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Joyce Carol OatesA 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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Content Warning: Sexual assault and sexualization occur frequently throughout the novel. In addition, derogatory terms for women are used, and suicide, drug abuse, alcoholism, and abortion are presented.
As the novel opens, Death is personified, riding a bike toward Marilyn Monroe’s home to deliver a package. Marilyn understands the sender and the package. She laughs and accepts the package.
The narrator believes that life is all a movie that she cannot see the ending of. The narrator considers the perennial narrative sequence of the Fair Princess and a Dark Prince. The Fair Princess constantly seeks outside validation.
This chapter is divided into seven different subsections and is narrated in both the third- and first-person perspectives from several characters’ points of view. When Norma Jeane Baker turns six years old, her mother, Gladys, shows her a picture of a man who she says is Norma Jeane’s father. Norma Jeane typically lives with her grandmother, Della, and her mother works at the Studio. Norma Jeane considers how she has always seen herself through others’ eyes because she believes she can better trust their interpretations than her own.
Seeing her father’s picture makes Norma Jeane feel like other children. She has always blamed herself for her father’s absence. Gladys tells her daughter that her father has a beautiful name, which she cannot tell her. She tells her that her father is far away but will come back for them both.
Norma Jeane says that she was not an unhappy child: All she ever wanted was her mother, but she was not often available or capable of caring for her. Moreover, Baker, Norma Jeane’s last name, was the last name of the ex-husband Gladys hated the least.
Norma Jean receives a doll from her mother for her birthday. She is delighted at this rare gesture and wants to hug her mother, but she knows her mother does not like to be hugged. It is Norma Jeane’s responsibility to name the doll, and she knows that names are important. That night, Norma Jeane hears her mother speaking on the phone, insisting that she cannot meet a man because it is her daughter’s birthday. The man has a key to Gladys’s home. Norma Jeane’s mother gives her a bath. The bath water is very hot, which Gladys insists on in order to cleanse them both, inside and out. Norma Jeane hears a key in the lock.
This chapter is broken up into nine subsections. Norma Jeane wakes one night to a fire raging outside her mother’s house. She and her mother get into the car, and Norma Jeane realizes that her mother is driving toward the fire. Norma Jeane forgot her doll in bed. Norma Jeane thinks of her late grandmother Della warning Norma Jeane to call her if her mother’s mood or circumstances became dangerous. Gladys and Norma Jeane are stopped by police, and Gladys insists that she was invited into the neighborhood because she has a friend who owns a fireproof house there. She tries to speak seductively to the officer to get past the barricade, but this does not work, and Norma Jeane does not like the pitying expression directed at her mother.
A Once Upon a Time story is told: A girl cannot climb over a garden wall because fragile girls are imagined unable to do such things. The narrator says that a woman’s body is for others and not herself. The little girl at the wall cries, but a fairy godmother arrives, telling the girl to patiently wait for the doorkeeper, who might admire her and do her bidding. She tells the girl to smile and take off her clothes. This doorkeeper, who appears as an ugly gnome, is a disguised prince who will marry her.
Glady is 34 years old, and Norma Jeane is eight. Gladys wants to be a good mother to her daughter, but some days, it is hard for her to get out of bed. Norma Jeane has noticed that men look at her mother as if she is a spectacle, like a person leaning out of a high-rise. Norma Jeane likes the attention people pay to her mother. If Gladys did not drive these men away, they may have been saved by a marriage. Norma Jeane takes piano and voice lessons, but she is not successful at either. The narrator states that the mother and daughter drive around looking at celebrities' homes.
A man, Irving G. Thalberg, dies, and Gladys dresses Norma Jeane to go stand outside the funeral. There are throngs of people, and Gladys assures Norma Jeane that her father will be there and will see her. The crowd breaks barricades and is pushed back by police with billy clubs. When they get to the car, Gladys tells Norma Jeane that her father, a Jewish man, saw them. Norma Jeane wets her pants because her mother will not stop for the bathroom. Gladys starts a scalding hot bath. Norma Jeane, naked, is terrified of getting into the water. Gladys tells her that she is the reason her father left. Norma Jeane runs into the hallway to get help. A man opens his door, covers her up, and helps her.
