Baby Farming in Works of Fiction or Popular Culture
- The titular character in Charles Dickens' Oliver Twist spends his first years in a "baby farm."
- The eponymous heroine puts her newborn "out to nurse" with a baby farmer in George Moore's Esther Waters (1894).
- The main character in Perfume, Jean-Baptiste Grenouille, was orphaned at birth and brought up by baby farmers. (It was actually an orphanage and his mother had been hanged shortly after his birth)
- The character of Mrs. Sucksby in Sarah Waters's novel Fingersmith is a baby farmer.
- The Gilbert and Sullivan opera H.M.S. Pinafore, the character of Buttercup reveals that, when a baby farmer, she had switched two babies of different social classes. This is part of a satire of class hierarchy in Victorian England.
- The book Mama's Babies by Gary Crew is the story of a child of a baby farmer in the 1890s.
- The silent film Sparrows (1926) with Mary Pickford was set in a baby farm in the southern swamps.
- In The Fire Thief trilogy of novels, a baby farm is prominent.
- Australian musical The Hatpin features a mother's experience with a baby farmers and was inspired by the true story of Amber Murray and the Makin family.
See Coram Boy, a children's novel by Jamila Gavin. It was published in 2000 and it won Gavin a Whitbread Children's Book Award. The story sheds light on the corruption and child cruelty that flourished in Foundling Hospitals in large cities, because unscrupulous people took advantage of the situation of women with illegitimate children by promising desperate mothers to take their unwanted children to care facilities, for a fee.
Read more about this topic: Baby Farming
Famous quotes containing the words popular culture, baby, farming, works, fiction, popular and/or culture:
“Popular culture is seductive; high culture is imperious.”
—Mason Cooley (b. 1927)
“The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.”
—Debbie Taylor (20th century)
“The measure discriminates definitely against products which make up what has been universally considered a program of safe farming. The bill upholds as ideals of American farming the men who grow cotton, corn, rice, swine, tobacco, or wheat and nothing else. These are to be given special favors at the expense of the farmer who has toiled for years to build up a constructive farming enterprise to include a variety of crops and livestock.”
—Calvin Coolidge (1872–1933)
“In all Works of This, and of the Dramatic Kind, STORY, or AMUSEMENT, should be considered as little more than the Vehicle to the more necessary INSTRUCTION.”
—Samuel Richardson (1689–1761)
“Americans will listen, but they do not care to read. War and Peace must wait for the leisure of retirement, which never really comes: meanwhile it helps to furnish the living room. Blockbusting fiction is bought as furniture. Unread, it maintains its value. Read, it looks like money wasted. Cunningly, Americans know that books contain a person, and they want the person, not the book.”
—Anthony Burgess (b. 1917)
“Like other secret lovers, many speak mockingly about popular culture to conceal their passion for it.”
—Mason Cooley (b. 1927)
“The purpose of education is to keep a culture from being drowned in senseless repetitions, each of which claims to offer a new insight.”
—Harold Rosenberg (1906–1978)