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66 pages 2 hours read

Sharon Creech

Walk Two Moons

Fiction | Novel | Middle Grade | Published in 1994

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Chapters 1-5Chapter Summaries & Analyses

Chapter 1 Summary: “A Face at the Window”

Sal describes her homesickness for the family farm in Bybanks. When her father first brought her to Euclid roughly a year ago, she was dismayed to find the car stopping in front of a house without any trees. As her father tried to persuade her to greet his friend Margaret Cadaver—the owner of the house—Sal noticed a girl watching her from a next-door window. Sal later became friends with this girl—Phoebe Winterbottom—and told her story to her grandparents during a recent road trip. She likens Phoebe’s story to a plaster wall in her home in Bybanks; when Sal’s mother left, her father began pulling down the plaster, eventually revealing a fireplace behind it. Similarly, Sal says, she has realized that her own story lies just below the surface of Phoebe’s.

Chapter 2 Summary: “The Chickabiddy Starts a Story”

Sal skips back to the moment when Gram and Gramps announce their plans for a cross-country trip. Sal’s father encourages her to go, ostensibly to keep an eye on his eccentric and accident-prone parents, but really because Lewiston is the place where Sal’s mother is “resting peacefully” (5). Sal feels an urgent need to reach Lewiston by her mother’s birthday: “During the week before we left, the sound of the wind was hurry, hurry, hurry, and at night even the silent darkness whispered rush, rush, rush” (6). Sal spends the first half hour on the road anxiously praying to trees. At that point, Gram and Gramps ask her to entertain them with a story, and Sal settles on the story of Phoebe, her mother, and the “lunatic.”

Chapter 3 Summary: “Bravery”

Phoebe’s story begins the day Sal and her father arrive in Euclid. After a brief visit with Mrs. Cadaver, whom Sal does her best to ignore, Sal and her father drive two blocks over to their new house. When school starts three days later, Sal recognizes Phoebe. Unlike most of the other students, who are talkative and curious about Sal, Phoebe is reserved. One day, however, she approaches Sal at lunch and praises her for her bravery; she’s impressed because Sal earlier picked up a spider and deposited it outside the school. Sal feels she’s scared of many things, but Gram interrupts her story to reassure Sal that all Hiddles—including Sal’s mother Sugar—are brave. Sal reflects that her mother, whose parents were very straitlaced, never felt entirely at home in the Hiddle family: “She would tell my father, ‘You Hiddles are a mystery to me. I’ll never be a true Hiddle.’ She did not say this proudly. She said it as if she were sorry about it, as if it were some sort of failing in her” (13).

Chapter 4 Summary: “That’s What I’m Telling You”

Phoebe invites Sal to dinner. As the girls walk to Phoebe’s house after school, they pass Mrs. Partridge—Mrs. Cadaver’s blind, elderly mother, who’s sitting on her porch. She asks the girls to approach, correctly guessing Phoebe’s age after feeling her facial features. As the girls walk away, Phoebe expresses anxiety about Mrs. Partridge and Mrs. Cadaver, who only recently moved to the neighborhood. She then tells a story about a man at the State Fair who claimed to correctly guess people’s ages. Whenever Sal interrupts or asks a question, Phoebe replies, “That’s what I’m telling you,” which Sal thinks makes her sound like an adult (19).

Phoebe introduces Sal to her mother, who’s baking a blackberry pie; Sal claims to be allergic to avoid painful memories of her own mother. In the privacy of her bedroom, Phoebe tells Sal all the reasons she considers Margaret Cadaver suspicious: her last name, her “spooky” red hair (22), her voice that sounds like “dead leaves all blowing around on the ground” (22), etc. She also claims to have figured out what happened to Mrs. Cadaver’s husband.

Chapter 5 Summary: “A Damsel in Distress”

Gram tells Sal she used to have a friend like “Peeby” (24): a woman named Gloria, who tried to persuade Gram not to marry Gramps because Gloria was infatuated with him. Gramps pulls into an Ohio rest stop, worrying Sal: Her grandparents have a tendency to get into trouble—they were once arrested for “borrowing” the tires off a senator’s car (25)—and she doesn’t want to waste time. At the rest stop, Gramps spots a woman whose car has broken down and goes to help. Claiming the problem is snakes underneath the hood, he pulls out all the car’s pipes and hoses. The woman eventually must call a mechanic, and Sal and her grandparents get back on the road.

Chapters 1-5 Analysis

Like many works of young adult fiction, the novel is in part a coming-of-age story: It takes place during its protagonist’s adolescence and centers on a number of life-changing events, including the move to Euclid, Sal’s first romantic experiences, and (above all) the death of Sal’s mother. While the loss of a parent at any age could be traumatic and life-altering, it bears figurative significance in the context of a child’s journey to adulthood. In many ways, Creech suggests that the death of Sugar Hiddle is simply a more extreme version of a transition all children experience, because becoming a mature and independent person requires losing the dependent relationship one had with one’s parents as a child. The novel depicts this process as necessary but painful, which (coupled with grief and a broader denial of mortality) is one reason why Sal struggles to come to terms with her mother’s death. Although Sal won’t explicitly acknowledge her mother’s death until Chapter 42, Creech has already begun to foreshadow it in this section of the novel—in both Sal’s description of her mother as “resting peacefully” (a euphemism commonly associated with death) and in Sal’s fear of car travel.

The story Sal tells her grandparents also touches on themes of loss and growing up, though in a more lighthearted manner. Phoebe is a foil to Sal, and at first glance seems to be her friend’s opposite: blonde as opposed to dark-haired, fanciful as opposed to practical, uptight instead of laidback. However, the anxieties that motivate Phoebe are actually very similar to Sal’s own. This becomes clearer after Phoebe’s own mother disappears, but it’s already implicit in Phoebe’s tendency to see danger everywhere around her—including, most obviously, in her next-door neighbors. Phoebe seems to believe that by constantly imagining worst-case scenarios, she can circumvent all loss or suffering. This is an idea that Sal sometimes indulges, but it’s one the novel suggests is ultimately self-defeating; for instance, when Sal tells her father they shouldn’t have let her mother leave, her father remarks, “You can’t cage a person,” and “[y]ou can’t predict—a person can’t foresee—you never know” (136). Life, in other words, is inherently unpredictable and often painful, so trying to avoid all possible dangers in effect means avoiding life itself. 

The inclusion of Phoebe’s story in the novel is also a testament to how the narrative helps people better understand their own experiences. Sal hints at this in the first chapter with her comparison of Phoebe’s story to the plaster wall that turned out to hide a fireplace. The idea that an apparently straightforward story can “hide” another—perhaps about the storyteller—is one Creech will explore throughout the novel.

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