Miss Flynn tells Norma Jeane that her mother is doing better, and she can go see her. Her doll has been spared from the fire her mother started in their home. Gladys had been taken out of her home, naked and strapped down, on a stretcher. Norma Jeane is temporarily cared for by Miss Flynn and Mr. Clive. She hears Miss Flynn crying that while she loves the girl, she cannot keep her. The two say they want to take Norma Jeane to the hospital to see her mother, but this does not happen. Jess and Clive take Norma Jeane to the Los Angeles Orphans Home Society. Norma Jeane protests violently.
Norma Jeane believes her father would come for her if she were pretty enough, and she no longer remembers who brought her to the orphanage. Norma Jeane meets two girls named Debra Mae and Fleece, both of whom faced terrible ordeals before arriving at the orphanage. Norma Jeane hates her mother for abandoning her, but she also worries that her mother will not know where to find her. She can no longer cry. Children frequently steal at the orphanage, but nobody wants Norma Jean’s soiled doll.
The night before Christmas, two celebrities come to the orphanage, “the darkly handsome Prince and the beautiful blonde Princess,” to hand out gifts to the children (76). The kids clamor for gifts as cameras flash, and the Prince lifts Norma Jeane up. He gives her a stuffed tiger, which is eventually stolen from her.
This chapter is told in three parts. As the chapter opens, Norma Jeane waits for her mother to allow her to be adopted. Gladys has already refused to give up her parental rights to two previous couples who wanted to adopt Norma Jeane. Dr. Mittelstadt, Norma Jeane’s mentor and the head of the orphanage, tells Norma Jeane they will pray her mother says yes. The doctor has already given Norma Jeane a book about Christian Science.
Previously, Gladys refused to allow Norma Jeane’s adoption because the only identity she has left is as that of a mother. Norma Jeane begins to hate her mother for her refusal to let her start anew. Gladys sends a letter to Norma Jeane telling her that she will never let her be adopted. She says she will one day be able to bring her home.
Emotionally, Norma Jeane is about eight or nine years old, but in reality, she is 12 years old. Norma Jeane secretly believes that she can avoid menstruation if she prays to God. She believes this because of how she interprets Christian Science. She is shocked when she menstruates for the first time. She feels shame but simultaneously believes that there is no shame with God. Norma Jeane does not take aspirin for her menstrual pain because of her Christian Science beliefs.
Norma Jeane and her mother have not had contact with each other since Gladys’s last letter. Norma Jeane tells Dr. Mittelstadt that she prayed to be adopted, but the woman tells her that prayer brings people into harmony with being; it does not change it. Norma Jeane is mad at Dr. Mittelstadt’s God. Dr. Mittelstadt tells her that they can put her in a foster home, and Norma Jeane wishes for any home.
Norma Jeane refuses to use sanitary napkins. She has a secret daydream in which she takes off her clothes so she can be truly seen, and she calls her naked reflection in the mirror her Magic Friend. This Magic Friend is not afraid. She continuously prays for her menstruation to stop, and she tries to hide it from the other girls.
Norma Jeane begins to develop physically. She knows that boys have penises because she has been forced to see them. She also faintly recalls seeing the penises of Gladys’s adult male friends and being asked to touch them.
The idea of the Dark Prince and the Fair Princess is initiated at the beginning of the novel, capturing the theme of Norma Jeane’s Struggle to Find an Identity, as Norma Jeane attempts to understand herself through this trope, particularly in her early years. She recognizes this trope from the first movies she sees, as the third-person narrator states, “How many times in her lost childhood and girlhood would she return with yearning to this movie, recognizing it at once despite the variety of its titles, its many actors. For always there was the Fair Princess. And always the Dark Prince” (9). The trope is revisited as Norma Jeane grows older and experiences romance, and it is expressed as part of a poem or lyrical story. At this point, however, Norma Jeane associates with the Fair Princess because she sees herself through the eyes of other people, whom she trusts more than herself. Norma Jeane does not see herself as her own person—or perhaps as a person at all—finding comfort in an idea instead. Norma Jeane considers these ideas and roles as a child, illustrating how depersonalization and role-playing are ingrained in her from the very beginning of her life. As such, they are perhaps part of her core identity rather than tools she developed to cope with the chaotic nature of her life; however, as Norma Jeane is said to be emotionally underdeveloped, depersonalization and roleplaying may have taken on a larger part of her interior life after the passing of her grandmother Della. The loss of her grandmother meant that Norma Jeane was suddenly in the care of her mother, Gladys, and her influence on the young Norma Jeane in her formative years was unintentionality guiding. Norma Jeane saw her mother sexualized by men, and she also watched her mother romanticize her father, painting him as a distant figure who would one day return to them. There is a dreamlike quality to Norma Jeane’s childhood in that it feels surreal, but despite the turmoil of her youth—or perhaps even because of it—she has stayed quiet, kind, and deeply observative. However, in order to steadily grow into adulthood, she will need to shed these perceptions of womanhood and the self, and at this point in the novel, it is unclear as to whether or not she will be able to do that.
