57 pages • 1 hour read
Annie HartnettA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
This chapter contains an excerpt from The Collected Writings of Ernest Harold Baynes entitled “Another Home for Death.” Harold and Louise adopt a pair of wolf cubs that they call Death and Dauntless. The wolves prove hard to handle, breaking into a neighboring farm and terrorizing the animals until Harold recaptures them by imitating a wolf howling. Deciding to separate the pair, Harold rehouses Death and keeps Dauntless, who howls every night. His wife disapproved of splitting up the brothers, and Harold expresses admiration for her caring nature.
Ingrid continues to be devastated by Ralph Kelsey’s death. The rest of the family share her sadness but cannot help thinking he would have been amused at the manner of his passing.
The Starlings move into a motel, with Ingrid and Clive in separate rooms and Emma and Auggie sharing another. Auggie questions the wisdom of indulging their father’s obsession, criticizes his sister for not contacting him when he was in a rehabilitation facility, and chastises her for not calling Crystal after her father died. Emma asks him about the meaning of “G.G.,” his nickname for her. She has always interpreted it as “Golden Girl” but he tells her it means “Giant Grouper”—a big fish in a small pond.
Percy Eaklin, the CEO of the gun factory and bereaved father of Isabella Eaklin, gives a clumsy eulogy at Ralph’s funeral. At the reception, Mack Durkee asks Emma out to dinner. She is delighted, but they are interrupted by the sound of Ingrid yelling at Clive and the delivery man who has just delivered the Russian fox. Ingrid announces that she is going to live with Dr. Gary Wheeler. Auggie and Emma will live with their father in the hunting cabin. Ralph’s ghost arrives at the graveyard, still laughing.
Ralph’s ghost finishes laughing and begins kissing his dead wife. He asks about the “meddling” rule, reasoning that no one knows what happens to the spirit after it explodes and suggesting that it might go to a better place. His ancestor, Absalom Kelsey, counters that there might be eternal nothingness. Since eternal nothingness was exactly what the atheist Ralph was expecting to find after death, he considers that it might be worth risking in order to help his family.
Emma, Auggie, and Clive move into the hunting cabin with Moses and the fox, Rasputin. Moses is afraid of Rasputin. Clive and Auggie buy the fox toys, which convinces him they are training him to hunt and kill small birds.
The sparrow disappeared from the shoe box in Michael’s cubby, and the children are convinced that Emma’s powers have been restored; Emma thinks it more likely that a mouse took the dead bird. The children did not tell her about the bird for fear that she would leave them to go back to medical school. Emma invites the children to ask any questions they have about the Wish trial. The conversation extends to the opioid crisis in general, and she tells them about Auggie and Crystal. She presents her brother as an inspirational survivor and gifted musician, leaving Leanne determined to recruit him as the director for the community theater production of Titanic!: The Musical. Leanne relays her grandfather’s theory that Crystal has been murdered, arguing that Crystal’s addiction meant that she was invisible. This discussion of her friend reduces Emma to tears, and she is forced to leave the classroom.
Emma wonders if her gift really has returned and makes an unsuccessful attempt to heal her father. She learns that her words in class have led to her brother being called on both to direct the musical and to give a speech at an anti-drug youth banquet being held by Percy Eaklin.
Clive wakes, and it takes him a while to remember where he is and why he is there. He is not unhappy about Ingrid’s absence because he does not remember that she has left him. At Gary Wheeler’s house, Ingrid misses Clive.
Clive asks Harold whether this is to be the day he dies. Harold responds that it is unlikely and reminds him that the fox requires attention. As they play with the fox, Clive does not remember where it comes from and wonders if he trapped it in the park. Harold seems keen to lure Clive into the park, but Clive is reluctant, as he sees the woods as a metaphor for his own death. They see a psychic medium on television, and Clive is eager to enlist her services to look for Crystal.
Auggie is now working all day on the Titanic production, so Clive is left alone with the dog and the fox. A new boy, who calls himself Rat, joins Emma’s class. She is amused that Leanne Hatfield appears to have a crush on him. The class reminds her that she promised to let them watch the televised Wish trial in January.
Emma and Mack meet for a date at the pub, where they see Percy Eaklin. Emma is tempted to approach him and offer words of sympathy about his daughter, but he leaves before she gets up the courage. The ghosts provide enthusiastic commentary as Emma and Mack kiss in the back of his truck.
