Summary of NPR's Up First Episode: "The Girls Who Were Sent Away"
Release Date: April 20, 2025
Host: Aisha Rascoe
Guest: Grady Hendrix, Author of Witchcraft for Wayward Girls
Introduction
In the episode titled "The Girls Who Were Sent Away," NPR's Up First delves into the harrowing history of the "baby scoop" era in the United States, a period spanning from 1943 to 1973. This era coincided with the post-World War II baby boom, during which abortion was largely illegal, leading to many unwanted pregnancies among unmarried women and teenage girls. These women were often sent to maternity homes, where they were forced to give birth and place their babies for adoption.
Historical Context of Maternity Homes
Aisha Rascoe opens the discussion by highlighting the societal pressures and stigmas faced by unwed mothers during the baby boom. She explains:
"Before Roe v. Wade, there was a period from 1943 to 1973 when many unmarried women and girls were forced to give birth and put their babies up for adoption. These births often happened in secret in places called maternity homes."
[03:30]
Grady Hendrix elaborates on the grim reality faced by these young women:
"They'd spend the last trimester in hiding, have their baby taken from them, and return home with fabricated stories about where they'd been."
[04:46]
The lack of transparency and support in these homes often left the mothers isolated and traumatized, with little to no knowledge about the fate of their children.
Grady Hendrix's Novel: Witchcraft for Wayward Girls
Hendrix introduces his latest novel, Witchcraft for Wayward Girls, which intertwines this tragic history with elements of horror and magic. He discusses how the novel reflects both historical and contemporary issues surrounding women's reproductive rights:
"Abortion is still a protected right in 21 states and the District of Columbia, and there are abortion pills now that can cross state lines. But with the fall of Roe and the resulting abortion restrictions, some of this history echoes."
[00:46]
Characters and Plot Elements
Rascoe inquires about the novel's protagonist, Neva, a 15-year-old girl forced into a maternity home by her father. Hendrix provides a vivid depiction:
"Neva is taken to a maternity home in Florida, part of approximately 190 such homes across America during that period. These girls were stripped of their identities, given fake names, and kept ignorant about their futures."
[03:30]
As the story progresses, Neva encounters a mysterious librarian who introduces her to a spellbook for witches, leading her and her friends—Fearne Rose, Holly, and Zinnia—to explore dark arts as a means of gaining control over their lives.
Themes of Misogyny and Societal Pressure
The conversation shifts to the misogynistic undertones of the era, where teenage girls bore the brunt of societal condemnation for unwed pregnancies, while the male counterparts faced no repercussions. Hendrix reflects on the long-term psychological impact:
"These girls were not told their options or their legal rights. They were expected to never think about their babies again, a cruelty that haunted many for the rest of their lives."
[16:39]
Rascoe adds context by pointing out the societal double standards and lack of support systems:
"There was a pervasive hatred towards these girls, with editorials suggesting drastic measures like turning Alcatraz into a home for unwed mothers and minimal acknowledgment of unwed fathers."
[18:14]
Magic and Hoodoo in the Novel
Hendrix discusses the integration of magic, specifically hoodoo—a tradition rooted in African spiritual practices—into his novel. He explains the distinction between hoodoo and voodoo and its significance in the story:
"Hoodoo is very much about medicine, root work, charms, and healing, distinct from voodoo which involves gods and loa. Incorporating hoodoo adds a layer of cultural depth and resistance to the narrative."
[14:56]
He recounts historical instances where hoodoo was used as a form of resistance, such as concocting teas to help prevent young men from being drafted into war, highlighting the real-world applications of these spiritual practices.
Author's Motivation and Research
Hendrix shares his personal connection to the subject matter, revealing that two family members were sent to maternity homes. This revelation spurred his interest in uncovering the untold stories of these women. He cites influential works like Ann Fessler's The Girls Who Went Away and Ricky Solinger's Wake Up Little Susie as pivotal in shaping his understanding.
"I was wrestling with why these women were forced to give up their children and the lasting impact it had on them. This led me to embark on writing Witchcraft for Wayward Girls."
[07:55]
Despite facing challenges in writing the book, including numerous revisions and creative disagreements with his editor, Hendrix persevered, driven by a commitment to accurately portray the experiences of these women.
Depiction of Birth and Medical Practices
The novel includes intense and realistic birth scenes that reflect the harsh realities of 1970s medical practices. Hendrix shares insights from his research, highlighting the often brutal treatment women received:
"Doctors would induce labor prematurely or use forceful methods because they didn't want to deal with prolonged births. Women were kept in the dark, sometimes physically restrained, and faced immense pain and fear during childbirth."
[10:35]
He emphasizes the miracle and terror of birth, capturing both the pain and the profound significance of bringing new life into the world amidst such oppressive circumstances.
Exploration of Good vs. Evil
Rascoe probes into the moral complexities within the novel, questioning the nature of evil portrayed. Hendrix responds by highlighting the absence of clear-cut villains:
"There isn't a traditional villain. The people running the homes believed they were doing what was best for these girls. The witches offer knowledge and liberation, but both paths the girls can take are fraught with danger."
[18:36]
This nuanced portrayal underscores the story's exploration of systemic oppression and the desperate measures individuals take to reclaim agency over their lives.
Conclusion
The episode concludes with Hendrix reflecting on the interconnectedness of personal narratives and historical injustices, emphasizing the importance of storytelling in shedding light on forgotten or suppressed histories. He reiterates the novel's aim to blend horror with real-world issues, offering both entertainment and a poignant commentary on women's struggles for autonomy.
Notable Quotes:
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Grady Hendrix:
"They'd spend the last trimester in hiding, have their baby taken from them, and return home with fabricated stories about where they'd been."
[04:46] -
Grady Hendrix:
"I am a childless, middle-aged man... writing a book in which every character is a pregnant teenage girl required me to deeply engage with the experiences of real women."
[09:52] -
Grady Hendrix:
"There isn't a traditional villain. The people running the homes believed they were doing what was best for these girls."
[18:36] -
Grady Hendrix:
"I've been in the room for close to 90 live births. In every single one of them is a goddamn miracle."
[12:57]
Production Credits:
- Produced by: Kim Naderfehn Pietersa
- Edited by: Jenny Schmidt and Liana Simstrom
- Engineered by: James Willits
- Executive Producer: Irene Noguchi
- Original Interview Produced by: Weekend Edition Sunday team including Andrew Mambo and Justine Yan
This comprehensive exploration of "The Girls Who Were Sent Away" offers listeners an in-depth understanding of the historical context, thematic elements, and creative process behind Grady Hendrix's Witchcraft for Wayward Girls. It underscores the enduring impact of societal pressures on young women and the complex interplay between power, control, and liberation.