I touch my skin right under my breasts, which is where the little one’s curled

  

“What matters is only what’s here. I touch my skin right under my breasts, which is where the little one’s curled, and where he kicks, ‘cause he has to. Like, he don’t feel so cozy no more. Here, can you feel it? I reckon he wants me to talk to him. He can hear me inside, for sure. He can hear every note of this silvery music. 
It ripples all around him, wave after wave. I can tell that it’s starting to sooth him. It’s so full of joy, of delight, even if to him, it’s coming across somewhat muffled. Like a dream in a dream, it’s floating inside, into his soft, tender ear. 
I close my eyes and hold myself, wrapping my arms real soft—around me around him—and I rock ever so gently, back and forth, back and forth, with every note of this silvery marvel. You can barely hear me—but here I am, singing along. I’m whispering words into myself, into him.”

What Anita is envisioning is motherhood, which is the subject of my scuplture by the same name. It is hard to imagine this is actually bronze, because the patina is made to look like marble. I polished the piece until it became completely smooth to the touch, as if nature--by gusts of wind and the flow of water--has buffed this rock over time, the way pebbles come to be. 

But in the back, I 'carved' into the piece, so as to make it look as if it has broken. This makes for an interesting balance, as if this is a rock standing on edge. But more importantly, it is symbolic, because self-sacrifice is the nature of motherhood.

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My Own Voice

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