44 pages • 1 hour read
Sarah M. BroomA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Movement 2 opens when the author is five years old. Broom is the baby of the family. As she plays in a bathroom where Simon suffered a fatal aneurysm six months after she was born, lizards crawl through holes in the screen, the floorboard, and moldy sheetrock. Broom hides in this room because no one else goes in there, and it is the only room in the house with a lock. Everyone else uses the new bathroom.
Broom writes that she was born in distress and has “been in it ever since” (146). Her Uncle Junius is buried the day she is born in December 1979. Although this is Ivory Mae’s ninth delivery, Broom is her only cesarean section. Ivory Mae has two weeks of bed rest after the birth and heals slowly. No one tells Broom anything about how her father reacted to her birth.
In the summer of 1980, Simon comes home one day with a headache. Ivory Mae finds him slumped over in the bathroom. At the hospital, the doctors say Simon had an aneurysm and that even if he wakes from his coma, he will be a vegetable. Simon dies shortly after, the day before Father’s Day, at the age of 56. Ivory Mae was 39. After Simon’s death, Ivory Mae becomes more self-conscious about the house, which becomes Ivory Mae’s “thirteenth and most unruly child” (153).
The children take Simon’s death hard. Byron, the youngest son, stops speaking for several weeks. He later becomes a marine. Lynette has nightmares about the room where he died. Simon’s co-workers donate more than one thousand dollars to the family. At this point, Ivory Mae has six adult children, two teenagers, and four young children. Widowed twice, Ivory Mae decides not to date. Ivory Mae never managed money, bills, or learned to drive, but after Simon’s death, she learns quickly. Darryl is arrested shortly after Simon’s death for stealing computers from a school. Ivory Mae cannot afford to bail him out. Carl starts working. Broom describes Christmas Day 1980. She is a wandering child, always in motion.
Broom’s life growing up has five main places. The closest one is her own world. She describes it as a blur. Broom has poor eyesight, which she hides from her mother until she is ten. The furthest point in her life is her Grandmother Amelia’s house in St. Rose. Here, Broom experiences the country. Her house on Wilson Avenue, Pastor Simmons’s house-church that they attend, and Jefferson Davis Elementary are the other parts of her world.
In kindergarten, she becomes Sarah. Before this, she was Monique. She was called Monique because her brother Michael insisted that her name started with an M so they would be linked. He was tripping on LSD in the Charity Hospital psych ward when she was born. No one calls her Sarah until she goes to school. The children at school are Black and Vietnamese. Her peers call her Syrup, Surrah, or Searah. She doesn’t correct them. Her best friend is her next-door neighbor Alvin who is in third grade. Alvin is her first kiss. When she is seven, her mother studies for her nursing exams. She keeps failing the tests but tries again. Lynette goes to a school for gifted kids. Broom loves playing school, pretending to be the teacher. Always in a hurry and unconcerned about her appearance, Broom is very different than Lynette, who is beautiful and joins a lot of clubs.
On Lynette’s 13th birthday, Alvin’s brother Herman comes to the door and says that his mother died of pneumonia. There are rumors that Alvin’s mother, Big Karen, practiced voodoo. At ten, Broom gets glasses, and her experience of the world changes. She sees leaves on trees and sex workers on Chef Menteur Highway. She is particularly struck by the sight of “women’s heads bobbing up and down in the driver’s seat” (183) of police cars. Broom learns to remove her glasses to avoid seeing things she doesn’t want to see.
The theme of vision is important in Movement 2. For the first ten years of her life, Broom can’t see very well. She manages to hide this fact from people, but it shapes her experience of the world. She describes a destabilized sense of self caused by blurriness. She isn’t concerned with appearance and loves to hide. When Broom can finally see, she is both amazed and horrified. She can now read the labels of cereal boxes and learns that trees of have leaves.
This opens up a new world of knowledge for Broom; seeing is a way of knowing. However, she also begins to see things that disturb her, like the overt prostitution on her way to school, or Alvin leaving her behind to hang out with kids his own age. She writes, “I try not to see what is right in front of my face. Sometimes, when I want the world to go blurry again, I remove my glasses when passing by these scenes. In this way, I learn to see and to go blind at will” (184). Her own complex experiences with vision allude to the earlier descriptions of people trying to avoid New Orleans East. This is a neighborhood that people try to forget. Broom writes that people could “see you standing there when you did not want to be seen, as I would not, many years into young womanhood, when I avoided showing people the place where I lived” (178). This question of visibility and shame resurfaces throughout the book. Examples of this include her mother’s shame about the house and Broom’s shame about the neighborhood. In choosing to write the memoir despite this shame, Broom consciously reckons with the things that we see and the things that we choose not to see.
The constructed nature of memory is also established in this section. Broom writes that Lynette becomes the “art director of family memory” (174) by stage directing photographs, organizing photographs into albums, and writing the captions. She labels photos of Broom “Rosemary’s Baby” (174). Broom uses this to introduce anecdotes about her difficult behavior as a child. This reflects the stories that people tell about themselves. In describing Lynette as an “art director,” Broom emphasizes the way memory is deliberately shaped. Lynette controls what things are recorded, emphasized, and how they are presented. This creates a narrative that the family uses to remember their own past. This connection between history and memory is very important in The Yellow House. Despite these interconnections between history and memory, there are also slippages between them. How we remember things—and what we choose to remember—shapes Broom’s history and present.
The perspective of the book changes in Movement 2. We now see the world through Broom’s eyes. The narration is first-person. In contrast, Movement 1 is told through recollection and recounted conversations. The new point-of-view is less stable.
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