAMA) – BREE, 20s-30s defends her violent husband while taking refuge with her sister.

THE LAST TIME (DRAMA) – BREE, 20s-30s, dials an emergency service as she hides from her violent husband.

CHOOSE FOR WOMEN OVER 40 

  1. Popping the Question – 3 (Drama)
  2. Something Different (Drama)
  3. Advice to Young Lovers on Valentine’s Day (Comedy)
  4. The Glad Goodbye (Drama)
  5. The Tidy Grave (Drama)
  6. The Gift (Comedy)
  7. For When She Comes (Drama)
  8. The Last Minute (Short version – Drama)
  9. The Addict – 2 (Drama)
  10. The Lesson (Comedy)
  11. Gone (Drama)
  12. Peachy (Comedy)
  13. The Secret Sin (Drama)
  14. Hungry (Drama)
  15. Foolish (Drama)
  16. Unbearable (Drama)
  17. Imperfect Match (Drama)
  18. The Hardest Decision (Drama)
  19. Worth It (Drama)
  20. Inheritance (Drama)
  21. The Grassy Hill (Drama)
  22. Fault Lines (Drama)
  23. Snapped! (Drama)

CHOOSE BY LENGTH 

One minute 

  1. Imperfect Match (Drama)
  2. Gone (Drama)
  3. Peachy (Comedy)
  4. Foolish (Drama)
  5. The Last Time (Drama)
  6. Quiet (Drama)

 90 seconds 

  1. Popping the Question 2 (Drama)
  2. The Addict 1 – (Comedy)
  3. The Addict 2 (Drama)
  4. The Gift (Comedy)
  5. Becky’s Mum (Drama)
  6. The Right to Choose (Drama)
  7. The Hardest Decision (Drama)
  8. Grateful (Drama)
  9. Hungry (Drama)
  10. Snapped! (Drama)
  11. Unbearable (Drama)
  12. The Secret Sin (Drama)

  Two minutes 

  1. Popping the Question – 1 (Drama)
  2. Popping the Question – 3 (Drama)
  3. The Perfect Dress – (Comedy)
  4. The Tidy Grave (Drama)
  5. Fake Tears (Drama)
  6. Later (Drama)
  7. The Lesson (Comedy)
  8. Ungrateful  (Drama)
  9. Not Too Late (Drama)
  10. Worth It (Drama)
  11. The Grassy Hill (Drama)
  12. Fault Lines (Drama)
  13. The First Time (Drama)

 Three minutes 

  1. Advice to Young Lovers on Valentine’s Day (Comedy)
  2. Soggy (Drama/Comedy)
  3. The Glad Goodbye (Drama)
  4. Perfect Match (Comedy)
  5. Inheritance  (Drama)
  6. Something Different (Drama)
  7. The Last Minute (Drama)

 Four minutes 

  1. Mr Right (Comedy)
  2. For When She Comes (Drama)

 

Below: Rachel Heslin, after performing The Tidy Grave at Big Bear Theatre in California.

I also have two full-length plays, e-baby (a two-hander about surrogacy) and d-baby, a four-hander about donor conception, available for license, and a selection of short plays available for FREE.

Two of my short Dickens-inspired plays, Oliver with a Twist and Greater Expectations were were produced by student directors at the Alliance Academic in Oregon City for a high school play festival.  

Here’s what actors and directors are saying about my work: 

I deeply appreciate the authenticity of “The Tidy Grave” as a monologue. I lost my own husband last year, and in a mere two-minute scene, you managed to capture the complex mixture of confusion, heartbreak, and love that carries on. It was perfect. – Rachel Heslin, Monologue Workshop, Big Bear Theatre Project, Big Bear, California.https://www.bigbeartheatreproject.org/ 

Absolutely amazed and delighted to wake up this morning to the news that I am a Clean Sweep Badge Winner in The World Monologue Games this year. Next stop Regional Finals. Huge thanks to Jane Cafarella for giving me permission to perform The Last Minute. – Clare Martin-Reed, Northhamptonshire, UK.

 It was an honour to interpret “Flowers”, under the guidance of Carole.
I really loved it and had fun doing it! I am a total amateur and it was my first opportunity to act speaking English. My native language is Spanish.
Liliana Bernal, participant in the Acting Workshop directed by Carole Fenstermacher, Naples, Florida, USA.

 Thank you.  Thank you. Thank you.  The monologue is delicious. … I really cannot say enough about how much I enjoy your writing and sense of play.  – Allison (Allie) Parlin, New Jersey, USA, re the bespoke monologue “Snapped”.

