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27 pages 54 minutes read

Sara Pennypacker

Clementine

Fiction | Novel | Middle Grade | Published in 2006

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Themes

Being Different is Perfect

Eight-year-olds often think in concrete, binary ways—good or bad, children that are hard or easy. In Clementine, Pennypacker challenges perceptions of normality and perfection through the protagonist’s changing understanding about who she is and what makes people good. Clementine is different from other people, but she isn’t exactly sure why, and she struggles to figure out what makes her good.

Clementine is unique in her ability to draw and notice things. She loves to illustrate what’s happening in the world around her. Early in the novel she says: “That’s how good of an artist I am: everybody always knows what it is” (15). For Clementine, other people being able to understand what she’s made means that she is doing a “good” job at being an artist. She also likes her own artwork, describing how she draws Margaret as “beautiful.”

However, Clementine’s perception of herself as good extends only as far as her artwork. In other parts of her life, external pressures make her worry, such as about her lack of ability to make her room look as good as Margaret’s. This reflects Clementine’s understanding that she is somehow different from what people expect or want.

The novel’s conflicts help Clementine change the way she thinks about her differences. In the final scene, she realizes that “everything else was perfect, too: my mother in her overalls, my comedian father, my brother who didn’t get stuck with a fruit name” (133). These examples reflect all the differences that Clementine has stored up internally: That her mother is an artist and not a professional like Margaret’s mother, or that her father spends hours chasing pigeons, or that she has “a fruit name” (133). Just like her lack of ability to pay attention in school, these differences had made Clementine feel frustrated and like she was different in a bad way. As she learns more about herself and begins embracing nuance and complexity, she can see the world around her as more perfect.

Pennypacker challenges readers to think in new ways about children who behave outside of what is considered the norm. Clementine is always coming home with letters from her teacher about her lack of focus, yet readers get an intimate look at all the tender and compassionate ways that Clementine processes and reacts to the world around her. Building this narrative is Pennypacker’s way of challenging people to embrace differences as perfection.

Disrupting the Narrative that there are “Easy” and “Hard” Kids

A recurrent theme in Clementine is the idea that “when there are two kids in a family, there’s always an easy one and a hard one” (17). Though Margaret introduces this idea, Clementine’s observations and the way that adults behave around children in the text reinforces it. Additionally, Clementine’s experiences at school bolster her feeling that she is a hard kid to teach. Pennypacker challenges readers to resist this narrative and release expectations of children to be or act certain ways.

For Clementine, the idea that she is probably the hard kid in her family is a constant source of worry, insecurity, and frustration. She senses that her parents are often talking secretly about how they should “trade her in for an easier kid” and tries to change her behavior so that they will keep her (32). Later in the book, she reflects with decisiveness: “If I ever do get married, which I will not, I will only have one kid. The first one. She is plenty good enough. Even if she’s the hard one” (93).

This reveals how damaging the narrative about easy versus hard kids can be for young children. Adult characters like Margaret’s mother, who Clementine thinks about often, exacerbate this. Descriptions of Clementine’s internal fears are interspersed throughout events in the text. They are a central issue for Clementine, even if she never articulates them to any of the adults.

In the end, Clementine’s parents show acceptance, love, and support for their daughter; Clementine’s narrative about the “rule” isn’t what her parents believe or how they act. Pennypacker challenges readers to understand that young children might be internalizing ideas, especially about their worth, even when adults are acting as positive and validating forces in their children’s lives.

How to Be a Good Friend

Social relationships are important at any age, and possibly more so for children who are figuring out what friendships mean to them. The dynamic between Margaret and Clementine and Clementine’s feelings about how to be a good friend lie at the heart of most of the novel’s conflicts.

In the opening scenes, it’s not quite clear whether Clementine is friends with Margaret until she says: “I like [Margaret] anyway, but it’s not always easy” (21). Clementine and Margaret are friends despite being very different from each other. Navigating differences is the crux of being able to be friends with people, but Clementine hasn’t had much practice. Learning how to be a good friend is one of the biggest growth arcs that Clementine experiences; young readers can learn about social relationships through Clementine’s process.

At the end of the novel, Clementine is “surprise[d]” (133) when she offers to let Margaret pet the new kitten instead of saying “The rule is no touching my kitten because it’s the rule” (133). Clementine attains a new kind of maturity, placing her friendship above her own desires.

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