The maternal subject in contemporary popular discourses of Correction: Reading Amanda Brown’s Prison Doctor Memoirs

This paper adds to the limited research on representations of incarcerated mothers by analysing Amanda Brown’s best-selling memoirs, The Prison Doctor (2019) and The Prison Doctor: Women Inside (2020). These works detail her experience working in various British prisons, including at Bronzefield Women’s Prison from 2006 to the present. We argue that Brown’s portrayal of the maternal subject is influenced by “a middle-class gaze”. We show that from the prologue of the first book, Brown highlights her own “good” middle-class maternal identity, contrasting it with the negative portrayal of incarcerated mothers. She presents herself as a loving, caring, yet firm and pragmatic middle-class mother. For incarcerated mothers, Brown implies that prison can be a transformative space where they might become, like her, “good” mothers by adopting middle-class neoliberal attitudes, behaviours, and practices.

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Publication Details

Journal
Crime Media Culture An International Journal
Published
2025-10-08
DOI
https://doi.org/10.1177/17416590251371025
Primary Topic
Race, History, and American Society
Type
article
Field-Weighted Citation Impact
0.00
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article

The maternal subject in contemporary popular discourses of Correction: Reading Amanda Brown’s Prison Doctor Memoirs

Barbara Pini, Clarissa Carden
Crime Media Culture An International Journal
Race, History, and American Society
article

The maternal subject in contemporary popular discourses of Correction: Reading Amanda Brown’s Prison Doctor Memoirs

Barbara Pini, Clarissa Carden
article en

Abstract

This paper adds to the limited research on representations of incarcerated mothers by analysing Amanda Brown’s best-selling memoirs, The Prison Doctor (2019) and The Prison Doctor: Women Inside (2020). These works detail her experience working in various British prisons, including at Bronzefield Women’s Prison from 2006 to the present. We argue that Brown’s portrayal of the maternal subject is influenced by “a middle-class gaze”. We show that from the prologue of the first book, Brown highlights her own “good” middle-class maternal identity, contrasting it with the negative portrayal of incarcerated mothers. She presents herself as a loving, caring, yet firm and pragmatic middle-class mother. For incarcerated mothers, Brown implies that prison can be a transformative space where they might become, like her, “good” mothers by adopting middle-class neoliberal attitudes, behaviours, and practices.

Crime Media Culture An International JournalVol. 22(1)
Griffith University (AU)
Openalex Percentile: Top 63%
Race, History, and American Society
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