Thank you so much for these plays! I love Oliver With A Twist, because it is funny, and a clever story. – Greyson Neumayer, student director, Alliance Charter Academy, Oregon City, Oregon, USA.

And thank you, to the actors and directs who reach out to me. It’s so valuable to me as a writer and gratifying to be able to help actors and directors all over the world  

I’m also happy to work with you to produce a personally tailored monologue or to tweak an existing one to suit.   My aim is to engage with the acting community globally and to particularly encourage older women actors, amateur or professional, as well as students of all ages.  Get in touch!

Hungry for more than cooking shows – revisited

This article, published in the Opinion section of The Age on 11 January 2011, was named one of the best articles in Australia by The Week magazine, in its 14 January edition of that year.

The Week is a UK magazine that describes itself as “a new and unique magazine that distils the most important news and comment from the world’s media into an essential weekend read”. An Australian edition was published from 2008-2012.

What’s changed? Do you agree?

HUNGRY FOR MORE THAN COOKING SHOWS

WHEN the ratings period starts again next month and TV programmers serve up a banquet of new cooking shows, spare a thought for the world’s hungry.

There are about a billion undernourished people in the world today, according to the website worldhunger.org, an online publication of the Washington-based private charity World Hunger Education Service.

While you digest that, I can also tell you that there are more than 1.1 billion overweight people and that in America, alone, nearly 70,000 tonnes of food is being wasted each day, while $140 billion is being spent on obesity-related diseases.

More or less. It’s hard to put a final figure on it as stopthehunger.com features all these stats in real time, which means you can watch hunger grow before your very eyes.

Like you, I can do without lashings of guilt to add to the New Year’s diet plan, but today’s national obsession with cooking and eating does seem incongruous when you think that while half the world is cooking or watching cooking shows or reading cookbooks, a significant other part is starving.

It will be interesting to see whether predictions of food shortages and price rises resulting from the devastating Queensland floods will diminish our appetite for this feast of food shows.

While economists are predicting that the food shortages will have only a minor effect on the Australian economy, and that the ensuing rebuilding program will even boost our GDP, people in developing countries, where most of the world’s hungry live, are not so lucky.

As reported in this paper last week, the price of soft commodities such as sugar, grain and oilseed drove world food prices to a record last month, according to a monthly index published by the United Nations.

Increasing demand due to population increases, rising oil prices, a decline in agricultural investment, and the effects of war, drought, flood and earthquakes, have all contributed to the global food security crisis.

But while Rome burns, back in the kitchen we are fiddling around with our food processors.

A report by the Australia Institute in November 2009, titled What a Waste – an analysis of Australian expenditure on food, revealed that “Australians are throwing out more than $5 billion worth of food each year – more than we spend on digital equipment and more than it costs to run the Australian army”.

This is especially sobering when you consider that poor nutrition contributes to half the 10.9 million child deaths in the world each year. Most of these occur in developing countries, but before you dismiss this as “other”, it may surprise you to learn that in Australia, 12 per cent of children live in poverty.

Like most of the people not living in poverty, my resolution for the New Year is to buy less, eat less and give more. Again.

But it’s not just these stark contrasts that bother me. It’s the fact that the national focus is so firmly fixed on our stomachs.

Television is a prime example. It seems that every second show on TV revolves around food. These days, instead of Nana and Mum telling us how to cook, we have Nigella, Jamie, Poh, Hewie, Paul, Luke, Maggie and Simon, Guy, Anthony, Maeve and friends, not to mention George, Matt, Anna and Gary.

Cooking shows have been a staple diet of TV since its invention, but we are now pigging out on them. And we love it. When lawyer Adam Liaw won MasterChef last year, 3.9 million people tuned in.

Who can blame them? Food is irresistible when it’s on your 25-centimetre plate. How much more seductive is it when it’s on a 152-centimetre screen in all its high-definition glory?

Food competition shows are especially tempting: it’s sustenance, it’s entertainment, and it’s drama, with all the thrill of the chase that our hunter and gatherer ancestors knew, without even having to get up from our chairs.

But it’s also a symptom of how self-absorbed and over indulged we are. Cooking may have made us human as Richard Wrangham, professor of biological anthropology at Harvard, says, but a national obsession with cooking and eating is just making us fat and boring.

A friend once prefaced our luncheon meeting with the request that we only spend 10 minutes talking about our health and 10 minutes talking about our children. These days, I would like to add a request that we restrict our conversations about what we ate, or are going to eat, or regret that we ate, to just five minutes.

Perhaps we can spare a few minutes instead on what we can do to help solve the world food crisis? Luckily, there are almost as many hunger sites as cooking shows.

