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.
Unlikely Animals is narrated by a chorus of the dead—local people from across the centuries who are interred in Maple Street Cemetery. The use of choral narrative recalls Greek tragedy, which is at odds with the comic tone of the novel and its modern, small-town American setting.
In a novel concerned with loss and grief, the vision of the afterlife presented by the ghosts is not particularly reassuring. The dead narrators appear to live in limbo. They are tied to the earth, although they can no longer feel earthly pleasures: “We all forget what cake tastes like, or what exactly it feels like to be hugged. We’d love to be hugged again, but we can’t quite recreate the sensation in our minds” (234).
They have no way of knowing whether the afterlife extends beyond their present state: “We don’t know if there’s anything after this. Maybe nothing. Maybe this patch of dirt and grass and ice and snow is all there is” (48). The first-person-plural narration also infuses the text with a haunting tone, especially as the dead hold no answer about death itself.
Still, the dead watch over the living and are connected to the earth by their concern for the residents of Everton. However, unlike the classical gods or the Christian saints of myths and legends, they have no intercessional powers or capacity to influence events in the world of the living.
Despite being a less-mighty substitute for their classical and Christian counterparts, the vision presented by the dead is far from bleak. The dead remember life, despite its brevity and painful moments, with fond nostalgia: “Oh man, we thought at Maple Street, how we missed the excruciating pain of being alive” (205).
The dead constantly celebrate life, reminding the living to enjoy whatever time is left to them.
Corbin Park is a vast, mysterious wilderness on the doorstep of Everton, but it remains unfathomably secret and is rich in symbolism. Clive reads the park as a metaphor for his own impending death, imagining crossing over into the park as crossing over into the afterlife:
A secret forest was an obvious metaphor for death, something his college students could have come up with. When Clive was ready to die, Harold would take him to Corbin Park, and there Clive would finally see the ghost of the Sprite, Harold’s pet fox that Clive had only seen once at the edge of the woods. The Sprite was the Grim Reaper in the metaphor (189).
Other residents see the woods similarly, as a place of crossing over. Brayden also says, “I think there’s some instinct to head to the woods to die. That shit’s primeval” (124). When Clive finally goes to the park, he finds quite the opposite is true. Clive’s foray into Corbin Park causes the rediscovery of Crystal and Isabella—their return from the dead.
Harold and his admirers tend to depict Corbin Park in a romantic light, as an unspoiled wilderness removed from the corruption and decay of the modern world: “It is miraculous how the green-clad land has returned to its virgin state, and the folds of the blue hills inspire restful dreams” (25). The park is imagined as a place of renewal, rest, and healing. However, the park’s image of pristine innocence is somewhat compromised by the fact that it is an artificially stocked hunting range for suspiciously secretive billionaires.
For Clive and Emma, the imaginative possibilities of the park are far more interesting than its reality. In Chapter 11, Emma recalls her father telling her elaborate bedtime stories about the park and relaying Rudyard Kipling’s extravagant anecdotes about his time staying there. The more historically accurate Ingrid insists that Kipling’s tales of crocodiles cannot be true, but Clive is enchanted with Kipling’s idea of the park and is uninterested in factual accuracy:
Emma remembered the elaborate bedtime stories her dad used to tell, stories that almost always ended with one of her mean classmates left to the jaws of the crocodiles of Corbin Park. If Emma’s mother was in earshot, she would say that here had never been crocodiles in the park, even if Rudyard Kipling had said there were, Kipling had lived in the area for a few years with his American wife in the late 1800s, around the time the park opened, and he said the park was full of ‘lions an’ tigers an’ bears an’ buffalo an’ crocodiles an’ such all.’ Ingrid insisted a crocodile would never survive a New England winter (11).
The oxymoronic blending of the tragedy of the Titanic with light entertainment typifies the tragi-comic mood of the novel as a whole, which moves narratively toward Clive’s inevitable demise against the grim social backdrop of the opioid epidemic, yet maintains a light and playful tone. The community theater production reflects the human tendency to cling onto and savor life even when death is inevitable and imminent. The children repeatedly postpone the sinking of the ship, denying the presence of icebergs and patching up holes in the hull. The unsinkable spirit of the cast and crew of the community theater reflects the resilience of the community itself, buoyant and hopeful despite the ravages of the opioid crisis.
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