Goodnight Mister Tom

The Restorative Power of Compassion and Human Connection functions as a pivotal theme in these chapters in terms of Willie’s growing confidence, enabled by the patience, acceptance, and love of his community, namely Tom and Willie’s new friends, especially Zach. These supportive figures in Willie’s life challenge his mother’s cruel lesson that Willie should fade into the background as much as possible: “Mum had said that if he made himself invisible people would like him and he wanted that very much” (94). Willie’s mother encourages him to believe that he is inherently unlikable, but his new community begins to convince Willie that he is a likable person deserving of love and friendship, as is symbolized in the presents he gets for his birthday; he is shocked by this show of love, as he is completely unaccustomed to it: “Will was completely overcome. He sat down and stared at the gifts quite speechless” (109).

Later, when Willie believes that his being sorted into the class with the younger children is humiliating and shameful, his friends assure him of their love and acceptance for him. George, Carrie, and Ginny visit Willie to tell him that “yer not to feel bad about not bein’ able to read and that,” and “we’s goin’ up the woods on Saturdee and we was wonderin’ if you’d come with us like” (105). Through this, Willie continues to learn that his weaknesses do not make him unlovable to his true friends.

In particular, Willie is touched and moved by Zach’s preference for spending time with him: “He could hardly believe that Zach was his special friend” (128). Zach helps Willie to appreciate the things about him that make him unique; previously, Willie had assumed that all of his characteristics were undesirable (in this, The Impact of Trauma and Abuse is alluded to): “Zach said he was a good listener and that he was a sensitive being. Willie had thought being sensitive was being a sissie. Zach didn’t think so. He admired him for it” (128). Furthermore, Zach admires and praises Willie’s abilities as an actor and his talents as an artist, as is illustrated when he proudly presents Willie’s drawings and paintings to George, Carrie, and Ginny: “Sheer genius, aren’t they?” said Zach thrusting his nose upwards. “Wizard choice of friends I have, don’t you think?” (137). Zach’s public appreciation of Willie helps to undo the damage done by Willie’s mother and builds Willie’s self-confidence. Willie’s growing confidence is evident by his choice to have his friend call him Will instead of Willie (though he still referred to as Willie in the narration) and in his moments of self-expression, such as when he laughs for the first time, which Tom notes as significant: “Do you know, Mrs. Fletcher, last week he laughed. It were a bit of a nervous one like, but he actually laughed” (134). Later, Willie volunteers to go with his friends on a badger-hunting trip, demonstrating uncharacteristic forthrightness: “‘I’d like to,’ blurted out Willie. They all stared at him in surprise. It was unusual for him to volunteer without persuasion” (141). Furthermore, Willie stops wetting the bed, which is an important symbol of his growing confidence and sense of safety with Tom.

Willie’s rehabilitation under Tom’s kind and loving care, and with the help of his friends, is symbolized in his room, which is shown as a warm and safe space: “The flickering lamp above their heads and the patches of color round the walls gave the room a cozy lived-in air” (136). Tom’s home continues to be depicted as the ideal location for Willie’s recovery from a childhood of neglect and cruelty. In this environment, Willie’s personality is allowed to emerge, as is symbolized in the room’s decorations and Willie’s growing collection of possessions: “Two of the walls were covered with his drawings and paintings, and on one wall were shelves that Tom had fixed up for his clothes and treasures” (136).

In many ways, Willie’s growing confidence and involvement in his community is mirrored in Tom, usually considered a recluse by his community. Willie is chosen to act the part of Scrooge in the Christmas play on the same day that Tom is asked to play the organ for the concert, something he “used to when Rachel was alive” (155). Caring for Willie brings out Tom’s gentle and caring side, repressed since his wife’s death, and the war creates other needs in Tom’s community that continue to force him out of his shell. Participation in the Christmas show and filling in for the organist are elements of the theme of Wartime Britain: Community Involvement and Loss of Life.

Despite the unsavory tasks that come with it, such as cleaning up vomit or changing sheets, caring for Willie brings Tom back to life. Being compassionate and fatherly to Willie is as transformational for Tom as it is for Willie. That change in Tom is illustrated when Tom discusses Willie with Mrs. Fletcher. The neighbor notes that Tom, too, is growing in confidence and happiness through the relationship; this change is symbolized through Tom’s altered appearance:

His forehead had lost its furrowed look. The deep pitted wrinkles above his eyes had softened outwards. Behind his scowling manner was a kindly old man, and if it hadn’t been for the arrival of a rather insipid little boy, she might never have known (134).

Willie’s presence continues to force Tom to confront his long-repressed grief for the deaths of Rachel and his son, William; Tom realizes that he has been carrying this weight for decades and benefits from being forced to confront the repressed memories. Tom’s relief is illustrated when he goes into the art shop, which he has avoided since Rachel’s death: “The odd thing was that, after he had entered the paint shop, he had felt as if a heavy wave of sadness had suddenly been lifted from out of him. Memories of her didn’t seem as painful as he had imagined” (110). Tom reflects, in a characteristically brusque manner, that Willie’s influence has had a positive effect on his grief: “Trust a strange boy to soften him up” (110). Michelle Magorian creates a symbolic connection between Willie and Tom’s deceased wife and son, Rachel and William. This connection is implied in the fact that both little boys’ names are William and in how Willie, like Rachel, likes painting and drawing. It is implied that Willie is like Tom and Rachel’s son, William, whom Tom never got to know; in Willie, Tom gets the chance he yearned for to be a father to a boy who is similar to his beloved Rachel.

Tom continues to epitomize the traits of a loving and patient father figure, thereby continuing to operate as a foil to Willie’s mother. Tom continues to tend to Willie’s sores, caused by the beatings he received from his mother. Symbolically, the last sore is almost healed, illustrating Willie’s recuperation—both physically and emotionally—with Tom: “Very gently he cleaned a sore and put some ointment on it. It was the last one” (144). Furthermore, Tom offers patient and practical instruction in response to Willie’s distress and embarrassment at not knowing how to read and write; Willie is moved to tears by this act of love, still so unfamiliar to him after his childhood of abuse: “‘I’ll teach you to write yer own name fer a beginnin’.’ Willie’s eyes stung as the ground moved in a gentle haze beneath him. He beamed. ‘Aw, mister’ was all he could manage to say” (102). Tom’s loving support is also illustrated in “all the bits of paper hanging higgledy-piggledy on the furniture and walls” (130), which are labels Tom has put around the house to help Willie learn. These bits of paper operate as a symbol of Tom’s practical and patient love for Willie.