Not only would it make us more interesting, it would help make us part of the solution instead of part of the problem.

What’s your view of cooking shows? Comment or write to me: jane.cafarella@gmail.com

Check out my other Opinion pieces on the toolbar above.

FREE short plays for directors, actors, theatre groups and students

Are you a director, actor, theatre group or student, looking for FREE quality short plays?

Oliver with a Twist, performed at the Goodman Arts Centre, Singapore, as part of Timeless Tales in January 2019.

Here are nine COMPLETELY FREE short plays for you to perform.

They include one-minute, 10-minute, 15-minute and 20-minute plays on a wide range of topical issues, suitable for community theatre groups, schools or individual actors and directors wishing to produce a show or to workshop with students.

I am the author of all the plays and retrain the copyright. The only condition for workshopping or performing the plays is that none of the text is altered, and that you notify me about when and how you are using them – and send photos, please.

All except the one-minute plays have been performed previously, in Australia and Singapore (where I lived for six years), so they’ve been “on their feet”, as we say in the theatre industry, and tested before an audience.

Oliver with a Twist, a comment on our modern food culture, was performed at the Singapore Arts House, directed by Susie Penrice Tyrie in 2014, and in 2019 at the Goodman Arts Centre in Singapore, also directed by Susie Penrice Tyrie, as part of Timeless Tales Family Theatre Fest.

Greater Expectations was also performed at Timeless Tales and Hard Times with the Semi-Naked Chef was performed in Sydney at Script-in-Hand in 2014, directed by Kaye Lopez.

Katherine Shearer as Nigella Awesome and Gabe McCarthy as Oliver Jamie in Hard Times with the Semi-Naked Chef Oliver Jamie, directed by Kaye Lopez at Script in Hand, Sydney, in 2014

Errata was performed in 2013, directed by Chantelle Ashby, by Gemco Players, in Gembrook, Victoria, for its Little Gems 10-minute play festival, and in 2019 by Hobo Players in Castlemaine, directed by Jeffrey Bryant Jones.

She Drinks, a monologue in rhyme about family violence, was performed as part of Rhymes with Silence, a series of short plays about family violence produced by Joy Roberts in Sydney in 2015.

Change Shift, a tribute to Singapore taxi drivers, was performed in Tamil for the Pathey Nimidam 10-minute play festival at the Aliwal Arts Centre in Singapore in 2016, directed by Susan Penrice Tyrie and starring Drake Lim and Varshini Victoria.

In 2020, it was turned into a short film starring Hasisha Nazir as Sonja and Drake Lim as Mr Goh.

For more information about the other plays on offer here, go to my SHORT PLAYS section or follow the links below.

Why am I providing my work for free?

 Because 10 years ago,  I received my start in theatre through the generosity of actors and community theatre groups who took my fledgling plays seriously, so I want to pay it forward.

Because the theatre industry took a huge blow during the pandemic, and this is my way of helping.

And because I’d rather see my work performed than sitting on a shelf or behind a paywall.

I have four published works for which I receive royalties when they are performed: e-baby, d-baby, Supersnout and Uked! – The first play-along ukulele musical, so I do get paid for some of my work.

The joys of short plays

Short plays are a good introduction to theatre for students, who are still learning how to memorise lines and get into character. They are less of a commitment for schools and theatre companies who don’t have the time or resources for a full-length production, and they are good for modern audiences, who are time poor, or who prefer something snappy and fast-paced.

If you read them all, you’ll see some are social comment, while others are just a bit of fun.

Please tell me what you think, what you liked or didn’t like, and where and how you rehearsed and/or performed them.

Nine FREE plays for directors, actors and students

The first three plays may be performed individually or as a trio:

Oliver with a Twist – A Dickens-inspired short play about modern food culture

Greater Expectations – A Dickens-inspired play questioning assumptions about sexual orientation

Hard Times with the Semi-Naked Chef Oliver Jamie – A Dickens-inspired cooking-show spoof

Errata – the true history of Christianity

Members Only – How technology affects us in life – and death.

She Drinks – a monologue in rhyme about family violence

Change Shift – a tribute to Singapore taxi drivers

Quickies: one minute plays for the time-poor

Just a minute – punctuality is key

Altar-ed State – a life-changing walk down the aisle

Commission me to write for you. Want me to write a 10-minute play on a theme of your choice for your theatre group?

Write to me here: jane.cafarella@gmail.com

Family estrangement: A Father’s Day story

The only family photo of us all together, circa 1958. Even then, our allegiances were on display: me with Mum and Juliana with Dad. (I’m the bewildered-looking one)

The death of an estranged parent can conjure complex feelings.