Names are significant in the novel because, to Norma Jeane, they represent identity, and a stable identity is something she is always seeking out: Norma Jeane’s Struggle to Find an Identity will remain a consistent theme throughout the text. Her given name, Norma Jeane Baker, represents the disconnect between her name and her actual self, as Baker is not the last name of either of her parents but rather the name of Gladys’s favorite ex-husband. As such, even her given name is a fabrication built from fantasy and the memory Gladys has of her ex-husband. Her grandmother wished to give her the last name of Monroe, a family name, but Gladys chooses against this. In this sense, from the very beginning, Norma Jeane’s name and identity are based in fiction rather than truth, and they speak to the powerful disconnect from reality that will define much of her character. However, despite its evasiveness, Norma Jean constantly searches for a home, an identity, and a life with meaning, and the obstacles she faces seem at times insurmountable and undeserved.
Two key ideas within the novel, and thus central to Norma Jeane’s character, are presented in the Once Upon a Time story. First, women must be rescued: Women and girls are presented as fragile, and this is something that Norma Jeane appears to believe until the very end of her life. As such, Norma Jeane sought protection from her grandmother and mother and wishes she had the protection of her father. While she is told that women cannot care for themselves, she has not been given a male to care for her. The second idea presented in the Once Upon a Time story is the vital role that sexualization and beauty play in achieving this protection. Sexual desire rather than love unites two people and offers protection when needed. The degree to which sexual desire will permeate the entirety of Norma Jeane’s life has not yet been explored, but it will continue to dominate much of her life.
Furthermore, Norma Jeane’s and her mother’s lives are intertwined, and her mother’s actions and behaviors have firmly shaped Norma Jeane. Gladys’s attempt to scald her daughter in the bathtub speaks to their intertwined identities: Gladys sees herself as a broken, dirty outsider, and she projects this identity onto her daughter. This experience captures a form of emotional abuse, as well as attempted physical abuse, highlighting the theme of The Trauma of Sexual Assault, Abuse, and Exploitation. While Norma Jeane’s mother did not assault her, she has given her daughter an idea of dirtiness that cannot be dissociated from nakedness and the body. She has simultaneously exploited Norma Jeane’s body, dressing her up in the hope that her father will notice her. As such, from an early age, Norma Jeane has been taught that the physical self offers a way to lure people in for safety, but this tool of the body can also become dirtied. Further, the intertwined nature of mother and daughter makes the scene of Gladys being carried out of her apartment, naked and on a stretcher, a source of foreshadowing. Gladys does not die, but this is the last time she is able to live freely, away from the confines of a mental-health-care facility. In this way, it symbolizes the death of part of her life and an end to self-autonomy, a fate that mirrors Norma Jeane’s own death at the end of the novel.
Norma Jeane’s doll is a symbol of her throughout the beginning of the novel. Norma Jeane cannot find a name for the doll, and this symbolizes the lack of identity that Norma Jeane feels herself. Further, her mother does not see much use for the doll, which serves as a representation of Norma Jeane, as she not only emotionally rejects her daughter but also dresses her up, bathes her, and essentially treats her like a doll herself, displaying an affection that is hollow at best. Additionally, the doll is spared from the fire just like Norma Jeane, but at this point, the doll is unwanted by the other orphans because of its haggard state. This represents the trauma and turmoil Norma Jeane has experienced, and the degree to which she too is unwanted and unloved by all who ought to love and want her. A doll is an apt metaphor for Norma Jeane, as it has no identity in itself; rather, its purpose is to entertain others, and dolls are rarely seen as permanent and cared for accordingly. Moreover, dolls are subject to projection, as their personalities are mirrors of their owners themselves; dolls perform, and this lesson is absorbed by Norma Jean in this first section of the novel, creating an echo for the following sections.
By Joyce Carol Oates