Ma Character Analysis

“Up in Heaven. Was I minus one, minus two, minus three— ?”

“Nah, the numbers didn’t start till you zoomed down.”

“Through Skylight. You were all sad till I happened in your tummy.”

“You said it.” Ma leans out of Bed to switch on Lamp, he makes everything light up whoosh. I shut my eyes just in time, then open one a crack, then both.

“I cried till I didn’t have any tears left,” she tells me. “I just lay here counting the seconds.”

Nothing makes Ma scared. Except Old Nick maybe. Mostly she calls him just him, I didn’t even know the name for him till I saw a cartoon about a guy that comes in the night called Old Nick. I call the real one that because he comes in the night, but he doesn’t look like the TV guy with a beard and horns and stuff.

“Listen. What we see on TV is... it’s pictures of real things.”

That’s the most astonishing I ever heard.

Ma’s got her hand over her mouth.

“Dora’s real for real?”

She takes her hand away. “No, sorry. Lots of TV is made-up pictures—like, Dora’s just a drawing—but the other people, the ones with faces that look like you and me, they’re real.”

“Actual humans?”

She nods. “And the places are real too, like farms and forests and airplanes and cities. . . ”

“Nah.” Why is she tricking me? “Where would they fit?”

“I don’t think you appreciate how good you’ve got it here,” says Old Nick. […] “Aboveground, natural light, central air, it’s a cut above some places, I can tell you. Fresh fruit, toiletries, what have you, click your fingers and it’s there. Plenty girls would thank their lucky stars for a setup like this, safe as houses. Specially with the kid—”

Is that me? […] I count my teeth, I keep getting it wrong, nineteen then twenty then nineteen again. I bite my tongue till it hurts.

“He put a blindfold on me—”

“Like Blindman’s Buff?”

“Yeah, but not fun. He drove and drove, I was terrified.”

“Where was I?”

“You hadn’t happened yet, remember?”

I forgot. “Was the dog in the truck too?”

“There was no dog.” Ma’s sounding cranky again. “You have to let me tell this story.”

“Can I pick another?”

“It’s what happened.”

“So, Jack, we mustn’t try and hurt him again. When he came back the next night, he said, number one, nothing would ever make him tell me the code. And number two, if I ever tried a stunt like that again, he’d go away and I’d get hungrier and hungrier till I died.”

She’s stopped I think.

My tummy creaks really loud and I figure it out, why Ma’s telling me the terrible story. She’s telling me that we’re going—

Then I’m blinking and covering my eyes, everything’s all daz­zling because Lamp’s come back on.

“Don’t you want to escape?”

“Yeah. Only not really.”

[…]

Ma’s shaking her head. “It’s getting too small.”

“What is?”

“Room.”

“Room’s not small. Look.” I climb up on my chair and jump with my arms out and spin, I don’t bang into anything.

“You don’t even know what it’s doing to you.” Her voice is shaky. “You need to see things, touch things—”

“I do already.”

“More things, other things. You need more room.”

“What’ll the person do with it?”

“Read it, of course.”

“TV persons can read?”

She stares at me. “They’re real people, remember, just like us.”

I still don’t believe that but I don’t say.

Ma does the note on a bit of ruled paper. It’s a story all about us and Room and Please send help a.s.a.p., that means super fast. Near the start, there’s two words I never saw before, Ma says they’re her names like TV persons have, what everybody in Outside used to call her, it’s only me who says Ma.

“I’m too scared,” I shout. “I won’t do it not ever and I hate you.”

Ma’s breathing funny, she sits down on Floor. “That’s all right.”

How is it all right if I hate her?

Her hands are on her tummy. “I brought you into Room, I didn’t mean to but I did it and I’ve never once been sorry.”

I stare at her and she stares back.

“I brought you here, and tonight I’m going to get you out.”

Ma’s talking in my ear, she says we need to go talk to some more police. I snuggle against her, I say, “Want to go to Bed.”

“They’ll find us somewhere to sleep in a little while.”

“No. Bed.”

“You mean in Room?” Ma’s pulled back, she’s staring in my eyes.

“Yeah. I’ve seen the world and I’m tired now.”

“Oh, Jack,” she says, “we’re never going back.”

The car starts moving and I’m crying so much I can’t stop.

[Ma’s] walking with me up on her hip, I cling onto her shoulders. It’s dark but then there’s lights quick quick like fireworks.

“Vultures,” says Officer Oh.

Where?

“No pictures,” shouts the man police.

What pictures? I don’t see any vultures, I only see person faces with machines flashing and black fat sticks. They’re shouting but I can’t understand. Officer Oh tries to put the blanket over my head, I push it off.

“The malnourished boy, unable to walk, is seen here lashing out convulsively at one of his rescuers.”

