Both psychologically and mentally, it has long ago turned into an old wife with a broken wash-tub named COVID.
Alina Vitukhnovskaya, writer
And without becoming an “alpha male”б no matter how hard she tried. Although in the modern paradigm, the alpha male is the old woman, only pumped up and glamorous. After all, such an archaic archetype, savage, tribal in fact, is hopelessly outdated.
However, in backward communities, the unconscious triumphs. Power merges completely with the image of the “killing motherland”. The concept of a “killing mother” takes up a lot of space in modern psychoanalysis.
“Dead killing mothers are not only mothers who have been cruel to their child. But, these are mothers whose external manifestations give the impression of caring and love for their child, but this so-called caring and love is manifested in a condoning and dominant hyperprotection, increased moral responsibility. Such mothers are called "sirens", they are very alluring, they are attracted to themselves, beckon, call, and then "devour". In fact, a harsh, cruel, and rejecting mother can do less harm than being too caring. Because a cruel mother does not disguise her aggressive and killing tendencies as caring and loving”. (c)
Just the other day we learned from the media about one Astrakhan social activist who killed her son and walled him up in concrete in the floor of the house. This is a classic killing mother. But Yana Rudkovskaya, who exploits a child turned into an advertising fetish and a synonym for corruption of the so-called Russian elite, is also a killing mother. As well as all those who "give birth to new" - a nightmarish horde of those mothers-killers.
So the transformation of power into the very interior essence of destructive Russia, into its authentic image, is very symbolic. The very fact of this embodiment speaks of the final phase of degradation.
Meanwhile, in parallel with the tragedy of actor Mikhail Yefremov, in his family played a regular drama, already associated with his 19-year-old daughter, and constant-Maria. Anna-Maria in a recent interview openly talked about her relationship with her mother. The once popular 90s actress Ksenia Kachalina became depressed and Allegedly suffering from alcoholism, and her daughter refused to live with her as early as 12 years old. All these years, the ex-spouse and Anna Maria were kept by Mikhail Yefremov himself. Now that he is under house arrest and has a high probability of imprisonment for several years, the family has a problem: who will take care of the lonely Ksenia Kachalina?
Journalists took controversial positions. Someone thinks daughter is intriguing in order to take away the apartment from the mother. But I am definitely on the side of Anna-Maria. All of us, considering other people's dramas, project the problems of their participants onto ourselves. In this sense, none of us is objective. But. And my life experience, and mine worldview, and my philosophy point to the initial ontological rightness of children in such conflicts.
There are families that literally produce tragedies, ignoring the external conditions and the inner world of children, whom they bring into the world only in order to further win back on them, neglect them, transfer responsibility for their own failures on them.
The stories of these families, these children do not seem monstrous to us just because they are covered with a pillowcase of external sparkles and achievements (as in the case of Yefremov and other stellar dynasties) and are stretched in time. However, they are perfectly illustrated by works of art, especially cinema.
So in the film “He and She” (“Monsieur and Madame Adelman”) a brilliant swindler, Madame Adelman builds her life and career, taking into circulation the young, hesitant, but extremely talented writer Victor Victor . As a result, he borrows her last name and publishes a number of bestsellers, which finally bring him wealth and the Goncourt Prize, which he had dreamed about. In the process of the film, the moved and misled viewer learns that a significant part of the texts of his novels were corrected or written directly by his wife. And at the very end, a lucky fraudster gets rid of the main witness, who has part-aged and become unnecessary husband , helping him to fall from the cliff. And here, in the role of Mrs. Adelman, a killing mother appears before us. No wonder at some point it is associated by CGIL ó ra, already fallen into senile dementia, with virtually killed his own mother. Which, in turn, served as a prototype for a terrible novel about the stupid and mediocre life of an elderly alcoholic. After reading the novel CGIL ó ra, her mother killed herself. Although the real killer and real author, you guessed it, was Mrs. Adelman.
The curious story of the movie "Eli" also tells the story hidden behind the everyday household chores deadly embrace s killing entire families. A boy who has been convinced since childhood that he is sick with a serious autoimmune disease is prescribed treatment by a private practitioner in a strange castle equipped as a clinic . At first, it was simply impossible to suspect the parents of the child in anything seditious. But further events of the film showed that the images with which the director described a typical, in general, situation, characteristic of a huge number of real human families, are just colorful props, distracting crackers, designed to divert the eyes of the concerned public from the real horror of walking distance. “Eli” is a film about the fact that children, in essence, are always sacrificed , and that mothers give their death to them, thus freeing themselves from it. Literally, having a baby for a mother means that the other will die for her. It is impossible to show these things more clearly than in this disturbing subconscious horror.
If there is a “mother-killer” then there must be a “killing son". But I do not share Freudian interpretations, because they reduce everything to a sexual background, thus leveling the existential, and the metaphysical side of the subject’s tragedy. In my book, “The Last Old Woman-Percenter of Russian Literature,” I describe the murder of a mother by the main character, which consists of absurdity, hatred and rebellion against being as such, but does not fit into primitive psychoanalysis. Which sacralizes the genus and animal origin. I desacralize them. Let me quote a couple of lines:
“The old woman somehow resented her insult and bitterness with a frantic mind, and somehow differently saw that it was not the Revolution that came out in her red eye, but prostitution was one ideological and insatiable gluttony. And the eye seems to be narrow - not a seared butt, but from birth it is, in essence, Chinese, that means.
- You are a Chinese agent, a selling molecule, your son was bewitched by political hypnosis and prudent fornication! All the special services of mao calculated - the sensitivity of my trusting son (he is like a blissful idiot), and the soul of his scale is immeasurable, and where to connect the wiring!..
You are perverted by omnipotence, you have decided to torture him for fun, to seduce Malki with spyware, foreseeing purity and, as a result, intentions of insidious misunderstanding!
- There is no love! No! I am your mother!!!, - she shouted this, grabbed a can of “urine test” and threw it to the wall to smithereens.
Slouchy Engineer "Hate!" - shouts - “You are not your mother to me, but the bald dwarf dictatorship. I'll kill you! I will kill! And my own money is such a punishment to me that my purity of soul is not exalted. I am dirty and low in my lack of freedom, in my non-resistance (which is pointless and objective, but still vile, despite the excuses). So I will become dirty and low in actual action, so that there is no obvious metaphysics! ”
And he cut off his mother with an ax.
Mother, as she became a corpse, has overgrown with long, curly hair. As if there was no gray hair and bald head, but some mutations accelerated, for a corpse of incomprehensible properties. And without a scientific explanation”.