At home, Emma finds her father outside feeding the birds, naked from the waist down. She tries to hide her sadness and anxiety from him, recalling the vet’s advice when her dog was dying of cancer.
As Emma’s winter break starts, Clive cannot believe that his wife would miss Christmas. Emma takes him out to hang up missing posters.
Leanne has argued with the boy playing the captain of the Titanic. Emma proposes her father as a replacement. He agrees when he learns the play will finish in February, revealing that he doubts he will be alive in the spring, which leaves Emma wracked with “anticipatory grief” (205).
Ingrid’s abrupt abandonment of her family after the fox is delivered to Ralph’s funeral marks a further disruption of Childhood and Intergenerational Care. Paradoxically, by temporarily distancing herself from her family, Ingrid gradually learns to appreciate her husband more, despite his imperfections. She finds herself missing the “conversations” and “rituals” that “make up a life” (187), which speaks to the theme of The Nature of Healing, which is sometimes nonlinear.
Ingrid’s departure also catalyzes the personal growth of her children and their reconnection with each other. Auggie’s revelations to Emma at the Rodeway Inn bring her to the realization that she has been lacking in empathy toward both her brother and her best friend. She recognizes that, for those around her, she has been not a “golden girl” but a “giant grouper”—arrogantly considering herself a big fish in a small pond (163). In doing so, she did not hold adequate space for those around her, leaving them to feel abandoned by her. In many ways, Crystal is a representation of this abandonment: She was so thoroughly forgotten when Emma built her new life that she actually disappeared. And, insofar as magical realism is concerned, perhaps Emma’s healing powers were stripped from her when she failed to value those back in Everton.
The ambiguity as to whether the sparrow has been miraculously healed or whether it has been carried away and eaten by mice is emblematic of Emma’s gradually shifting perspective on healing. In Chapter 33, she is heartbroken to realize that she is still unable to heal Clive. However, when she realizes that her brother has been offered two jobs thanks to her work with the fifth-graders, her mood lightens. The Nature of Healing within the text speaks to both the literal, physical healing of others and emotional healing: When Emma’s brother is given second chances after his recovery, it heals parts of her, even if she is not restored with her gift of literal healing.
Auggie regains a sense of purpose when he is invited to speak at Percy Eaklin’s charity dinner and to direct the community theatre production of Titanic!: The Musical. The fact that growing numbers of children and adults in the damaged community of Everton are throwing so much effort into a light entertainment production of the worst shipping disaster of the 20th century reflects the tragi-comic vision of the novel as a whole. Titanic!: The Musical is, by definition, destined to end in disaster and tragedy, yet the process of staging the musical brings hope and focus to all those involved. This also emphasizes that, at its heart, Everton is a loving, community-oriented place; even its ghosts tend to its inhabitants, and despite Everton’s tragedies, it also seeks to heal.
The introduction of Rasputin into the narrative further develops the themes of The Complex Relationship Between Humans and Animals and The Nature of Healing. Rasputin contrasts to Moses, as dogs have been domesticated for centuries, while the fox maintains his wild instincts. As the instructions from Russia state, “Your fox will still have days of wild animal. Do not expect a fox to be as tame and predictable as a dog” (175). And, much like the wild deer, the fox represents the ways in which the animal and human worlds can become too intermixed.
Rasputin is presented in a complex, ambiguous light. Clive names him after the healer and adviser to the last Russian tsar who, he recalls, “had magic healing powers” and “rose from the dead” (175). Rasputin was actually a notorious figure, whose perceived influence over the Russian royal family is believed to have been a significant factor in their assassination and the Russian Revolution. Ingrid is horrified by Clive’s purchase, both on financial and on ethical grounds. Emma agrees with her in principle, but, like her brother and father, is charmed by the fox on an imaginative level (171).
Lastly, in addition to Ingrid missing her husband, Emma comes to accept her love for her father, whom she has sometimes shunned for his infidelity. But as she sees his succumbing to his illness, she takes the advice once given to her by a vet—to hide her grief. This section speaks to The Nature of Healing within the Starling family in particular, as brother and sister, husband and wife, and parent and child find forgiveness.
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Family
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Fathers
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Forgiveness
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Grief
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Guilt
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