“Ma,” I shout.

She doesn’t come. I hear her calling, “Just a couple more minutes.”

“It’s us. It’s us in TV!”

But it’s gone blank. Pilar is standing up pointing at it with a remote and staring at me. Dr. Clay comes out, he says mad things to Pilar.

“On again,” I say. “It’s us, I want to see us.”

“I’m terribly, terribly sorry—,” says Pilar.

“Intense interest from a number of networks,” Morris is saying, “you might consider doing a book, down the road...”

Ma’s mouth isn’t friendly. “You think we should sell ourselves before somebody else does.”

“You keep talking about separation anxiety,” Ma’s saying to Dr. Clay, “but me and Jack are not going to be separated.”

“Still, it’s not just the two of you anymore, is it?”

“But that’s me, the Bonsai Boy.”

“The bouncy what?” [Ma] looks at the paper again and pushes her hair out of her face, she sort of groans.

“What’s bonsai?”

“A very tiny tree. People keep them in pots indoors and cut them every day so they stay all curled up.”

I’m thinking about Plant. We never cutted her, we let her grow all she liked but she died instead. “I’m not a tree. I’m a boy.”

“It’s just a figure of speech.” She squeezes the paper into the trash.

“He certainly seems to be taking giant steps toward recovery,” says the puffy-hair woman. “Now, you said just now it was ‘easier to control’ Jack when you were in captivity—”

“No, control things."

“You must feel an almost pathological need — understandably — to stand guard between your son and the world.”

“Yeah, it’s called being a mother.” Ma nearly snarls it.

“Is there a sense in which you miss being behind a locked door?”

Ma turns to Morris. “Is she allowed to ask me such stupid questions?”

“Can you come here and swing in the hammock?”

Pretty soon,” she says.

“When?”

“I don’t know, it depends. Is everything OK there with Grandma?”

“And Steppa.”

“Right. What’s new?”

“Everything,” I say.

That makes her laugh, I don’t know why.

“Tooth’s not just a thing, I have to have him.”

“Trust me, you don’t.”

“But—”

[Ma] holds on to my shoulders. “Bye-bye rotten old tooth. End of story.”

She’s nearly laughing but I’m not.

“I don’t think this is it,” I whisper to Ma.

“Yeah, it is.”

Our voices sound not like us. “Has it got shrunk?”

“No, it was always like this.”

“Up in Heaven. Was I minus one, minus two, minus three— ?”

“Nah, the numbers didn’t start till you zoomed down.”

“Through Skylight. You were all sad till I happened in your tummy.”

“You said it.” Ma leans out of Bed to switch on Lamp, he makes everything light up whoosh. I shut my eyes just in time, then open one a crack, then both.

“I cried till I didn’t have any tears left,” she tells me. “I just lay here counting the seconds.”

Nothing makes Ma scared. Except Old Nick maybe. Mostly she calls him just him, I didn’t even know the name for him till I saw a cartoon about a guy that comes in the night called Old Nick. I call the real one that because he comes in the night, but he doesn’t look like the TV guy with a beard and horns and stuff.

“Listen. What we see on TV is... it’s pictures of real things.”

That’s the most astonishing I ever heard.

Ma’s got her hand over her mouth.

“Dora’s real for real?”

She takes her hand away. “No, sorry. Lots of TV is made-up pictures—like, Dora’s just a drawing—but the other people, the ones with faces that look like you and me, they’re real.”

“Actual humans?”

She nods. “And the places are real too, like farms and forests and airplanes and cities. . . ”

“Nah.” Why is she tricking me? “Where would they fit?”

“I don’t think you appreciate how good you’ve got it here,” says Old Nick. […] “Aboveground, natural light, central air, it’s a cut above some places, I can tell you. Fresh fruit, toiletries, what have you, click your fingers and it’s there. Plenty girls would thank their lucky stars for a setup like this, safe as houses. Specially with the kid—”

Is that me? […] I count my teeth, I keep getting it wrong, nineteen then twenty then nineteen again. I bite my tongue till it hurts.

“He put a blindfold on me—”

“Like Blindman’s Buff?”

“Yeah, but not fun. He drove and drove, I was terrified.”

“Where was I?”

“You hadn’t happened yet, remember?”

I forgot. “Was the dog in the truck too?”

“There was no dog.” Ma’s sounding cranky again. “You have to let me tell this story.”

“Can I pick another?”

“It’s what happened.”

“So, Jack, we mustn’t try and hurt him again. When he came back the next night, he said, number one, nothing would ever make him tell me the code. And number two, if I ever tried a stunt like that again, he’d go away and I’d get hungrier and hungrier till I died.”

She’s stopped I think.

