"I don't know whether Mrs. Borden is out or in; I wish you would see if she is in her room"
About this Quote
It reads like a line designed to sound helpful while dodging responsibility, the kind of polite domestic English that doubles as camouflage. On its face, Lizzie Borden is simply delegating a small task: check on Mrs. Borden. But the sentence is built out of blanks and buffers. "I don't know" leads, immediately lowering the speaker's obligation to explain. "Whether... is out or in" offers two mundane possibilities, as if the only thing at stake is a routine household absence. Then comes the soft command: "I wish you would see" - not "Go look", not "Find her", but a preference masquerading as a request, a social-lubricant phrasing that keeps the speaker's hands clean.
That indirection is the point. In the Borden story, every syllable is heard with the volume turned up, because language becomes part of the evidence: what did she know, when did she know it, how urgently did she act, how credibly did she perform ordinary concern? This line works because it's a rehearsal of normalcy. It's domestic etiquette used as an alibi, a way to stage calm while triggering action from someone else who will become a witness.
The context matters: a respectable home, rigid gendered expectations, and a public eager to turn a woman into either monster or martyr. The sentence sits at that collision point. It isn't dramatic; it's managerial. That's why it's chilling. If you're trying to look like the kind of person to whom horror could not possibly be happening, you speak in housekeeping.
That indirection is the point. In the Borden story, every syllable is heard with the volume turned up, because language becomes part of the evidence: what did she know, when did she know it, how urgently did she act, how credibly did she perform ordinary concern? This line works because it's a rehearsal of normalcy. It's domestic etiquette used as an alibi, a way to stage calm while triggering action from someone else who will become a witness.
The context matters: a respectable home, rigid gendered expectations, and a public eager to turn a woman into either monster or martyr. The sentence sits at that collision point. It isn't dramatic; it's managerial. That's why it's chilling. If you're trying to look like the kind of person to whom horror could not possibly be happening, you speak in housekeeping.
Quote Details
| Topic | Mother |
|---|---|
| Source | Help us find the source |
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