65 pages • 2 hours read
Pat ConroyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Narrator Tom Wingo introduces the reader to his troubled birth family. Now in his late thirties, Tom grew up in Melrose Island off the coast of South Carolina with his father Henry Wingo, mother Lila, twin sister Savannah and older brother Luke during the late 1940s and 1950s. While his mother is beautiful and imaginative, his father is a patriarchal, rough army veteran working as a shrimper. The conflict between the dreamer, literary, “word-struck” (4) mother and abusive father forms the childhood landscape of the Wingo children. Since both his parents were extraordinary human beings, Tom feels the havoc they unwittingly wreaked on their children is correspondingly as great. Tom recalls his father’s punishing nature. When Tom is ten, he accidentally kills an endangered bald eagle, a crime his nature-loving father deems unpardonable. As punishment, he makes Tom pluck the bird, cook, and eat it. For a month, Tom is also forced to wear a headdress made of eagle feathers to school.
Meanwhile, Tom’s early memories of Lila are filled with wonder. Creative and intelligent, Lila introduces her children to nature, making each natural phenomenon, such as the moonrise, appear wondrous and magical. This ignites the children’s imagination and gives them a unique affinity for the natural world. The children become adept at spotting porpoises in the water and birds like ospreys and gulls. Even Henry contributes to their love for nature by taking the children on shrimping expeditions on his boat in the early morning hours.
The Wingo children find stability in the natural world, but the human world around them is changing. They grow up in the late 1940s in the aftermath of World War II. The horrors of nuclear weapons became apparent after the U.S. dropped atomic bombs on Hiroshima and Nagasaki in 1945, killing hundreds of thousands of people in one go. Within the US, the racist Jim Crow laws segregating Black people are firmly in place in the American South, but integration is becoming a growing reality. The changing times make Tom question his own beliefs: as a southern male of traditional beliefs, he grows up racist and pro-war, but with time he defends the rights of Black people and turns firmly anti-war.
Tom darkly hints that his childhood is more than just merely interesting or even difficult. Apart from everything he has shared, events have happened to his family that are extremely tough to survive. At this point, he does not reveal the actual events.
In the present day, Tom lives in Sullivan Island, South Carolina, in a beach house with his wife, Sallie, and their three young daughters, Jennifer, Chandler, and Lucy. Tom has recently been laid off as a high school football coach, while Sallie is a doctor. On a beautiful summer day, Tom gets an abrupt call from his mother, Lila, from whom he is estranged. Lila tells a reluctant Tom she is coming over to visit him and share some terrible news. It is obvious Tom is uncomfortable around Lila.
Lila arrives and tells Tom that Savannah, now living in New York, has attempted suicide again and is catatonic in a psychiatric institute. Lila wants Tom to visit Savannah in New York since she cannot be with her daughter at the time. Tom berates his mother for her abandonment of Savannah. However, Tom himself has not seen his sister in the last few years. Tom hints that Savannah—who has mental health issues—has suffered because of their family secrets, but Lila dismisses the suggestion. Tom and Lila exchange cruel words, but Tom agrees to visit his twin.
After Lila leaves and the children are in bed, Tom and Sallie go for a walk on the beach. Sallie is perturbed by Tom’s apathy and coldness. She suggests that something that happened to Tom’s elder brother Luke has unsettled Tom to the extent he is emotionally numb. Sallie also confesses to Tom she has been having an affair with a fellow doctor and wants to take a break from the marriage. It is clear Tom, too, has had affairs in the past. Though Tom wants to save their marriage, he can do little more than appear gruff and sarcastic. Sallie walks away to the house, while Tom plunges into self-pity about his lost job and his dissatisfied life, even though he knows he has a lot to fight for, including the three much-loved daughters he calls “goddesses” (12).
The action now flashes back to the 1970s. Tom is a football coach and English literature teacher. Tom and Luke visit New York City to attend a poetry reading by Savannah, now a significant poet and a die-hard New Yorker. Present-day Tom recalls how Savannah fell in love with New York ever since she opened the pages of the New Yorker magazine as a girl. She now admires the city’s crowds and the anonymity they offer her; however, to Tom and Luke, New York is ugly and ridden with crime, its people mean-minded. The brothers often clash with their sister over the merits of the South over New York. Luke wants Savannah to return to the South, a suggestion Savannah considers ludicrous. One reason the brothers dislike New York is that their notions of chivalry are considered outdated by the feminists they encounter at Savannah’s poetry readings.
At the reading, Tom is moved by the ease with which Savannah captures her audience, the “supernatural” (38) power of her writing, and the purity of her voice. Savannah’s poems describe the natural beauty of her childhood, as well as her struggles with mental health. Tom and Luke are fiercely proud of their sister. The narrative suggests that though Luke loves his younger siblings deeply, he is a little envious of the twins' uncanny bond.
