The Summer Book

The bond of grandparent-grandchild relationships is a central theme in The Summer Book, and it is portrayed through the relationship between Sophia and Grandmother. Sophia and Grandmother have a more intimate relationship than is traditionally expected between grandparents and grandchildren; this closeness is likely due to the death of Sophia’s mother. Their bond illustrates the importance of interpersonal connections between old and young.

In “Playing Venice,” Grandmother worries that Sophia is becoming too attached to her as a mother figure, and she refuses to allow Sophia to call her “Mama” while they are playing together. She tells Sophia, “But my dear child, I’m only ‘Mama’ to your father” (39). Although Grandmother fights to maintain a traditional grandparent-grandchild relationship in this vignette, she also takes on typical parenting roles that help guide Sophia toward maturity. “The Pasture,” for example, demonstrates the significant influence Grandmother has in Sophia’s spirituality and in her mental development. They have theological discussions, which not only help Sophia develop her sense of spirituality, but which also teach Sophia important concepts, such as respectful disagreement and tolerance of another’s views.

However, Sophia does not absorb all of the lessons that Grandmother attempts to impart. This is best demonstrated through “Berenice,” where Grandmother models compassion toward Berenice, but Sophia, who is defensive of her relationship with Grandmother, does not notice the lesson. Along with teaching Sophia life lessons, Grandmother also offers her unconditional love and support, particularly in difficult moments, including when Sophia is scared while climbing the channel marker or when she experiences moments of intense grief.

While Grandmother often takes on a parental role, she does not always act as a mother figure toward Sophia. At several times in the novel, Grandmother has a less responsible attitude, and she and Sophia bond together in scandal. “The Morning Swim” immediately demonstrates this facet of their relationship as Grandmother encourages Sophia to embark on a trip to the ravine while Father is sleeping—“Your father won’t let either one of us go out to the ravine, but we’re going anyway, because your father is asleep and he won’t know” (4). A similar event occurs in “Dead Calm,” when Grandmother sneaks away from her mattress and explores the island with Sophia. Sophia performs a dangerous stunt by climbing the channel marker, and Grandmother agrees to not tell Father. These experiences deepen the level of trust between Sophia and Grandmother, further strengthening their bond and enhancing Grandmother’s ability to guide the young child toward maturity.

Both Grandmother and Sophia endure similar age-related restrictions; however, the cause of these restrictions are opposing. When viewed through the lens of this theme, Grandmother and Sophia become a juxtaposition, and they demonstrate the similarity between old age and youth. In Grandmother’s characterization and arc, the loneliness and difficulties of old age are spotlighted.

Age-related restrictions are incorporated early in the first vignette, highlighting a crucial theme that impacts both the story lines and the characters. The plot of “The Morning Swim” is driven by their shared experience of being forbidden from walking on the slippery and dangerous ravine. Father is the driving force of the restrictions placed on Grandmother and Sophia: He views them as incapable of making decisions for themselves and does not trust that they can handle certain circumstances. He further limits them by not inviting them to the party on the yacht, with the owners of the yacht responding by leaving a gift and a card that directly addresses their age-related restrictions: “Love and kisses to those too old and too young to come to the party” (121). Again, Father enforces such restrictions by making unannounced plans to send Grandmother and Sophia to stay with someone else while he is away on a business trip—an act which Grandmother resents so extremely that it induces a bout of depressiveness.

Although the age-related restrictions are similar for Sophia and Grandmother, they are starkly different in that, with time, Sophia will experience fewer restrictions while Grandmother’s restrictions will inevitably increase. Grandmother’s restrictions are caused by her declining health, including her issues with her legs and her dizziness. In “The Visitor,” the full weight of her circumstances hits her, and she distances herself from Sophia and treats the child with hostility. However, her mood improves after she is able to relate with Verner, who is experiencing similar age-related oppression.

Although Grandmother’s mood improves, she never accepts her physical limitations, demonstrated by her refusal to use the chamber pot in her room—“she remembered the chamber pot under the bed and how much she hated it, this symbol of helplessness” (164, emphasis added). The ambiguous ending of the story suggests either a newly developed medical condition, which would likely increase her restrictions, or, potentially, her death after performing strenuous activity and refusing to accept her limitations. This theme, while demonstrating the similarity between youth and old age, depicts the burdens of old age with special compassion, conveying both Grandmother’s strength and her vulnerability.