"When I get out... if I get out of here, I hope that maybe we can get back together and have more kids"
About this Quote
It lands like a domestic daydream, which is precisely why it’s so chilling. Susan Smith’s line borrows the soft grammar of reconciliation - “maybe,” “get back together” - and pairs it with the most loaded noun possible: “kids.” In a vacuum, it reads like a plea for a second chance. In context, it’s a rhetorical jailbreak: the language of family used to sand down the edges of a woman defined in the public mind by the murder of her children.
The first move is conditional innocence. “When I get out... if I get out” performs humility and realism, as if she’s learned restraint. But it also smuggles in an assumption: there will be an “out,” a future, a life beyond consequences. The ellipsis does work here, too - it invites the listener to fill in emotion (regret, longing) without her having to supply it.
Then comes the real pivot: fertility as redemption. “Have more kids” isn’t just optimism; it’s an attempt to rewrite the narrative from irreversible harm to renewable possibility, from violence to creation. It frames children less as individual lives than as symbols she can reacquire to restore an identity - mother, partner, normal person. That’s the subtext: if family is the proof of normalcy, then rebuilding a family becomes a strategy for recovering legitimacy.
It’s also a line aimed at an audience, not just a partner: parole boards, interviewers, anyone susceptible to the culturally ingrained script that parenthood equals stability and moral seriousness. The intent is not merely reconciliation. It’s reframing the crime as a detour on the way back to the most familiar American ending: the rebuilt household.
The first move is conditional innocence. “When I get out... if I get out” performs humility and realism, as if she’s learned restraint. But it also smuggles in an assumption: there will be an “out,” a future, a life beyond consequences. The ellipsis does work here, too - it invites the listener to fill in emotion (regret, longing) without her having to supply it.
Then comes the real pivot: fertility as redemption. “Have more kids” isn’t just optimism; it’s an attempt to rewrite the narrative from irreversible harm to renewable possibility, from violence to creation. It frames children less as individual lives than as symbols she can reacquire to restore an identity - mother, partner, normal person. That’s the subtext: if family is the proof of normalcy, then rebuilding a family becomes a strategy for recovering legitimacy.
It’s also a line aimed at an audience, not just a partner: parole boards, interviewers, anyone susceptible to the culturally ingrained script that parenthood equals stability and moral seriousness. The intent is not merely reconciliation. It’s reframing the crime as a detour on the way back to the most familiar American ending: the rebuilt household.
Quote Details
| Topic | Relationship |
|---|---|
| Source | Help us find the source |
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