Antarctica

Claire Keegan

57 pages 1-hour read

Claire Keegan

Antarctica

Fiction | Short Story | Adult | Published in 1999

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Stories 7-10Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of sexual content, sexual violence, graphic violence, pregnancy termination, and death.

Story 7 Summary: “The Singing Cashier”

The narrator lives in Gloucester with her older sister Cora, who has provided for the sisters since their father’s death. To secure a few parcels of fish each week, Cora starts up an affair with the postman Smethers. Whenever Smethers comes over, Cora sends the narrator on an errand. She doesn’t understand why until one day she accidentally returns when Cora and Smethers are hurriedly redressing. From then on, the narrator takes her time wandering around Gloucester.


Meanwhile, the narrator notices how happy Cora seems. She sings so often she tells the narrator that her coworkers at Tesco’s call her “the singing cashier” (87). Whenever the two are at home together, the narrator listens to Cora’s songs and stories, often observing photos of their father in the background.


Then one day, Smethers drops by with the newspaper. The headline broadcasts the story of Fred and Rosemary West’s killing spree. The couple lives just around the corner. A young girl’s body was found in their yard and other missing persons cases have since been tied to the couple. Horrified, Cora takes Smethers aside and ends their affair. The narrator realizes that when she was waiting for Cora and Smethers to have sex, she was moseying around the Wests’ house. A distraught Cora sits at the table, ruminating on how their father knew Fred West. The narrator reassures Cora and makes her a cup of tea and an egg.

Story 8 Summary: “Burns”

A man takes his three children and his second wife, Robin, to the old summer house, in hopes of confronting the past together. The first night, the man privately tells Robin he is unsure of his decision to come here because the house is a wreck. Robin reassures him.


The next day, the family works together to clean up and repair the windows and doors. Everything seems to be going alright until the littlest child bursts into tears after spilling her drink during lunchtime. That night, the man tells Robin this whole project is a mistake. He can feel his ex-wife’s presence in the house and guesses his children are upset by it too, citing the spilled drink incident earlier. Robin suggests it might help to more significantly renovate the house.


In the days following, the family focuses their attention on the kitchen. They spend a week building a new island. The project is a success and everyone is in good spirits. Robin makes lasagna and chocolate cake, even inviting the children to help. Then the youngest child jumps onto the island when she thinks she sees a mouse, knocking over a candle and starting a fire. Robin and the children shriek. The man races in and puts out the fire, shocked to see the floor crawling with cockroaches. The entire family engages in a killing spree, thwacking the bugs with anything they can find. When the “shiny stream of roaches dwindles” (100), the family remains at unified attention, all ready to strike the next insect should it appear.

Story 9 Summary: “Quare Name for a Boy”

When the narrator discovers that she is pregnant, she returns home to confront the baby’s father, a man with whom she had a casual fling over Christmas. She feels out of place and tries to hide her bitterness at how her family treats her. Her female relatives scoff when she explains that she is embarking on a writing career and criticize her clothing when she unpacks her suitcase.


The narrator goes to the beach to meet her lover. They sit near the water chatting for a while before retreating to a pub for drinks. Over drinks, the narrator muses on the week she spent with the man in his mother’s bed after meeting him at a Christmas party, wondering if keeping the baby is worth it. Then she hears herself ask what the lover thinks of naming the baby Daphne. The lover remarks that it would be strange to name a boy Daphne. The narrator laughs, realizing she won’t go through with an abortion but that this is the last time she’ll see the lover. She won’t force him to be with her. They toast one another.

Story 10 Summary: “Sisters”

Batty, the narrator, awaits the arrival of the Porters at her home. Since her father’s death, Betty has lived alone in the farmhouse where she and her sister Louisa grew up. Louisa married a salesman named Stanley Porter and moved far away to buy a house and start a family, while Betty stayed back to care for their dad. Every year since, the Porters—Louisa, Stanley, and their children Ruth and Edward—come to visit for the summer.