Later that night, Tom and Luke, boarding at Savannah’s New York apartment, are woken up by Savannah’s feverish muttering. Tom goes to Savannah’s room, where Savannah tells him she is having a terrifying vision of mutilated, bleeding angels suspended from the walls. She also sees a tiger and fierce dogs, all moaning and defecating. Though Tom tries to convince Savannah the visions are not real, she tells him the figures are jeering at her, telling her that no one can rescue her. The figures have been tormenting Savannah for many years. In the past, she has slashed her wrists just to be rid of them.
Afterward, Tom and Luke discuss Savannah’s distressing condition. While Luke thinks Savannah is “crazy as owl shit” (49), Tom tells him that their childhood trauma has contributed to Savannah’s suffering. Tom alludes to a specific incident that happened to them as children, but Luke says that they should believe Lila’s version of events, which is that no such incident ever occurred.
In the present day, 1981, Tom is in New York City to meet Dr. Susan Lowenstein, Savannah’s psychiatrist (whom this guide will refer to as Susan from this point, though Tom calls Lowenstein throughout). As he waits in her office waiting room, Tom doubts that Susan will be able to help Savannah since her previous doctors have all failed to treat her. Tom finds a copy of Savannah’s poetry collection, The Prince of Tides, in Susan's office. The dedication on the back of the book says: “Man wonders but God decides,/ When to kill the Prince of Tides” (56).
Walking in on Tom, Susan wants to know who the Prince of Tides is, but Tom evades her question. Susan tries to get Tom to tell her more about their childhood, which she feels holds the key to Savannah’s recovery. Tom is initially hostile to the doctor because he mistrusts psychiatrists and New Yorkers. He also thinks the doctor judges him as a racist since he is a southerner.
When Tom and Susan visit Savannah in the hospital, Savannah, crouched on the floor of her room, refuses to acknowledge Tom. Afterward, a shaken Tom and Susan go for dinner. Susan makes Tom listen to a recording of Savannah’s feverish muttering when she met her right after the suicide attempt. Tom recognizes the disconnected sentences as meaningful, a record of Savannah’s life. The word “Callanwolde” sticks out in Savannah’s recording. Tom promises to interpret the words for Susan and tell her more about his sister’s past.
Later, Tom crashes at Savannah’s apartment, where he meets her neighbor and old friend Eddie Detreville, housesitting for Savannah. Eddie gives Tom painkillers for his migraine and leaves. Tom reads an old letter from Savannah he keeps in his wallet, written when Tom first started coaching. Tom misses Savannah’s congratulatory, warm words from the letter and is panic-struck at the prospect of losing his sister forever. Overwhelmed, Tom promises himself that he will change things in his and Savannah’s lives.
Tom takes Susan—and the reader—to 1944, the World-War-II year when he and Savannah were born. Two good Samaritans played a pivotal role in the lives of the Wingos at this point. One is Sarah Jenkins, an 85-year-old midwife, who helps Lila in the difficult twin birth. Henry, an ally pilot in Europe, is presumed dead. Luke is a baby. As a massive hurricane hits the island, Lila’s father-in-law Amos and Sarah help her deliver first Savannah and then Tom. Since the house begins to flood, Amos has no option but to shift Lila and the three children out to the barn through the hayloft. The gale knocks Sarah against the wall of an outhouse, injuring her badly, but Amos gets her into the loft as well. Bleeding heavily, Lila manages to make it through the night, but Sarah dies.
The second good Samaritan of Tom’s story is Father Ginter Kraus, an elderly German Catholic priest whose church Henry takes refuge after his plane is shot down. It is a crime to harbor allied soldiers, but the priest doesn’t turn in Henry to the Nazis since he feels guilt over betraying a Jewish family to the authorities. They were later executed in the Dachau Concentration camp. Father Kraus and Henry become friends. Moved by Kraus’s religion, Henry decides to convert to Catholicism. After being baptized by Kraus, Henry sets out for Switzerland to seek amnesty. Father Kraus gives him a hoe to carry, so Henry may appear to be a farmer on his trek. The ruse largely works, except in one instance when a German woman recognizes him as a possible ally soldier. Tom confesses to Susan that Henry kills the woman to save himself. Henry manages to make it to Switzerland and eventually returns home. A year later, he returns to Germany to thank Father Kraus and learns the Nazis executed the priest after they found Henry’s discarded uniform in the church. Henry takes away the church’s icon, a statue of the Infant of Prague, as a memento of Father Kraus.
