54 pages • 1 hour read
Clare PooleyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Capitalizing on its central symbol of the train, Iona Iverson’s Rules for Commuting is about making connections with other people, however random these connections may be. In an ironic contrast to the real-world etiquette that discourages strangers on a commuter train from making conversation (See: Background)—no matter how often they may see one another or share the same path—the novel shows that witnessing and validation are possible when people instead choose to share themselves with others, including their histories, their fears, and their heartbreaks. Authentic relationships grow from this shared contact over time, leading to essential support that people provide one another.
Iona’s success as an advice columnist defies another rule that prevails on the train: the dictum not to interfere, even when something is clearly wrong. This informal rule is illustrated when Iona cries on the train and strangers avoid her. Iona speaks freely on the train under the presumption that no one is listening or cares about the conversation of strangers—an assumption proved untrue on several different occasions, most vividly when a man approaches Iona to agree with her preference for pubic hair.
Her editor’s assumption that no one wants to listen to Iona’s outdated advice is also proven untrue. Iona’s mail, along with the listeners on the train, prove that people are always interested in other people’s problems. However, the train gang finds that the in-person connections are what give them the strength and clarity to make positive changes. Piers can confront the turn his life has taken after he confesses to Iona, quite unexpectedly, that he hated his job. In helping Martha with her math grades, he gets a lead on new employment that suits him much better.
Emmie is able to put her concerns about Toby’s control in perspective when she talks with Sanjay about Toby’s manipulation and jealousy. Sanjay’s warning prompts her to investigate her fiancé, and she is able to escape a controlling relationship before further abuse can begin. Emmie already understood that she didn’t want to leave her job because of the connections it afforded her to other people, but escaping her romantic relationship gives her more opportunities to grow.
Martha demonstrates the value of making connections outside one’s primary social or peer groups. When she is struggling with bullying at school, her bravery in approaching Iona for help steers her toward an activity she truly loves, and being part of the drama cast gives Martha new friendships and even a boyfriend, in addition to her friends on the train. Fizz’s admiration of Iona further proves that fruitful connections do not have to be limited to similar age or interests; rather, having a diversity of friends and multiple connections proves beneficial to all the point-of-view characters as they help each other through their individual struggles. Though it can carry the risk of exposure, vulnerability, or even embarrassment, the characters find it is a relief to confide in others, seek advice and support, and celebrate their successes together.
Each of the point-of-view characters in the novel pursues a character arc that features discovering or reclaiming what Iona calls their “thing”—the activity they most love. This passion provides a motivation to overcome conflict, a key aspect in defining identity, and a compass for finding joy, even when it involves overcoming some obstacles.
Martha’s arc shows how succeeding in following one’s passions can become a defining part of identity. She auditions for the play not only because she is drawn to acting, but because Iona advises her to cultivate a reputation that will replace her association in people’s minds with the nude picture that circulated through her class. Piers, in contrast, is not looking to cultivate an image, but rather has found that the image he maintained of the ambitious, prosperous, accomplished man—Midas to his peers—doesn’t suit him or reflect his true passions. His arc is a matter of reclaiming his early passion for numbers and finding a career that brings the kind of validation and reward he seeks, along with the opportunity to impact lives by helping others develop a skill or discover something they love.
Sanjay’s arc proves that a passion can have a dark side. He is extremely good at his job, making heartfelt connections with his patients, like Julie Harrison. Nevertheless, he worries that the emotional toll this takes on him means he isn’t suited for a caring profession. Once he learns he is not alone and there is support for what he’s going through, Sanjay feels much more secure in his choice of career. As with Piers’s concerns about teaching, Sanjay’s character shows that doing what you love isn’t always easy, but the rewards are great. Likewise, despite some setbacks, Iona’s experience proves that it is possible to reinvent avenues to use one’s skills, as she launches a video series of advice after being fired from her magazine job. While the firing first depresses her spirits, she finds a way forward with her passion and rediscovers her love for her profession.
Though the major character arcs speak to professional ambitions, the novel also portrays following one’s passions in romantic relationships. Piers and Emmie both demonstrate the importance of not confusing what you think you should have with what you actually want: Piers chose his wife as a trophy, and Emmie’s fiancé tried to abuse and control her, in place of having substantial and honest connections. David’s rekindled marriage, Martha’s new boyfriend, and Emmie and Sanjay’s relationship all offer proof that passionate, healthy romances can substantially contribute to personal happiness. Iona’s example with Bea, with both of them enjoying memories of the past as they learn to navigate the present, underline this joy. Fulfilled passions in both career ambitions and romantic pursuits lead all of the characters to happy resolutions.
Building on the train as a symbol for one’s passage through life, Iona’s early reflection on her stop as a terminus—or a beginning, depending which direction one is going—proves an apt metaphor for another central theme in the book: Alongside the theme of following one’s passions, many of the characters find that an abrupt ending lays a path to a new beginning, often to an even more fulfilling opportunity.
Sanjay is perhaps the subtlest example of this phenomenon. He experiences the death of his romantic hopes with Emmie when he learns she has a long-term, live-in boyfriend. He struggles with disappointment, but over the course of the book, he learns to relate to Emmie as a friend, sharing confidences and learning more about her. By the end, when they are together, he realizes that his love for Emmie is genuine and deeper because of this friendship. The ending of his infatuation was the beginning of an attachment to the real woman, not his fantasy of the Girl on the Train.
Martha’s ending is the dashing of her hopes of inclusion among her peers; she fears the circulation of her nude picture means she’ll be forever ostracized. Desperate to redefine herself, she tries something new. Her part in the play leads to rewards on several levels: She is motivated to improve her grades, she makes new friends, finds a boyfriend, and is invited to audition at a respected theater. For Emmie, escaping her controlling relationship restores her to a sense of normalcy and the self-confidence that Toby had undermined. She is inspired to try something new with her advertising skills as well, and she takes a risk in a new relationship with a man she knows well and admires deeply.
For Piers, the shattering of the life he was building leads him, literally, to the brink: His future looks to him like the precipice at the end of the train platform. Martha’s intervention not only saves his life, but also provides him with a steppingstone to a new career: He eventually takes a teaching position at her school. When his marriage—the last vestige of his life as futures trader Piers—falls apart, Piers, as Kevin, is propelled to a new beginning that proves more in tune with his own values and desires.
Iona struggles with several endings that turn out to be new opportunities. She’s learning to navigate the change in her relationship with Bea as she deals with her wife’s progressing illness and suffers a professional blow when she is fired from her magazine position. However, getting fired leads to the launch of her video advice series, which enables her to have more control over her career and frees her from the workplace ageism she experienced before. Like her stop on the train, Iona’s example shows that a stop can be turned into a fresh beginning, with new opportunities in store, if one has the courage to take them.
By Clare Pooley
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