44 pages • 1 hour read
Steven RowleyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
While Patrick claims to be done with the dehumanizing business of Hollywood, the reverence with which he treats his Golden Globe award suggests that a small piece of him at least still values the recognition that comes with fame. When Grant tries to take the statuette as a gift from the tooth fairy, Patrick reacts with horror: “That’s mine. It has my name on it” (61). As the narrative progresses and Patrick begins to bond with Maisie and Grant, however, Patrick gains some necessary perspective. After the earthquake, both Grant and the Golden Globe are damaged, but only Grant’s injuries matter. “Priorities realign,” Patrick realizes, and when Maisie points out the dented award, Patrick responds, “Fuck my Golden Globe” (209)—he’s come to see that things, unlike people, are replaceable.
Memory is a powerful theme in the novel, and photographs are the most obvious physical manifestation of memory. During a midsummer Christmas celebration, Patrick gives Maisie and Grant framed photographs of their mother taken “mid-laugh, her thick, reddish hair cascading effortlessly behind her back” (163). The image symbolizes Patrick’s idea of the friend he loved: The photo was taken just before he and Sara were caught by the campus police for trespassing on the roof of her dorm, a minor act of rebellion that, for Patrick, encapsulates the side of Sara he wishes to remember most vividly. Patrick wants to show the kids the real Sara, the side of her he fears will be lost over time, so the snapshot of her defiance—and the joyous abandon she feels when flaunting it—is the perfect Christmas gift.
Early on, Patrick’s parenting style consists primarily of his Guncle Rules, a series of lifestyle maxims accumulated over years of living in Hollywood and exposure to popular culture: “Know your angles” (2); “You know the secret to staying young? Money” (47); “If a gay man hands you his phone, look only at what he’s showing you. If it’s a photo, don’t swipe” (52). These mostly entertaining rules symbolize Patrick’s awkward attempt to relate to the kids in shallow, sitcom fashion, in lieu of real emotional give-and-take. When Patrick and the kids eventually genuinely bond, these rules become less frequent. Finally, Patrick trusts Maisie and Grant to “make up the rules on your own” (285). Patrick now offers guidance by example, not by dictating inapplicable bon-mots from a position of authority.
One night, as Patrick and the kids sit outside watching a meteor shower, a particularly large one burns up in the atmosphere right over their heads and Grants exclaims, “That was Mommy” (285). Taken aback by Grant’s flash of spirituality (and not wanting to dispute the boy’s earnest wish), Patrick plays along. Throughout the novel, Patrick often ruminates on the stars—on the relationship between distance and time. The light that reaches the earth is, in some cases, millions of years old—a scale that dwarfs any single life on Earth, no matter how precious, but also makes Patrick value his relationships even more. Patrick has been a star in pop culture, but that pales in comparison to the shine of Sara, who “was always my light” (5).
By Steven Rowley
American Literature
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