This year, Betty doesn’t hear from the Porters about when they’ll be arriving. She busies herself tending to the farm while waiting to hear from them. Meanwhile, she muses on the past. Her and Louisa’s mother died suddenly when the girls were little. Their dad tried to care for them but struggled to maintain the homestead and finances at the same time. Over the years, Betty has never married and only dated one man, Cyril Dawe. “Nothing ever came of it” (111) and Betty is now 50. Her father left her the property in his will, although Louisa technically has the right to stay there should she want to. Their father always favored Louisa. Since his death, Betty has felt freer than ever, enjoying her days tending the garden, milking the cows, and preserving food.


Then one morning, the postman informs Betty that Louisa and her family are coming in four days. Betty races around to get everything in order for their arrival.


The Porters come by ferry instead of in Stanley’s car, and Stanley isn’t with them. Louisa says he is working and will join them eventually. Over the following days, Betty struggles to get along with her sister. Louisa makes remarks about Daddy’s warm welcomes, and insists that Betty brush her hair for her and let her sleep in her bed with her. Observing her sister tweeze her eyebrows and do her hair Betty remembers their mother comparing her to chalk and Louisa to cheese. One day, she notices Louisa lost in thought but doesn’t press her about it. Louisa has never been forthcoming. Then one day, they run into Joe Costello, a local bachelor, at the grocery store, and he asks Louisa out.


As the days pass, Betty becomes increasingly irritated by the Porters’ presences. The children are noisy and unhelpful and Louisa does nothing but eat cake, read, and sleep. Then one morning, Joe stops over while Betty is up making cheese. They enjoy a pleasant conversation until Louisa wakes up and inserts herself. Betty gets even more annoyed when Louisa starts eating the plums she picked for jam. She storms outside and stays there to cool down. When she returns, Joe is pouring Louisa tea.


On Sunday, Louisa barely pays attention to the children. Betty makes them dinner, gives them chores, and reads to them. When they help her clean up the dishes, she is shocked to learn they don’t have a dishwasher at home as Louisa had told her.


August brings stormy weather and the family is stuck inside. One day, Edward confronts Betty, asking who will inherit the property when she dies. Shocked and furious, Betty races outside and stays there until after dark. Back inside later, Louisa suggests they redecorate the house. Betty dismisses herself to bed.


One night, Betty makes pancakes while the children play outside. Louisa sits near the stove in a blanket. Betty confronts her about her marriage, having discerned that she left Stanley and thinks she can move in with Betty. Louisa becomes defensive, insisting Daddy would want her there.


After the children go to bed, Betty and Louisa talk in the parlor. Louisa offers Betty a drink and Betty offers to brush her hair. They discuss how their lives have elapsed, each insisting that the other has what she wanted. Finally Betty accuses Louisa of inventing all of the lavish details of her home and family life. She cannot believe Louisa could lie and then turn around and expect her to provide for her for the rest of her life. Furious, she chops off Louisa’s hair. A fight ensues. Louisa shrieks, wakes the children, and furiously packs. Betty silently stands by.

Stories 7-10 Analysis

The stories “The Singing Cashier,” “Burns,” “Quare Name for a Boy,” and “Sisters” pair images of domesticity and family with images of violence and death to further the novel’s explorations of the Destabilizing Nature of Loss and Grief. In “The Singing Cashier,” the narrator and her sister Cora are haunted by the death of their father and the premature death of their mother when they were girls. They attempt to make a stable home life together in the narrative present, but news of the serial killers living nearby violently disrupts their fragile illusion of happy domesticity. In “Burns,” the father, his children and new wife, attempt to “confront their past, the source of all their trouble, and stamp it out” by returning to the family’s old house (92). They discover that the house has retained destabilizing memories of the children’s absent mother—which manifest in the form of a cockroach infestation. In “Quare Name for a Boy,” the narrator returns home to tell her lover that she got pregnant after their one-week affair and is met by a hoard of slanderous women who seek to destroy every aspect of her independent life beyond their insular village. In “Sisters,” Betty is just making peace with her father’s death and learning to embrace her solitary but rewarding single life on the homestead she inherited when her sister imposes herself, robbing Betty of the life she created for herself.


