logo

47 pages 1 hour read

Anna-Marie McLemore

When the Moon Was Ours

Fiction | Novel | YA | Published in 2016

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapters 1-7Chapter Summaries & Analyses

Chapter 1 Summary: “Sea of Clouds”

Best friends Miel and Sam are outsiders. Miel is “a dark eyed girl,” while Sam is “a boy whose family [has] come from somewhere else” (2). Their townspeople know them as Honey and Moon, and they tell a story of an old water tower where Miel was found. The old water tower was rusty and dangerous, so the people prepared the area and pulled it down to build a new one. They were astonished when a girl tumbled out of the old tower with no memory of how she had gotten there. No one had ever seen her before, and the crowd was afraid to approach her until a boy named Moon comforted her, took her hand, and calmed her down. From that day forward, the townspeople say, the hem of Miel’s skirts was always damp. The story leaves out a few details—the way Miel screamed as the townspeople stood watching, and screamed louder when one of the four Bonner sisters, Peyton, took a step toward her and held out the pumpkin she was holding. Only Sam could hear the words she was screaming: “I lost the moon” (5). Miel went home with Sam, and soon their neighbor Aracely came and offered to give Miel a room. For years after, Sam would create artificial moons—painted replicas of real moons to try and restore what Miel claimed to have lost.

Chapter 2 Summary: “Lake of Autumn”

Sam and Miel grow up together. Sam hangs his glowing moons around their town, becoming known for them. One of Miel’s wrists grows roses from it, causing the townspeople to gossip and speculate about her. One day, a girl accidentally touches one of Miel’s roses and her boyfriend breaks up with her. The girl accosts Miel in the bathroom, but Sam comes to her defense. Miel usually destroys her roses when they bloom, but lately they bloom more readily when Sam is nearby.

Sam works on the Bonners’ pumpkin farm as a pollinator, and he shows Miel the paintbrush he uses to hand-pollinate the plants. He uses it to brush Miel’s arm and rose, and Miel imagines she can feel it through her petals. They kiss, and Miel believes it’s Sam’s magic that turns pumpkin flowers into pumpkins. They go to Sam’s room and have sex, although Sam is careful not to remove his shirt. His touch reminds Miel of Sam’s family’s trade in Kashmir, harvesting saffron from crocuses. In turn, the saffron reminds Miel of the Bonner sisters’ red hair, and the day she met them at the water tower. She remembers watching the moon sink behind them and believing they had taken away the moon. Now, the Bonners are young women, known as heartbreakers and witches. Recently the eldest, Chloe, left town, leaving Lian, Ivy, and Peyton Bonner behind. Miel feels self-conscious next to them, but she is grateful she and Sam see each other completely.

Chapter 3 Summary: “New Sea”

Sam and Miel explore each other’s bodies, finding them both familiar and unknown. Sam thinks about how he has revealed all his secrets to Miel, but Miel still has many she hasn’t told him.

Chapter 4 Summary: “Bay of Harmony”

Miel spends the morning with her guardian Aracely, a tall blonde woman whose arrival in the town along with thousands of golden butterflies became another story told amongst the townspeople. Aracely knows Miel very well, but sometimes it seems like she has unspoken questions she wants to ask her. Miel struggles to tell Aracely about her night with Sam. Aracely is known for her gift of curing lovesickness, and is emotionally perceptive. She offers Miel some honey and tells her that Chloe Bonner has come back to town. Miel thinks about her fear of the Bonners’ pumpkins, and the yearly tradition of setting carved pumpkins afloat on the river—a night that Miel always spends hidden in her room. Miel perceives the Bonner sisters as beautiful and popular but isolated—their only friends are each other. Later, Miel goes to the Bonners’ farm to spy on Chloe. Rumor has it, Chloe left town the previous year to hide a pregnancy, and her parents pulled her younger sisters out of school to study at home. Miel watches Sam work, worried the Bonner sisters will soon turn their attention to him. Miel believes now that Chloe has returned and the Bonner sisters are reunited, they will become a force of their own. Miel notices that a pink rose growing from her wrist is turning the red of the Bonners’ hair.

Chapter 5 Summary: “Lake of Hatred”

Miel prepares to destroy her rose. On her way to the river, she sees Ivy with a boy; she’s attempting to seduce him, but the boy is disinterested. At the riverside, Miel cuts off her rose and thinks about the stories people tell about her roses. It’s believed that her roses can make people fall in love, and that several people who were given roses became fortunate in love. However, Miel knows their fortune came from Aracely’s lovesickness cures and guidance, rather than her roses. Miel bleeds from her cut and gives the rose to the water, an offering to her mother’s memory. Miel’s father was a healer, but she doesn’t remember very much about him. In their family, people believed that children who grew roses from their bodies would grow up to harm their family members. Suddenly, Miel hears Ivy crying and goes to her, offering her sympathy. Ivy becomes defensive and Miel realizes she overstepped. Ivy inquires about Miel’s roses. Miel is uncomfortable discussing them, but offers Ivy her friendship before she leaves.

