Amanda’s constant nagging of Tom and her refusal to see Laura for who she really is are certainly reprehensible, but Amanda also reveals a willingness to sacrifice for her loved ones that is in many ways unparalleled in the play. She subjects herself to the humiliating drudgery of subscription sales in order to enhance Laura’s marriage prospects, without ever uttering so much as a word of complaint. The safest conclusion to draw is that Amanda is not evil but is deeply flawed. In fact, her flaws are centrally responsible for the tragedy, comedy, and theatrical flair of her character. Like her children, Amanda withdraws from reality into fantasy. Unlike them, she is convinced that she is not doing so and, consequently, is constantly making efforts to engage with people and the world outside her family. Amanda’s monologues to her children, on the phone, and to Jim all reflect quite clearly her moral and psychological failings, but they are also some of the most colorful and unforgettable words in the play.
The essence of Amanda’s character is caught in her first speech. She seems to need to nag at her children, especially Tom, and she is not even aware that she is nagging. Essentially, she must have something to talk about, and she nags at Tom about little things because she fears that she has lost or is losing him as far as the big things, the significant things, in life are concerned.
Amanda’s sense of unreality is caught in these first episodes as she lives in a world of servants and gentlemen callers. Always her language suggests another time and place.
Note that all of Amanda’s so-called gentlemen callers either came from the wealthy or became wealthy. The question will arise as to whether she actually had these callers or not. Amanda might have been somewhat popular, but it is almost inconceivable to believe that she actually did have as many as seventeen gentlemen callers. But what is important is that Amanda now believes this story so strongly that the gentlemen callers have become a reality for her.
The scene ends again on Amanda’s return to the subject of Laura’s gentlemen callers. She closes her mind to the reality that Laura has no gentlemen callers. The question here is whether Amanda wants the callers for Laura or whether she wants them so as to relive her own youth. It seems in this scene that Amanda is thinking only of herself, but later we will see that she is afraid of what will happen to a young girl of Laura’s position who is not married. Thus, Amanda’s emotions are mixed at present but will become clearer as the play progresses.
Note how Amanda plays the revelation scene for all its theatrical effect. This is also a part of her character and prepares us for her giddy actions when the gentleman caller comes.
One of Amanda’s admirable qualities is her determination. Once she has set her mind to a task, she goes about it with a determination that neither of her children possesses. It would be impossible to imagine either Tom or Laura dedicating themselves to a task with such complete zeal as does Amanda.
It is, however, this dedication which makes her appear hateful to her children. It is as though both, especially Tom, were still youths whose every action had to be supervised.