My tummy creaks really loud and I figure it out, why Ma’s telling me the terrible story. She’s telling me that we’re going—

Then I’m blinking and covering my eyes, everything’s all daz­zling because Lamp’s come back on.

“Don’t you want to escape?”

“Yeah. Only not really.”

[…]

Ma’s shaking her head. “It’s getting too small.”

“What is?”

“Room.”

“Room’s not small. Look.” I climb up on my chair and jump with my arms out and spin, I don’t bang into anything.

“You don’t even know what it’s doing to you.” Her voice is shaky. “You need to see things, touch things—”

“I do already.”

“More things, other things. You need more room.”

“What’ll the person do with it?”

“Read it, of course.”

“TV persons can read?”

She stares at me. “They’re real people, remember, just like us.”

I still don’t believe that but I don’t say.

Ma does the note on a bit of ruled paper. It’s a story all about us and Room and Please send help a.s.a.p., that means super fast. Near the start, there’s two words I never saw before, Ma says they’re her names like TV persons have, what everybody in Outside used to call her, it’s only me who says Ma.

“I’m too scared,” I shout. “I won’t do it not ever and I hate you.”

Ma’s breathing funny, she sits down on Floor. “That’s all right.”

How is it all right if I hate her?

Her hands are on her tummy. “I brought you into Room, I didn’t mean to but I did it and I’ve never once been sorry.”

I stare at her and she stares back.

“I brought you here, and tonight I’m going to get you out.”

Ma’s talking in my ear, she says we need to go talk to some more police. I snuggle against her, I say, “Want to go to Bed.”

“They’ll find us somewhere to sleep in a little while.”

“No. Bed.”

“You mean in Room?” Ma’s pulled back, she’s staring in my eyes.

“Yeah. I’ve seen the world and I’m tired now.”

“Oh, Jack,” she says, “we’re never going back.”

The car starts moving and I’m crying so much I can’t stop.

[Ma’s] walking with me up on her hip, I cling onto her shoulders. It’s dark but then there’s lights quick quick like fireworks.

“Vultures,” says Officer Oh.

Where?

“No pictures,” shouts the man police.

What pictures? I don’t see any vultures, I only see person faces with machines flashing and black fat sticks. They’re shouting but I can’t understand. Officer Oh tries to put the blanket over my head, I push it off.

“The malnourished boy, unable to walk, is seen here lashing out convulsively at one of his rescuers.”

“Ma,” I shout.

She doesn’t come. I hear her calling, “Just a couple more minutes.”

“It’s us. It’s us in TV!”

But it’s gone blank. Pilar is standing up pointing at it with a remote and staring at me. Dr. Clay comes out, he says mad things to Pilar.

“On again,” I say. “It’s us, I want to see us.”

“I’m terribly, terribly sorry—,” says Pilar.

“Intense interest from a number of networks,” Morris is saying, “you might consider doing a book, down the road...”

Ma’s mouth isn’t friendly. “You think we should sell ourselves before somebody else does.”

“You keep talking about separation anxiety,” Ma’s saying to Dr. Clay, “but me and Jack are not going to be separated.”

“Still, it’s not just the two of you anymore, is it?”

“But that’s me, the Bonsai Boy.”

“The bouncy what?” [Ma] looks at the paper again and pushes her hair out of her face, she sort of groans.

“What’s bonsai?”

“A very tiny tree. People keep them in pots indoors and cut them every day so they stay all curled up.”

I’m thinking about Plant. We never cutted her, we let her grow all she liked but she died instead. “I’m not a tree. I’m a boy.”

“It’s just a figure of speech.” She squeezes the paper into the trash.

“He certainly seems to be taking giant steps toward recovery,” says the puffy-hair woman. “Now, you said just now it was ‘easier to control’ Jack when you were in captivity—”

“No, control things."

“You must feel an almost pathological need — understandably — to stand guard between your son and the world.”

“Yeah, it’s called being a mother.” Ma nearly snarls it.

“Is there a sense in which you miss being behind a locked door?”

Ma turns to Morris. “Is she allowed to ask me such stupid questions?”

“Can you come here and swing in the hammock?”

Pretty soon,” she says.

“When?”

“I don’t know, it depends. Is everything OK there with Grandma?”

“And Steppa.”

“Right. What’s new?”

“Everything,” I say.

That makes her laugh, I don’t know why.

“Tooth’s not just a thing, I have to have him.”

“Trust me, you don’t.”

“But—”

[Ma] holds on to my shoulders. “Bye-bye rotten old tooth. End of story.”

She’s nearly laughing but I’m not.

“I don’t think this is it,” I whisper to Ma.

“Yeah, it is.”

Our voices sound not like us. “Has it got shrunk?”

“No, it was always like this.”