Even if you never planned to reconcile, once your estranged parent dies, the knowledge that there are no more chances can bring up unexpected feelings of sadness and grief.

The relationship is truly over. There is no longer any opportunity  for forgiveness and understanding. These feelings may also be mingled with relief, especially if the relationship was abusive.

Yet that parent still lives in your memories, good and bad, a ghost of your past. They may be gone, but the hurt, anger or rejection may resurface, along with memories of happier times, and sadness that these were lost.

If you can’t attend the funeral, it can leave you without a safe, supportive place to reconcile these feelings.

If you can attend, it can feel both healing and alienating, as you are mourning the death of your relationship with that parent, as well as the death of your parent.

I know this because my own father, from whom I was estranged for most of my adult life, died on 25 July 2022.

Our estrangement began from the moment of my birth. Although my sister and I grew up under the same roof, each was claimed by a warring parent. My father claimed my sister Juliana when she was born, and 14 months later, when I was born, my mother claimed me.

And although Juliana and I sat in a twin pusher, played together and were often dressed alike when we were young, our opposing allegiances meant we were trained to not trust each other.

The situation was normal, even if I wasn’t, as soon after a birth I developed a swelling in my right leg, later diagnosed as Milroy’s Disease, a rare form of congenital lymphoedema.

“Just tell them you were born that way,” my mother said, when people stared and whispered.

Growing up with Milroy’s disease is the B story in the book. Initially, I wasn’t going to include it. I’d spent my life hiding my “big leg”, as my mother called it. I wasn’t going to write about it.

But my editor, Brooklyn-based Australian author and developmental editor Virginia Lloyd, insisted it was a key part of the larger story. (More about this in a new post coming soon).

When my parent’s tumultuous marriage ended after 20 years, I went with Mum and my sister stayed in the family home with Dad. Six months later, my mother discovered a love letter from my father to her wealthy widowed sister.

Hurt and betrayed, my mother cut off all contact with the rest of the family. From then on it was The Monster and the Gigolo versus The Ma and the Kid, as she dubbed us all.

I didn’t see my sister for 20 years, and my cousins for 40 years. And although I tried to reconcile with my father four times – once every decade – he eventually wrote and ended our relationship in 2013.

According to Dr Kylie Allbias, a social worker and academic at the University of Newcastle, and author of Family Estrangement, A Matter of Perspective (Routledge, 2016), one-in-25 Australians will be estranged from family at any one time.

This is an eight per cent jump since the previous research in 2003, when a survey of 1215 Australians by Relationships Australia revealed that 17 per cent of respondents were estranged from at least one family member, most likely a sibling.

“Estrangement is often fuelled by conflicting perceptions of betrayal, family roles, secrets and abuse…” Dr Allbias said in a 2017 SBS interview.

Yet little is written about it. Shame and stigma prevent many estranged families from revealing or discussing the situation.

 I was a journalist for 33 years, yet I’ve only written twice, very briefly, about this issue from a personal perspective.

Instead, on Father’s Day, I remained silent when friends gushed about their fathers. I remained silent, too, when friends talked about shopping, going to movies or celebrating birthdays with their sisters. Despite my initial reunion with my sister after 20 years, our relationship remained cordial but not close, marred by our divided loyalties.

The book that changed everything

In lockdown, I sat down to finally write the story I’d been meaning to write all my life – about the dreadful betrayal of my mother.

But after I submitted my first attempts, my editor, Virginia suggested another angle.

“I think this is about the sisters,” she said.

“No,” I insisted.

It wasn’t about my sister. I couldn’t even tell my sister I was writing this book. She wouldn’t understand. After all, she was Dad’s ally.  

But in writing it, I discovered Virginia was right. The story wasn’t about my mother or my father – or the family war. It was about the sisters who were lost in the battle.

The book, when I finally completed it, brought Juliana and me together in a way our parents had never intended, nor could have imagined.

If my father had died two years earlier,  she would have been handling his funeral alone. I would not have been invited.

I wouldn’t have felt comfortable attending anyway, other than from curiosity about what other people might have said about him. I would, however, have fulfilled my mother’s wish, which was to “dance on his grave”

Instead, as I listened to the eulogies from other family members, I wept for my father and for all the things I never knew about him, including that one of his favourite songs was Do Not Forsake Me, Oh My Darling  – a favourite  of mine.

You don’t need a kindle or an e-reader. CLEAVED is a PDF document that can be downloaded directly to your computer. $1 from every download will be donated to the leading international organisation for lymphatic research, the USA-based Lymphatic Education and Research Network, to fund its campaign to find a cure for lymphatic disease.

