57 pages • 1 hour read
Tove JanssonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
On a warm July morning, Grandmother drops her dentures in a peony bush, and Sophia fetches them for her because Grandmother has trouble walking. Although Grandmother feels putting in her dentures is a private act, she allows Sophia to watch after the child expresses interest in wanting to see. Sophia asks when Grandmother will die, and Grandmother answers, “Soon. But that is not the least concern of yours” (4).
Arguing that Father will not find out, Grandmother decides to walk along the ravine, where neither she nor Sophia are allowed to go, and Sophia follows and asks if people will dig a hole when Grandmother dies. Grandmother says the hole will be large enough to fit the family but does not answer why. They walk out farther than either of them has been before, and Grandmother gives Sophia permission to swim.
The water is too deep for her, so Sophia climbs back onto the edge of the ravine and asks if Grandmother knows what it feels like to dive. Grandmother describes the brown water and the feelings of seaweed and floating, and she says she believes Sophia can dive without Sophia proving it. Tired, Grandmother tells Sophia to get dressed so they can get back before Father wakes, and she makes a note to tell Father that Sophia is scared of deep water.
Sophia wakes up on an April night. Her family has recently come back to the island, and she is sleeping alone because her mother has passed away. She gets out of bed and looks out the window at the black ice covering the sea, noticing the two reflections of the fire in the room in the window. She looks through another window, and the reflection appears on the ground, and in a third window, she sees the room reflected, making it look as if the trunks are filled with moss, grass, and snow. She sees two of herself, one with a tree growing through her. She lays in bed and imagines the floor opening into a channel which the luggage floats away through.
Sophia wakes her Grandmother and tells her she saw double reflections, and Grandmother explains that’s because the windows have double panes. Sophia asks if the door is closed, but Grandmother says it is open and that Sophia can sleep easy. Sophia snuggles into the quilt and imagines the island floating on the ice and, as she falls asleep, Father adds more wood to the fire.
The magic forest is a patch of dead forest filled with twisted and broken trees that runs along an outer edge of the island. Within the tangle of trees lives a variety of wildlife. When the family first came to the island, they attempted to clear the magic forest, and although Grandmother knew it would not work, she let them try. After the family gave up trying to change the forest, Grandmother crawled into the thicket, laid down, and rested. The rest of the island was cleaned and landscaped, and people, except for farmers and guests, avoided walking on the moss, which was delicate and died if it was stepped on too frequently. Similarly, eider ducks refuse to return to their nest if you scare them three times. In July, the moss blooms with white flowers, so it resembles a meadow.
Grandmother goes to the magic forest, where she carves abstract animals from dead branches and pieces of driftwood. She also collects bones, including a large whale vertebra, which she adds to her collection of art in the magic forest. Sophia sees Grandmother’s work in the forest and begins helping her find bones to add to the collection. She finds a seal skull, and they wait until sunset to place it in the forest, so that it glows with the colors of the setting sun. Sophia becomes suddenly disturbed and screams for Grandmother to get rid of the skull, and Grandmothers holds Sophia until she calms and falls asleep. Although she often returns to the forest, Grandmother makes her carvings while sitting on the veranda.
Grandmother wakes up in the early morning hours, and it is freezing in her room. She covers herself with coats and a rag rug, but it does not help, so she gets up and goes outside. The island is covered in fog, and she hears the mating cries of scolders—long-tailed ducks—on nearby islands. Grandmother sees the birds as symbols of “anticipation and renewal” because their behaviors coincide with the changing seasons (16). Grandmother, who is staying in a small separate house, goes to the cottage where Sophia and her father stay and wakes Sophia, who joins Grandmother. They walk along the island, which is covered in debris because they have not had a chance to clean the island yet this year.
When the sun rises, Sophia and Grandmother see a dead scolder, and Sophia is upset because her grandmother told her that the scolders are “brand new and just married” (17). She asks how the bird died, and Grandmother tells her the bird died of a broken heart. Sophia knows that is not the truth and demands Grandmother tell her the real story. The scolder was not paying attention while singing, Grandmother explains, and he ran into a rock and died.
They walk to a sandy area and lie down, but Sophia wants something to do, so Grandmother sends her to find things that have drifted to shore and promises that she won’t get bored lying alone. Grandmother watches a down feather caught in the grass and a piece of bark next to it. Sophia returns, excited because she has found a floor grate from a ship. Grandmother says she found a scolder down, but Sophia has forgotten about the dead scolder.
Sophia invites Herdice Evelyn, who goes by Pipsan, to the cottage. Pipsan is fearful and uncomfortable, and Sophia decides to protect her and to refer to her as “Berenice” when talking to Grandmother. Berenice sleeps in the guestroom, which, as an addition, is much different from the rest of the house.
One day, Sophia complains that Berenice is scared of ants, and Grandmother advises her to take Berenice out in the boat where there are no ants. Afterward, Grandmother admires a painting in her room of a hermit and a lion; Sophia believes the lion is a threat, but Grandmother thinks it is protecting the hermit. Berenice is intimidated by the close-knit family, and Sophia is uncomfortable with Berenice’s presence.
