43 pages • 1 hour read
Aimee NezhukumatathilA 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 begins with facts about Mimosa pudica, a flower also known as the “touch-me-not.” It has a double-leafed pattern and “spherical lavender-pink flowers” (25). The touch-me-not has a unique defense mechanism: Its leaves collapse and fold shut when touched. The plant is “considered a weed” in India and the Philippines but is sold as a houseplant in the United States (26). It spreads quickly and can be hard to eradicate from gardens. Nezhukumatathil concludes the chapter with a list of places she has presumably received unwanted advances: “Touch me not on the dance floor, don’t you see my wedding ring? Touch me not in the subway […]” (27).
Nezhukumatathil recalls seeing saguaro cacti on hikes with her father and sister in Arizona and shares memories of strip malls and suburban sprawl outside Phoenix in the 1980s. She notes that her father must have been tired after long hours working at Good Samaritan Hospital in Phoenix and appreciates his selflessness in taking his daughters hiking. There were very few other Asian American families on their hikes.
While living in Phoenix, Nezhukumatathil and her sister play with friends in their suburban neighborhood. At age 12, Nezhukumatathil is the oldest of her friends, and she pays attention to “which homes displayed the little triangle-shaped sign in their windows, proclaiming that house was ‘safe’ if anyone ever followed us” (30). As children, they are often told to stay safe and not to talk to strangers. She describes the cactus wren, a bird that nests on saguaros and feeds on insects and fruit, and she envies the wren’s perceived security.
“Narwhal” begins with Nezhukumatathil and her sister leaving their father in Phoenix and moving in with their mother in Kansas. She feels judged by her new classmates for living on the grounds of the psychiatric hospital: “when I climbed the school bus steps, I imagined myself a narwhal, with one giant snaggletooth—a saber—to knock into anyone who asked if my sister and I were patients there” (35).
The narwhal’s horn is in fact a tooth with “about 10 million nerve endings” (36). The narwhal uses this tooth for echolocation and to sense changes in ocean temperature and salinity. Narwhals are found in the Arctic Ocean, living on a diet of cuttlefish and cod, and they are hunted by orcas.
In Kansas, a blond boy makes a racist remark about Nezhukumatathil’s mother on the school bus. Young Nezhukumatathil is upset and again imagines herself as a narwhal, wanting to “dive deep, deep into the darkest of seas” (38). Nezhukumatathil has a passing interest in another boy at school, but they move again, back to Arizona.
The “Axolotl” chapter alternates between Nezhukumatathil’s memories about using makeup as a young girl and scientific information about axolotls. She loves red lipstick but avoids wearing it because a white girl at her school told her “I don’t think someone with your skin tone…should wear red” (44). Nezhukumatathil learns that in these situations, it can be easier to smile and go along with it, and she uses the lesson later in life when university colleagues make insensitive comments.
Nezhukumatathil describes the axolotl’s smile, which “runs from one end of the amphibian’s face to the other” (45), and its gills, “like an extravagant crown of fuchsia feathers radiating from its neck” (45). Like starfish, axolotls can regenerate limbs that are cut off. Nezhukumatathil is devastated that axolotls are endangered and are no longer found in the wild.
“Touch-Me-Not” has a straightforward message—Nezhukumatathil describes the defensive mechanism that is the touch-me-not’s namesake and then plays on the plant’s name, writing, “touch me not at a faculty party, touch me not if you are a visiting writer, touch me not at the post office” (27). The repetitive structure in the final paragraph illustrates the frequency with which she and other women experience unwanted physical attention, presumably from men.
Chapters 6-8 build on the concepts of home, identity, and belonging. In “Cactus Wren,” the wren’s nests are a metaphor for safety, both in her own home and in the “safe” neighborhood houses in her suburb. Fear of death and abduction comes up throughout World of Wonders, and in “Cactus Wren,” Nezhukumatathil considers her childhood fear of “someone in a windowless van” and her desire to be as tough and fearless as she expects desert wildlife to be (29).
In “Narwhal” and “Axolotl,” she experiences and fears judgment from her white classmates. Her desire for safety and belonging is disrupted again when she moves from Arizona to Kansas. Her feeling of vulnerability as a new student at school is exacerbated by the other children’s teasing and racist comments about her mother. In “Axolotl,” white girls tell her that she shouldn’t wear red lipstick because of her skin color. As in previous chapters, she reacts to racist comments and microaggressions with a desire to either hide or blend in, and she illustrates these desires through the animals she describes. As in the world of biology and animal behavior, there is plenty of overlap between the lessons she learns in her essays, but there are also key differences. While the lesson from “Peacock” involves shedding her fears and embracing her vibrant personality, “Axolotl” presents a more pragmatic approach: Her “salamander smile” may be a little dishonest, but it is useful for brushing off annoyance in the case of her university colleague’s patronizing greetings.
In a narrative context, each chapter reveals more about Nezhukumatathil’s family, life, and interests. Nezhukumatathil explains that she and her mother and sister “lived on the grounds of the mental institution […] and the school district had to create a bus stop just for us” in “Narwhal” (35), which supplies more context for the first chapter, “Catalpa Tree.” The book creates a non-linear mosaic of experiences, enhancing its portrayal of life as a process of cycles, seasons, and returning.
By Aimee Nezhukumatathil