57 pages • 1-hour read
Claire KeeganA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of racism, sexual assault, sexual violence, rape, graphic violence, death, substance use, and addiction.
One day, Hanson acts on an inexplicable impulse to visit Greer; he takes his kids and the nanny along. He tells his pregnant wife they are heading out and ventures over to Greer’s farm. Greer has been going through a difficult time and Hanson, a lawyer, has been advising him pro bono.
While the kids play in the yard with the nanny, Hanson chats with Greer, asking how his wife is doing and what he’s decided should happen next. Greer laments his wife’s ailing health. Ever since a Black man broke into their house and raped her, she has refused to eat. Hanson worries about Greer’s wife and asks to see her. Although he doesn’t like the way Greer talks about the Black man, he does feel for Greer. In the bedroom, he notices how thin and weak Greer’s wife looks.
Outside the room, Hanson tries to advise Greer on what to do about his wife’s attacker. Greer has had him locked up in the barn since the incident. Greer says he “should’ve got the police” and “got a decent lawyer” (139), but admits this is the best way to avenge his wife. He insists that Hanson would do the same if it had happened to his wife.
Outside, the men encounter the children racing out of the barn and shrieking. Then they see the Black man fleeing the property, too. The nanny screams in Hanson’s direction that she quits because he is a brute and races after the Black man.
A young boy regularly visits his grandmother in her dilapidated house. Recently, the town wanted to demolish it and set her up somewhere new, but the grandmother refused. The town acquiesced, but erected a wall between the house and the road.
One day, the boy races over to Gran’s and promises to help her finish their project of wallpapering the entire house. They are in the process of finishing the boy’s mother Mammy’s old room. This wallpaper is covered in palm trees. They have trouble getting the strips on straight, ultimately glueing them on a slant.
On Saint Patrick’s day, the boy attends Mass with his parents. His father heads off to the horse races, dropping the boy and Mammy at his grandmother’s afterward. Here, the boy and Mammy make dinner. Afterward, the boy does his homework very slowly to prolong their stay at the house. Mammy presses him to hurry up as it’s getting late but the boy continues to stall. He doesn’t want to leave because he knows his father will return home drunk from his gambling outing and his parents will argue about money. His grandmother joins him, smoking a cigarette and pulling out tea and cake. Then they play cards. Amidst their fun, a car comes smashing through the wall and into the house, crushing and killing Mammy.
The boy’s family hosts a wake and funeral. The boy feels strange listening to people talk about Mammy. After they bury her, the boy finds his father out in the forge. He tells the boy he’s unsure they’ll survive without Mammy. Upset, the boy runs over to his grandmother’s house, where she tells him Mammy wouldn’t have died if he’d just finished his homework and left when he was supposed to.
The boy keeps visiting his grandmother, whose smoking habit has intensified. They continue hanging the wallpaper. Then one day, Gran decides to light a large fire, burning all her old belongings. Then the house catches fire. Gran and the boy walk away, passing a combine harvester on their way. Rain starts to fall.
Frank Corso’s daughter Elisabeth Corso goes missing when she is nine. Frank and his wife have desperately searched for answers, to no avail.
One night, Frank pulls out the milk and studies Elizabeth’s picture on the carton. He drifts into thought, remembering Elizabeth losing her first tooth. A saddened Frank puts the carton away and goes to bed.
The next day, Frank finds his wife moving around in Elizabeth’s room. He joins her and tries to comfort her, but she pushes him away. He dismisses himself to the porch with some scotch and reads the paper. Finally he retreats to the bathroom and breaks down in tears.
The next day, Frank returns home to find his wife’s car missing from the drive. She left a note on the counter saying she is at her mom’s house. Frank goes into Elizabeth’s room and studies her belongings. He considers placing a call on Elizabeth’s phone but can’t think of anyone to contact. Lying on Elizabeth’s bed, he remembers the day she went missing. They were out in the back field together. One minute he could see her and the next minute she was gone. Police and detectives investigated but still have found nothing.
The following day, Frank gets himself a motel room where he watches television and eats takeout. Suddenly realizing Elizabeth could have returned in his absence, he calls his wife. When he tries to ask her about their daughter, his wife hangs up.
On Friday, Frank comes home to find his wife cooking dinner in an elaborate dress, jewelry, and makeup. Frank feels comforted that this might be a turning point. He accepts the drink she offers him and notices she set three places at the table. When he sits down, however, he is horrified to discover the soup is filled with chopped-up “passport photos of Elizabeth” (160). Frank demands to know what’s going on. His wife screams at him, accusing him of losing Elizabeth and confusing her by telling her fairy stories. She slaps Frank across the face and he slides down to his knees, clasping her blue dress, but she continues yelling. Even still, Frank feels better, convinced this is a start.
A young man leaves Cambridge, where he is studying at Harvard, to visit his mother and her new millionaire husband, Richard, at their beachside penthouse. He stays for several days, growing increasingly frustrated with being there. Then on his birthday, he overhears his mother and Richard arguing; his mother doesn’t want Richard to mention something to the young man. Standing on the balcony studying the ocean, the young man reflects on his grandmother Marcie’s story. His grandparents were Tennessee pig farmers. His grandmother always wanted to go to the beach because she’d never seen the ocean, but her husband would never take her. When he finally did, he gave her one hour to walk on the sand, almost leaving her behind. Marcie got back in the car with him and stayed married to a man who didn’t really love her.