Chapter 6 Summary: “Sea of Islands”

Sam’s mother confronts Sam about his night with Miel, making a joke about getting her pregnant. Sam considers his friendship with Miel; she’s the only person who knows the gender he was assigned at birth. She even helps him manage menstruation. Sam’s mother loves him, but subtly disapproves, believing that Sam’s gender identity is only a phase. Sam secretly hopes that she’s right. He thinks about a tradition he learned from his grandmother in Afghanistan called bacha posh, in which the daughters of families with no sons dress and live as boys temporarily to help manage the household. When they grow up, they revert to living as women. Sam believes that if he waits long enough, his need to be a boy will disappear.

Chapter 7 Summary: “Bay of the Center”

Miel receives a telephone summons from Ivy. She goes to the Bonners’ house and finds all four sisters waiting for her, demanding she give them the roses she cuts away. They believe Miel’s roses will help them regain their power over the town—power they feel they lost when Chloe got pregnant. Miel refuses, but the girls bait her with rumors about her mother. Only Peyton seems slightly embarrassed by their behavior, which Miel knows is because Sam has been kind to Peyton. The sisters tell Miel that if she doesn’t give up her roses, they’ll tell everyone the truth about her mother. Ivy cuts away the rose that’s growing from Miel’s wrist, and Miel runs away. When she goes outside, she sees that the pumpkins in their yard are turning into glass.

Chapters 1-7 Analysis

The novel opens with an omniscient, “once upon a time”-style narration that portrays Miel’s and Sam’s experiences as a local legend. The setting is left intentionally vague, although hints are given regarding Miel and Sam’s heritage; Sam is Pakistani, and Miel is darker than other girls at school. The use of Spanish phrases and references to Mexican culture between Miel and Aracely, as well as the food they make in their home, points to their Latinx background. The voice of the opening chapter establishes the tone and context for the magical realism elements of an otherwise contemporary story, and immediately identifies Miel and Sam as two children who don’t quite fit in with the rest of the townspeople. Partway through the first chapter, the narrator references important omissions in the legend surrounding Miel and Sam and the water tower, creating a sense that the reader is being given closer access to the characters and their lives. Following the opening chapter, the narrative voice subtly shifts from that of a storyteller to a more invisible third-person narrator.

In the present day of the novel, Miel and Sam’s relationship moves from childhood innocence to the complexity of first love, beginning their coming-of-age arc. Anna-Marie McLemore implies a clear connection between Miel’s roses and Sam’s moons, establishing Sam’s painted moons as a response to Miel’s loss and Miel’s roses a response to their shared connection: “The closer she got to him, the more she felt it in her roses, like a moon pulling on a sea” (7). Their unique gifts give them a power over each other that they are only beginning to understand. These chapters also introduce Aracely and the Bonner sisters, the story’s mentor figure and primary antagonists, respectively. At this point in the narrative, Aracely’s past is unknown, but her gift of curing lovesickness foreshadows her family connection to Miel.

In When the Moon Was Ours, McLemore builds a fable-like world where Aracely’s lovesickness cures and Miel’s unique physicality are not jarringly out of place, establishing the novel as a work of magical realism. The Bonner sisters, likewise, share an otherworldly ethos, illustrated by their intense connection to each other—operating almost as a single being—and underscoring the novel’s theme of Family Versus Independence. Since the four Bonner sisters were among the first things Miel saw upon her rebirth from the water tower as a child, their presence had a deep, unconscious impact on her life—a fearful connection that continues into the present: “The Bonner girls hadn’t felt far from Miel since the first time she saw them at the water tower” (11). In the present, the Bonner sisters’ abuse of Miel triggers her repressed memories of the past to surface—a critical moment as Miel navigates her arc toward self-acceptance.

McLemore makes a clear narrative choice throughout the novel to avoid treating Sam’s Gender Identity as something to be immediately established; in fact, the word “transgender” is never used at all. Instead, McLemore reveals Sam’s backstory and identity slowly throughout the opening chapters in the way Sam interacts with those around him, and in Miel’s explorations of their new relationship. For example, one of the earliest direct allusions to Sam’s Gender Identity comes when Miel understands “that with his clothes off, he [is] the same as he [is] with them on” (13). It’s not until the sixth chapter, “Sea of Islands,” that his identity is overtly described. In this section, Sam reflects on his understanding of menstruation and the tradition of bacha posh—a way to explore his identity as a transgender boy via a traditional cultural practice that his family will understand. He uses the concept of bacha posh as a way to bridge the conflict of Family Versus Independence, though instinctually he understands that he’s only buying himself time.

Finally, this section closes on an escalation of the conflict between Miel and Ivy—Ivy physically assaults Miel and takes something integral to Miel’s body without her consent. Like many survivors of assault, Miel doesn’t fully process what’s happened to her right away; however, she removes herself from the situation, and the narrative stakes of the story rise since each character suddenly has something to lose.

blurred text
blurred text
blurred text
blurred text