All My Mothers: The heart-breaking new novel from the author of the Costa-shortlisted debut, THE OTHER HALF OF AUGUSTA HOPE

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The marginal milieu, if not the glamorous production values, is almost parodically reminiscent of Almodóvar’s ‘rose’ manner. And All about My Mother is densely self-referential. Cecilia Roth, who has worked in her native Argentina for the last decade, has not starred in an Almodóvar feature since Labyrinth of Passion (1982); memories of her as nymphomaniac Sexilia sit oddly with her brave performance here, at once fiercely emotional and unsentimental. Her character Manuela is a nurse who participates in training seminars on counselling relatives of prospective organ donors. This is a sequence repeated near verbatim from The Flower of My Secret, but now with the twist that the simulation of death will be repeated for real. Almodóvar completists will love other tiny gestures to fans: La Agrado’s Chanel suit matches Victoria Abril’s in High Heels (1991); her defiant claim ‘I’m authentic’ echoes Rossy de Palma’s lesbian maid in Kika (1993). The dubbed inserts of Bette Davis in All about Eve recall the Joan Crawford clips from Johnny Guitar in Women on the Verge of a Nervous Breakdown (1988), while the scenes of A Streetcar Named Desire, shot with an eye for the ironies of on- and off-stage life, parallel those of Cocteau’s La Voix humaine in The Law of Desire (1987). Self-citation is used as narrative shorthand, increasing the density and intensity of the new work by calling up the rich universe Almodóvar had created over 20 years.The processes described under the term projective identification all relate to formation and alterations of identity by primitive means, portrayed in phantasy as the splitting of the personality and projecting of parts of the self or internal objects into another person, leading to a variety of identifications. Three forms may be distinguished. In one, the evacuative form, parts of the self that are intolerable are projected and felt to belong to the other, leaving one’s senses of identity completely free of the evacuated parts. In the intrusive form, a part of the self again goes over into the other, but this time one’s sense of identity goes with the projection and identity takes the form of living in the other, and of being a part or even the whole of the other. Melanie Klein has discussed these processes in great detail in her paper “On Identification” in which she uses the novel “If I Were You” (Klein 1955).In the communicative form, described by Bion as normal or realistic projective identification, the projection serves the function of being a primitive preverbal mode of making the other experience and know one’s overwhelming experiences, that cannot be mentally processed in oneself. In clinical manifestations, these processes are often experienced concretely in bodily terms, such as invasion, intrusion, claustrophobia, being robbed or impoverished, or of acquiring great riches, beauty or power. It was like it disappeared out of sight': Omid Scobie admits he was confused Harry and Meghan DIDN'T mention 'racist royal' scandal in Netflix doc or Prince's memoir Spare - as he claims Duchess and King Charles STILL don't 'see eye to eye' over issue To Bette Davis, Gena Rowlands, Romy Schneider…To all actresses who have played actresses, to all women who act, to men who act and become women, to all people who want to become mothers. To my mother.”

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