The young man’s mother and stepfather take him out for a fancy birthday dinner. Mom is thrilled that he’s a Harvard student but Richard pokes fun at the young man. He has never liked Richard, who Mom married shortly after divorcing his father. When the millionaire steps away from the table, Mom tells the young man how proud she is of him and that she married the millionaire so he might inherit Richard’s money one day.
After the dinner, the young man takes a walk on the beach outside the penthouse. Alone, he again remembers his grandmother. He wonders why Marcie didn’t run away from her husband that day at the beach. She once told him that she was living the life she thought she was supposed to live. She took care of the young man when his parents were divorcing, too, and they became very close. Marcie has since died.
Looking out over the water, the young man suddenly understands that he will never marry. He takes off all of his clothes and plunges into the water. As the tide pulls him under, he tells himself he is going to return to Cambridge early. Finally he emerges from the current, crawling up the beach and panting heavily. He wishes he had a more typical life.
The stories “The Scent of Winter,” “The Burning Palms,” “Passport Soup,” and “Close to the Water’s Edge” all follow male protagonists, granting perspective and nuance to the collection’s overarching explorations of female identity and the entrapping nature of domesticity. Like the preceding 10 stories, these stories feature notions of morality and uprightness but in four new narrative contexts.
These stories explore stereotypical representations of masculinity and paternity via their main male characters to explore how gender roles impact men as much as they do women. The narratives thus complicate the novel’s theme of Female Agency Constrained by Domesticity and Gender Roles. In “The Scent of Winter,” for example, Hanson is a father who takes his children and their nanny over to his friend Greer’s home, where Greer is taking justice into his own hands. Because Greer’s wife was raped by a man who broke into their house, Greer has locked the man in his barn and subjected him to implicit brutality. The story wrestles with notions of protection, and questions what a man’s role in the home really is. Hanson does not agree with Greer’s actions but admits that he cannot “look [Greer] in the eye and tell [him he’d] do any different” (139) if the same thing had happened to his wife. Hanson is forced to confront his own passivity here. Like Greer, he has learned that it is his job to protect his wife and children, no matter the cost. In “The Scent of Winter” this means meeting violence with violence. Ultimately this tactic fails as the proverbial outside world—dubiously represented by the escaped Black man in the barn—proves invasive and uncontrollable.
In the story “The Burning Palms” the young boy’s mother’s tragic death forces him to confront his own responsibility to the women in his life. The story’s early pages feature images of Gran’s house—hidden from sight by “a tall, block wall” that the town council erected “between the cottage and the road” (142). The house is a metaphor for womanhood or the female experience. The wall creates the illusion of protection, but in fact bars Gran from the outside world: “[N]obody can see out, or in” (142), lending the house a “dark and gloomy” atmosphere (142), which echoes Gran’s intense social isolation. The wall also cannot protect the house—or the people inside—when the lorry rams through it and into the house, killing Mammy. Gran later holds the boy responsible for the incident, insisting if he had only fulfilled his basic responsibilities, his mother “would be alive today” (142). At the start of the narrative, the boy devotes himself to helping his grandmother wallpaper her house; these images convey the boy’s desire to support Gran, an ailing woman living a hermetic life. As soon as the boy shows vulnerability—delaying finishing his homework to avoid returning home—catastrophe strikes and he loses his mother for good. Again, as soon as the characters even tepidly defy social norms, they are met with tragedy or violence.
In “Passport Soup,” Frank Corso is forced to confront what he regards as his own paternal failings when his young daughter goes missing on his watch. Frank struggles to reconcile with this reality, because he cannot understand how or why Elizabeth disappeared: She was “in his own field at the back of his own house” (157). His wife also blames him for losing Elizabeth, deeming him a “useless, son of a bitch” (160). The circumstances surrounding Elizabeth’s disappearance remain unclear on the page, because they feel unclear and impossible to Frank. He thus appears nominally innocent; yet he cannot reconcile with his culpability because it is a reflection of his poor character and ultimate failure to protect Elizabeth and his wife from the outside world—something both Hanson and the young boy from the preceding stories feel as well. These narratives collectively imply that patriarchal systems are designed to disadvantage and threaten women, and cast men as the illusive protectors against a system they cannot combat and the standards of which are impossible to uphold.
In the story “Close to the Water’s Edge,” the young man’s mother’s and grandmother’s stories paint similar pictures of domestic and societal entrapment. Marcie “spent the rest of her life with a man who would have gone home without her” (165)—abandoning her on the beach because, as she told her grandson, these “were the times [she] lived in” (168). Although years have passed since, the young man witnesses his mother struggling to maintain stability and provide for her son in much the same way. Although she divorces his father, she marries the millionaire almost immediately thereafter; she never gets to claim her independence because she knows that attaching herself to a wealthy man is the only way for her, a woman, to solidify a good life for herself and her child. The young man feels the weight of his mother’s and grandmother’s stories—represented via his plunge into the violent current at the story’s end. He crawls his way back to shore, but lies there naked and unmoving, because he feels incapable of upholding the social position he has been assigned.



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