66 pages • 2 hours read
Sharon CreechA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Phoebe is visibly upset at school the next day, and insists that Sal sleep over the following night. In English class, Mr. Birkway asks the students to spend 15 seconds drawing their souls. He then places these on a bulletin board, and Sal notices that every student’s drawing follows the same pattern: a shape with a drawing of some sort of object inside it. Two drawings, however, are completely identical: “[A] circle with a large maple leaf in the center, the tips of the leaf touching the sides of the circle. One of the maple leaf circles was mine. The other was Ben’s” (125).
Phoebe cries in her sleep that night and tries to get out of school the next day by claiming to be sick. Meanwhile, the household is in a state of upheaval, because chores Mrs. Winterbottom used to do—e.g. making breakfast—have been neglected. Sal remembers going through something similar when her own mother left, and continues to experience a sense of déjà vu at school, where Phoebe claims her mother is on a business trip to avoid discussing the real situation. Phoebe once again insists that Sal come home with her, this time to search for clues into Mrs. Winterbottom’s supposed kidnapping. Knowing from firsthand experience why Phoebe is acting this way, Sal watches as Phoebe marks “bloodstains” and collects strands of hair. At dinner, Phoebe pesters her father about calling the police; Mr. Winterbottom insists his wife left of her own free will, but does call some family friends to see if they know what’s happening.
Sal’s father is having dinner with Mrs. Cadaver, and as he accompanies his daughter home, she explains Phoebe’s theories about the “lunatic.” Sal also speculates that someone could have forced her own mother to travel to Idaho. Her father tries to reason with her, and Sal apologizes when she sees how upset he is.
Gram’s breathing has become raspy, so Gramps reassures everyone that they’ll soon be stopping in the Badlands. While there, he goes to help a pregnant tourist, and Sal hurries away to be by herself: Pregnant women have frightened her ever since her mother’s second pregnancy. Shortly before the due date, Sal fell out of a tree and had to be carried inside by her mother, who went into labor later the same night. The baby was stillborn, and Sal’s mother hemorrhaged so badly she ultimately needed a hysterectomy. Sal and her father buried the baby, whom Sal named “Tulip,” while Sugar was still in the hospital.
Now, Sal watches the pregnant woman from a distance and tries to imagine she’s her mother. She tosses a stone and remembers a Blackfoot legend about the origins of the human race: “To decide if these new people should live forever or die, Napi selected a stone. ‘If the stone floats,’ he said, ‘you will live forever. If it sinks, you will die.’ Napi dropped the stone into the water. It sank. People die” (145). When her mother told this story, Sal wanted to know why Napi used a stone rather than a leaf, but her mother hadn’t known.
That night, Sal, Gramps, and Gram stay in a hotel room on a single water bed. Sal dreams she and her mother are floating downriver only to suddenly find themselves up in the sky: “Momma looked all around and said, ‘We can’t be dead. We were alive just a minute ago.’” (147). On the way to the Black Hills the next day, Sal continues Phoebe’s story. A new message appears on the Winterbottoms’ porch: “You can’t keep the birds of sadness from flying over your head, but you can keep them from nesting in your hair” (148). Phoebe believes the messages are clues left by her mother’s kidnapper. That night, she and Sal go to the Finneys’ house for dinner while Sal’s father visits Mrs. Cadaver.
Mary Lou’s parents serve fried chicken for dinner, which Phoebe complains she can’t eat. She likewise rejects the potatoes and buttered beans as unhealthy, hinting that the Finneys shouldn’t eat them either, before finally accepting a bowl of muesli. Sal wants to explain why Phoebe is “acting like a complete donkey” (152) but remains silent. As Sal and Phoebe walk home, Sal invites Phoebe over to her house for the weekend. When they reach Phoebe’s, they find Mr. Winterbottom doing the dishes. Phoebe criticizes the way he’s doing the washing before once again raising the idea of calling the police. She then makes him promise to call her at Sal’s house if he hears from Mrs. Winterbottom over the weekend. Later that night, Phoebe calls Sal to tell her she caught a glimpse of her father crying.
As Phoebe struggles to cope with her mother’s sudden disappearance, Sal increasingly sees herself in her friend’s behavior. For instance, she recognizes Phoebe’s kidnapping theory for what it is: a coping strategy that allows Phoebe to avoid confronting the possibility that her mother might have wanted to leave. This is an idea that Sal has yet to fully accept, which is why she floats the possibility that her own mother is being blackmailed into remaining in Idaho; she can’t imagine a reason for her mother’s trip that didn’t involve a rejection of her personally, so she clings to the idea that her mother didn’t actually choose to go. Here, for instance, is how Sal describes telling her father that her mother would never leave her favorite chicken behind: “What I really meant was, ‘How can she not come back to me? She loves me.’” (128). One indication of how much Sal matures over the course of the novel is the fact that, by the time the novel ends, she’s able to understand her mother’s actions on their own terms.
Those actions, meanwhile, demonstrate that the parallels between the novel’s two storylines don’t extend only to Sal and Phoebe. It’s significant that in both cases, it’s the girl’s mother who feels the need to leave her family: If close relationships can sometimes inhibit self-knowledge, Creech suggests that this is particularly likely to be the case for women. Although Mrs. Winterbottom’s decision to leave doesn’t stem directly from her dissatisfaction with what she calls her “tiny life” (86), it’s clear that she’s unhappy in her role as a housewife, which has so totally consumed her existence that it isn’t clear who she would be without it. Furthermore, the immediate cause of Mrs. Winterbottom’s departure—her son’s attempts to reconnect with her—reflects another form of social pressure that women face. For Mrs. Winterbottom, who already feels uneasy with her domestic role, the reminder that she was once an unwed mother serves as yet more evidence that she can’t be the “respectable” housewife her family believes her to be (241). She therefore leaves partly to get to know her son but also to discover who she is when not trying to perfectly embody societal norms.
Sugar’s rationale for leaving is similar: She tells her husband she needs to find out who she was before marrying and having children. In her case, however, the underlying dissatisfaction that motivates her is (at least in part) a sense that she has failed as a mother. Sugar responds to the discovery that she’s pregnant a second time with evident relief, and while there’s no reason to think her desire for more children isn’t sincere, she seems to view her struggles with fertility as a personal inadequacy. During labor, for instance, she tells Sal not to watch because she “[doesn’t] think [she’s] very good at this” (142). The loss of both the baby and her hopes of having more children in the future may even help explain her anxiety about not being selfless enough, because traditional gender norms often tie women’s supposedly greater capacity for selflessness to motherhood. Sugar’s decision to leave is bound up in a sense that she can no longer hope to live up to those norms.
By Sharon Creech
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