Monologue Analysis: Things I Know to Be True by Andrew Bovell
Character Context
Character: Pip
Age: Early 30s
Speaking to: The audience (direct address)
Synopsis
In Things I Know to Be True, Pip reflects on her life through the lens of her family’s garden, which serves as the backdrop for pivotal events. Her memories range from humorous and rebellious childhood moments to profound realizations about her mother’s emotional struggles. The monologue explores themes of love, family, identity, and the way our perceptions of parents evolve as we grow older. Pip’s speech captures the complexity of familial bonds and the enduring impact of shared spaces and memories.
Original Text
This garden is the world. Everything that matters happened here.
I kissed my first boy in that shed. I was nine. He was my cousin, Tom. Down from Port Augusta. I don’t know if it counts if it was your cousin. But it was a kiss, nonetheless. He kissed me and then he put his hands down my pants. I don’t know what he expected but I think he got a shock because he pulled it straight back out again. But I liked it. I got so excited that I bit his face. He started to cry and ran to his mother and I was sent to my room. And I don’t know if it was because I bit him or because I liked having his hands down my pants. Somehow, I think Mum knew. I think she knew exactly why a girl bites a boy in the face. But then she always knew the things you didn’t want her to know.
She caught us, me and Penny McCrea and Stella Bouzakis with a bottle of sweet wine. We were in Year 9 and we snuck off from school at lunchtime. Penny had stolen it from her parents’ drinks cabinet. We came back here and made a party of it, smoking those long coloured cocktail cigarettes as well. Thinking we were totally it. And suddenly Mum’s standing at the back door. She was meant to be at work. She never came home for lunch. Never. But that day, when we’re wagging school and drinking sweet wine in the backyard she decides to come home. Stella got such a scare she started to vomit. Mum stuck her face in the compost pit and said “Vomit there, you silly girl.” I was grounded for the rest of Year 9 and never drank sweet wine again.
This garden is the world.
Family cricket and totem tennis tournaments. Hey Presto! And cartwheels across the lawn. Fashion parades and sleepovers. Sunday barbecues. Eighteenth birthday parties. Twenty-firsts. Engagements. And even a wedding. Mine. It all happened here and more.
Once I saw her, Mum, bawling her eyes out and banging her head against the trunk of that tree. I was twelve. I had never seen her cry. Not once. Not even when her own mother died. And everything I thought was certain about the world changed. I went back inside and turned the television on. I was scared. What makes a woman cry like that? A mother. My mother. I didn’t understand and I didn’t have the courage to ask her. Now, that I am a woman, married with children of my own I don’t need to, I know exactly why a woman bashes her head against the trunk of a tree.
Key Points
The Garden as the World: Pip begins by establishing the garden as a central symbol, representing the emotional and physical setting of her most important life experiences.
Childhood Memories: She recounts an awkward yet formative childhood moment and reflects on her mother’s uncanny ability to intuit the unspoken, showcasing a blend of humor and self-awareness.
Rebellious Teenage Years: Pip transitions to an anecdote about teenage rebellion, highlighting the stern but caring parenting style of her mother, who unexpectedly intervenes during a secret party.
A Place of Celebration: She lists joyful family moments, painting the garden as a place of togetherness, love, and community.
A Profound Shift: Pip recalls a poignant memory of seeing her mother overcome with emotion, revealing a previously unseen vulnerability. This moment serves as a turning point in her understanding of her mother and the world.
Adult Realization: She reflects on how her own experiences as a mother and wife have deepened her empathy for her mother’s struggles, bringing her reflections full circle.
Journey Keypoints
Hook: Pip captures attention by introducing the garden as a metaphorical and literal representation of her life.
Turning Point: The memory of her mother’s emotional breakdown shifts the tone from nostalgic to deeply introspective.
Climax: Pip acknowledges the complexity of her mother’s pain, reframing her childhood understanding.
Resolution: She connects her mother’s struggles to her own adulthood, closing with a sense of empathy and acceptance.
About the Playwright: Andrew Bovell
Andrew Bovell is a renowned Australian playwright and screenwriter celebrated for his emotionally rich storytelling and poetic dialogue. Things I Know to Be True, developed in collaboration with Frantic Assembly, explores family dynamics, identity, and the impact of love and loss. Bovell’s works, such as When the Rain Stops Falling and Lantana, delve into universal themes with depth and nuance, offering audiences a resonant and reflective theatrical experience.
