I wrote this play with the aim of exploring sorrow on stage without platitude or cliché. I wanted to portray the deeply intimate and often silent struggle of couples trying, and failing, to conceive. The womb-like silence is itself a metaphor for the inexpressibility of reproductive pain, which we still struggle to articulate and heal from. This play is important because I strongly believe that the female body is the first frontier for philosophy, where a seat of life and death co-inhabits with a thinking, human mind. Too long has the womb been ignored, in academia and fiction, despite the fact that the most fundamental dramas of humanity emerge from this silent, invisible stage.