This section introduces some of the text’s key themes: childhood trauma and its effects, the corrosive aftermath of denial and secrets, and the redemptive power of nature. It also establishes Tom Wingo’s narrative voice, which is bold, unique, and dramatic. Tom’s dramatic narration is well-suited to the extraordinary events that mark the life of the Wingo family. The choice of Tom as a first-person narrator is significant since the first-person voice draws the reader—and Susan, Tom’s audience in the text—into an intimate circle, such as when he says, “I will tell you my story. Nothing is missing. I promise you” (10) The “You“ here is doubly intimate since it is addressed to Susan, who will grow to be the great love of Tom’s life, as well as the reader. The first-person voice belonging to Tom is also important because he is the twin of Savannah, her double. Through Tom’s narration, the reader gets more glimpses into Savannah’s mysterious inner life. The choice of voice also works as a narrative device in quickly establishing the uncanny twin bond between Tom and Savannah. Another narrative technique is flashbacks, shifting between the present-day and the past.
The Prologue contains some of the most gorgeous descriptions of nature in the text, establishing the primacy of nature in the lives of the Wingos. The Prince of Tides explores themes of male trauma and the cycle of domestic abuse; however, it is equally a book about the importance of revering and conserving nature. As Tom emphasizes, the story of his childhood is rooted in a very specific geography, and his “heart belongs in the marshlands” (6). The moon, the tides, the heron, the porpoise, the marsh hen, and other important symbols of the novel are mentioned in the Prologue and will recur throughout the text, reinforcing its thematic concerns. Significantly, Tom associates his parents with nature: his mother Lila with the moon, a traditionally feminine symbol, while his father Henry with the dive into waters, symbolizing masculinity. Although Lila is a complex figure in Tom’s present, with Tom jokingly threatening Sallie with divorce if she makes him talk to Lila on the phone in Chapter 1, in the past, Lila is presented as almost a mythic, magical figure. She is described as “word-struck” (4), a magician who teaches her children to “seek out the beauty of nature in all its shapes and fabulous designs” (4). The contrast between Lila of the past and present shows that she is an extremely complex, larger-than-life woman. Further, over time Tom has learned all the varying aspects of his mother.
In the first few chapters, childhood and youth are presented as idyllic, wholesome states. Thus, acts that violate the Edenic beauty of this early period of life are established as unforgivable, a prominent theme in the novel. Apart from the nature-immersed early childhood of the Wingo children, Tom also describes a brief interlude with his three young daughters on the beach. Again, the innocent, warm exchange occurs in a natural setting, establishing nature as a healer. The bond between Tom and his daughters is filled with love and humor, indicating that Tom works hard not to repeat Henry and Lila’s mistakes as a parent. The three girls playing in the sand are described as “goddesses” (12), which shows Tom’s conflation of the feminine with magic, mystery, and power. Lila is described as “finely made as a yacht” (19). In Chapter 2, Tom describes Savannah as “blonde […] and ethereal,” her voice “an enemy of storm and dark and winter” (38).
Tom’s views on women can be considered problematic since he often associates femininity and beauty with tragedy and mystery. Sometimes this stops him from seeing women as fully realized human beings like any other. However, Tom is partly aware of his traditional views, which he attributes to his southern conservative upbringing. As the narrative shifts to New York from Chapter 2, Tom is brought into conflict with the cosmopolitan values of the city. The city now symbolizes a place of anonymity, indifference, apathy, and crime, its feminist women described caricatures. Tom is aware that Savannah may have chosen the city for the same reasons he rejects it: the city offers Savannah, a woman burdened by oppressive social norms, a blank slate to reinvent herself.
The graphic description of Savannah’s terrible dreams comes as a shock in Chapter 2, indicating that Tom is indeed going to tell his entire story without leaving anything out. The imagery of the visions is in stark contrast to the beauty of her poetry and the descriptions of the natural world of their childhood. This suggests that the trauma Savannah is hiding manifests itself in her hallucinations and acts of violence against herself. Significantly, Savannah says the voices of the Dobermans, mutilated angels, and black dogs of her visions are most effective when they use Tom’s voice. Thus, her disease wants to alienate her from the most primal bond of her life, that of her twin brother.
Finally, Luke is introduced as a character distinct from Tom and Savannah. While Tom and Savannah are presented as intellectuals with an ear and gift for words, Luke represents power, action, and strength. Though Luke never appears in the present day and seems a background figure at first, it is obvious he will emerge to play a significant role in the story of the Wingos. In an astute summation of the characters of himself and his siblings in Chapter 2, Tom describes Luke as the one assigned to be strong and simple. Unlike Tom and Savannah, Luke is not gifted in school. To redeem himself somehow, Luke takes on the mantle of being the powerful one. In the process, he buries his own hurt. While Tom understands both his siblings, a gulf divides Luke and Savannah. Savannah cannot understand Luke’s stoic silence and strength any more than Luke can understand her hallucinations. That’s why Luke dismisses Savannah as “crazy as owl shit” (49). While Luke and Savannah are polar opposites in some respects, Tom, the peace-keeper, “solid as a rock” (53) in Lila’s words, is the family’s “neutral country, the family Switzerland” (53). He assigns himself the role of the normal, mediocre one. Of course, there is a hint of self-pity in Tom’s description of himself, self-pity being one of Tom’s least attractive qualities.
By Pat Conroy
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