Here’s what others have said about Cleaved:

 “…a brave and candid memoir written with journalistic rigour and journalistic compassion…an extraordinary story, vividly told…” 

– Angela Savage, author Mother of Pearl, (Text Publishing, 2019)

https://angelasavage.wordpress.com/

“…The compassion of a fine writer with the ability to break destructive patterns and seek the truth…a candid and compelling read, laced with humour.”

– Hazel Edwards.

Hazel Edwards is best known for her children’s book There’s a Hippopotamus on Our Roof Eating Cake, reprinted annually since its publication in 1980. Hazel has published than 220 books for adults and children, fiction and non-fiction, on a diverse range of topics, including her own memoir about her literary life, Not Just a Piece of Cake – Being and Author (Brolga Publishing. Also available on AUDIBLE, Kobe, Booktopia, Scribd and Google Play)

https://hazeledwards.com/book/not-just-a-piece-of-cake-being-an-author/

Want to read more about my story? Contact me at jane.cafarella@gmail.com

Share your story.

Are you estranged from your father? How are you feeling this Father’s Day? Leave a comment. I would love to hear from you.

Roe v. Wade reversal is a reminder that the war against women is never over

The USA Supreme Court decision to overrule Roe v. Wade, eliminating the constitutional right to abortion after almost 50 years in a 5-4 ruling, has divided the nation and is a dark day for women everywhere – not least for the swiftness and eagerness with which the ruling was taken up by those states which instigated “trigger” laws.

One woman, who had made an appointment for an abortion, was quoted in The New York Times as saying, “When I went to bed, I had my appointment and everything was set. And then today it’s like pre-1973.”

As NBC News noted, “Never before has the court granted, and then taken away, a widely recognised constitutional right.”

Power

The issue of abortion has never been about preserving lives. It has always been about preserving power over women and their lives. History has shown this to be a preoccupation of men throughout the ages.

In her 1992 ground-breaking book The War Against Women, Marilyn French said that “the drive to control female reproduction is a silent agenda in every level of male activity”.

As French noted then: “The drive to criminalise abortion is unremitting. The criminalising campaign forces women to fight the battle over and over again, when they would prefer to spend their energies on other struggles for women’s rights.”

“No treatment of a man’s body, including castration and fatherhood burdens him equally for the rest of his life; he does not bear children for whom he will be responsible for decades. Men can therefore compartmentalise their experience in a way that women cannot.”

Backlash

Re-reading French’s book three decades later in the current political climate is a sobering reminder of how the war against women is never over, as each new generation of women faces a backlash for the gains of the previous generation.

In that same year, (1992), as the editor and reporter for the Accent pages of The Age newspaper, I interviewed Susan Faludi about her new book, BacklashThe Undeclared War Against Women (1992 Chatto and Windus).

Faludi described that particular backlash as “an insidious and invasive campaign against equal rights for women, and particularly against the gains women in Western countries have made since the 70s”.

Back then, Faludi wrote that women were told the fight for equal rights was both over and unnecessary, and that the price for women had been loneliness, burnout and infertility.

Backlash proponents drew together these contradictory messages to conclude that women had been enslaved by their own liberation. But, as Faludi, said, it was their continuing lack of equality that enslaved them.

The solution, she said, was for women to mobilise.

“The trick now is to translate that anger into political action by capitalising on demographic strength – which is quite phenomenal. Women in most countries are more than 50 per cent of the population. In areas where we have won our battles, it’s because we have banded together,” she said.

But women are not a homogeneous group, and as the Supreme Court decision has shown, they don’t always share the same views (although they always share the consequences of such decisions) so mobilisation is not as easy as it sounds.

As The New York Times reports, “Demonstrations continued to roil across the country” and Americans are “steeling themselves for a fight – whether for further restrictions OR to elect politicians in the mid-term elections who favour abortion rights.”

Still, as Susan Faludi would be pleased to note pro-choice women in America are banding together, and with the support of the Western States, which have vowed to “fight like hell to protect our rights and values”.

In a rallying tweet Cori Bush, a Missouri Congresswoman who spoke out about her own abortion as a teenager, declared:. “Abortion care IS health care. It was so before this. And it will remain so after this. We don’t care what a far right, extremist supreme court that is in a crisis of legitimacy says. Your racist, sexist, classist ruling, won’t stop us from accessing the care we need.”

I hope she’s right.

Marilyn French’s last line in The War Against Women, now feels sadly familiar and circular: “After millennia of male war against them, women are fighting back on every front.”

Still.