Sophia pushes Berenice into the water, and Berenice’s hair reacts badly to the saltwater. Since Sophia likes Berenice because of her attractive hair, Sophia no longer wants to be around her friend. Grandmother finds Berenice hiding in the potato patch. She wants to help Berenice feel better, but knows Berenice is too young to understand Grandmother’s empathy. Instead, Grandmother pretends a nearby boat is filled with bad men coming to bother them, and she tells Berenice to follow her to a hiding spot. Sophia finds Grandmother and Berenice playing with tadpoles, and Berenice says they are hiding and won’t let anyone bother them. Running away but keeping an eye on them, Sophia feels the island is shrinking.
Tired, Grandmother leaves to take a nap, and she tells Berenice, who does not want Grandmother to go, to draw a terrible picture. Sophia comes to Grandmother’s window, and Grandmother tells her what Berenice is doing. Sophia returns three times with pictures she has drawn—a screaming child with bad hair covered in ants, a child being hit in the head with a rock, and a shipwreck—then Berenice pushes her drawing of a “creature with a black hole for a face” (30) under Grandmother’s door. Grandmother is impressed and tells Berenice the drawing is good, then Berenice goes out to throw rocks and walk out to the point.
After Sophia sees Berenice’s drawing, she asks Grandmother if Berenice can draw, and Grandmother replies no and that she is “one of those people who do one good thing and then that’s the end of it" (31).
The early vignettes introduce the main characters—Sophia and Grandmother—and serve to develop the setting and context of the subsequent scenes. The family, comprised of Sophia, her father, and her grandmother, spend each summer on an island in the Gulf of Finland. They arrive in April while it is still cold enough for ice to cover the sea.
The first vignette establishes the theme of Grandparent-Grandchild Relationships. Sophia and Grandmother have a close relationship and spend much of their time together. Sophia, who is young and spry, helps Grandmother with physical tasks, while Grandmother, who has collected years of wisdom, guides Sophia and subtly teaches her important life lessons. While Father is mentioned, he is depicted as separate from the rest of the family. Although Sophia and Grandmother are at opposite ends of the age spectrum, they experience similar barriers, such as Father, fearing for their safety, not allowing them to walk along the ravine. “Moonlight” reveals that Sophia’s mother is deceased, and the language used, that she “remembered […] that she had a bed to herself because her mother was dead” (7), suggests that Sophia was close with her mother and that this is her first year in the cottage without her. The mention of Mother’s death establishes Healing From Loss as a primary theme that contributes to the implicit meanings within the individual vignettes.
“The Magic Forest” depicts Grandmother creating a beautiful art-filled space within the tangle of a dead forest. The vignette is an allegory for the grief-stricken family and Grandmother’s role in helping Sophia and Father heal from loss. The snarled, dead trees represent the family’s grief. That people tried to clear the forest represents the idea that people tried to reduce or remove the grief felt by the family. Grandmother, however, understands that grief cannot simply be avoided. She goes into the forest and creates art, which is an allegory for her role in Sophia’s life. Sophia joins Grandmother in her artistic endeavors, which symbolizes Sophia’s resilience. She is making new memories, and rather than avoiding her grief, she is processing it and moving forward.
Sophia’s emotional outburst at the sight of the seal skull in the forest demonstrates that the grief is still present and that sometimes it becomes overwhelming. Grandmother steps in to provide Sophia with comfort and support until the intense feelings pass. Afterward, Grandmother creates her art while sitting outside the cottage, which suggests that she is giving Sophia space to process her grief by not pressuring her to return to the tangled magic forest, yet she is still working to create new beauty in Sophia’s life.
“The Scolder” and “Berenice” also use symbolism and allegory. The deceased scolder becomes a symbol of Sophia’s mother. The scolders are in their mating season, and Grandmother refers to them as “recently married.” Given Sophia’s young age, the reader can infer that Father and Mother were relatively young and had not been married for many years. At the end of the story, Sophia has forgotten about the dead scolder, which demonstrates her resiliency. Just as she experiences waves of intense grief, she also enjoys moments of pure delight.
Sophia’s resiliency is often shown through her learning about and experiencing nature and her environment, which establishes Exploring the Natural World as a theme. Sophia uses her exploration to assist in her healing process, but she also enjoys learning simply because she is a child and everything is new and exciting. “Berenice” depicts Sophia and Grandmother as exceptionally close and as intimidating and unwelcoming toward outsiders. Sophia is too young to see beyond herself, thus she does not understand how her behavior is hurting Berenice, whose anxious nature is exacerbated by the unfamiliar conditions. By helping Berenice to feel more comfortable, Grandmother is characterized as observant, compassionate, and empathetic.
The final lines of the story, in which Grandmother says Berenice is probably not a good drawer, is an example of sarcasm. She does believe Berenice is a good artist but responds sarcastically to Sophia because she knows Sophia is self-centered because of her young age, and there is no point in arguing with her about Berenice’s skills.