In all four of these stories, loss comes in different forms. Whether the characters have lost parents or neighbors, peace or happiness, independence or courage, they find that their stability is always in jeopardy. They live with the constant threat of loss, which casts an ominous mood over all four narratives. Using imagery, symbolism, and descriptive foreboding detail, Keegan transforms loss from an obscure concept into a veritable entity that stalks her protagonists’ lives. In “The Singing Cashier,” the narrator often attunes herself to the images of her late father around the house. In one scene, the “photo of our father has fallen off the wall, but his frame leans against the skirting board, determined” (87). Just as the father is no longer physically present in the sisters’ lives, the photo is no longer on the wall; but just as the photo remains in the house, so does the omnipresent memory of their father. The surrounding references to food, cooking, eating, and tea conjure notions of domestic warmth—all of which are stolen from the sisters when they learn about their neighbors’ heinous crimes. Just as they are feeling more settled (depicted in the cheery images of them sharing meals and stories or of Louisa singing), a new horror intrudes and unsettles them. Like the women in the subsequent stories, the sisters in “The Singing Cashier” discover that comfort and peace are fleeting in a world that endangers and threatens their sex.


In “Burns,” the family faces the encompassing nature of loss and the past in the form of the cockroaches, which actively destroy the domestic peace they are attempting to recreate at the old house. They spend weeks cleaning and renovating the space, only to have the new island light on fire, and a mass of invasive insects disrupt their happy evening at home. Here too, food symbolizes togetherness and familial connection; the bugs’ presence amidst the family’s culinary session implies that the past is omnipresent and will continue to disrupt the present if left unattended.


In both “Quare Name for a Boy” and “Sisters” the characters risk losing their independence and agency. In the former short story, the narrator is determined to “do the right thing” and inform her lover that she is pregnant with his child. She is so devoted to what she believes is a noble and necessary mission that she “walk[s] back into [her] past, [her] clothes too small for [her], a story from a women’s magazine” (101). The narrator is pointing out the cliched nature of her own story and poking fun at herself because she is so uncomfortable facing the “tweedy, big-boned women who like to think they taught me right from wrong, manners, and the merits of hard work” (101). What the narrator learns is that she will never be able to please these female relatives because she is not inhabiting the gender role she was prescribed. They try to rob her of her independence, by scoffing at her writing career and her wardrobe—both signifiers of her empowerment and freedom. To firmly seize her autonomy, the narrator decides to keep her child while giving her lover his freedom. She refuses to let him become “a man whose worst regret is six furtive nights spent in his mother’s bed with a woman from a Christmas party” (108)—a fate to which she herself is adjusting.


In the latter story, “Sisters,” Betty is similarly protective of her independence. She never got the wealthy husband, lavish house, children, or the fine looks her sister got, but she has created a stable and rewarding life for herself on the family homestead. There is freedom and purpose in this life, but Betty becomes destabilized when her sister threatens to take it from her by “encroach[ing] on Betty’s ground” (131) and expecting her to “[run] around like a slave after her and her young family till the end of days” (132). Like the narrator of “Quare Name for a Boy,” Betty refuses to give up this life and to subject herself to anymore loss and suffering. She chooses instead to force her sister to leave. The image of her cutting off Louisa’s hair is a metaphor for Betty acting out against entrapping gender roles. She is attacking Louisa’s pride and joy, just as she feels Louisa has done to her.

blurred text
blurred text
blurred text

Unlock all 57 pages of this Study Guide

Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.

  • Grasp challenging concepts with clear, comprehensive explanations
  • Revisit key plot points and ideas without rereading the book
  • Share impressive insights in classes and book clubs