Giants in the Earth

Ole Edvard Rölvaag

53 pages 1-hour read

Ole Edvard Rölvaag

Giants in the Earth

Fiction | Novel | Adult | Published in 1925

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Symbols & Motifs

The Prairie

The vast, open prairie is the novel’s central and most complex symbol, embodying the core conflict between pioneering ambition and its psychological cost. For Per Hansa, the prairie represents a limitless kingdom of opportunity, a blank slate upon which he can build an empire. Upon first seeing his claim, he declares, “This kingdom is going to be mine!” (41). His perspective reflects the theme of the immigrant’s dream, viewing the untamed land as a source of material wealth and personal freedom.


Conversely, for Beret, the prairie is a terrifying symbol of desolation and spiritual dread. It is an empty, godless void that erases identity and offers no refuge from the divine judgment she fears. Her horror at having “nothing even to hide behind” (33) reveals her profound alienation and inability to find a place for her soul in this new world. This symbolic duality positions the prairie as the primary antagonist, a force that both inspires heroic ambition and induces debilitating madness. The land itself becomes the battleground for the war between worldly faith in human potential and spiritual terror, testing the settlers’ capacity to build not just a physical home but a psychological and moral one as well.

The Big Chest

The large immigrant chest that the family brings from Norway serves as a powerful symbol of the past, cultural heritage, and the security of the old world. As an heirloom passed down through generations, it is a tangible connection to the community and traditions Beret has left behind. While Per Hansa views the new world as a place to create a future from scratch, Beret clings to the chest as a psychological refuge from the terrifying openness and spiritual emptiness of the prairie. Its solid, enclosed space is the direct antithesis of the endless, formless landscape that torments her.


The chest becomes the focal point of her mental decline, representing her inability to transplant her identity into the new soil. This is most vividly illustrated during the locust plague, when Per Hansa finds her and the children hidden inside its dark confines: “Down in the depths of the great chest lay Beret, huddled up and holding the baby in her arms” (397). This act is not one of physical safety but of desperate psychological retreat. By enclosing herself within this relic of her past, Beret attempts to block out the American wilderness and return to the safety of her lost Norwegian world, highlighting the immense psychological price of the immigrant experience.

Blizzards and Storms

The recurring motif of blizzards and storms represents the indifferent and overwhelming power of the natural world, functioning as dramatic crucibles that test the settlers’ physical endurance and psychological fortitude. These storms are manifestations of the prairie’s active hostility toward the fragile civilization the settlers are trying to build, yet they are not unfamiliar. The majority of the settlers depicted in the novel are from Norway. In his homeland, Per Hansa was a fisherman, and he remembers the bitter cold of Norway as an instructive part of his past. Having arrived in Dakota, the Norwegians feel that they are equipped to deal with the blizzards, the storms, the snow, and the ice of their new home, but the intensity, the vastness, and the suddenness of these weather events terrify the settlers. As much as they believe that they are familiar with the cold, the different kind of cold that they find on arrival in their new home symbolizes the different kind of threat that awaits them in their new, different lives.


Each blizzard isolates the community, strains their resources, and forces them to confront their ultimate powerlessness against nature. This motif culminates in the final blizzard that claims Per Hansa’s life, serving as the novel’s tragic climax. Driven by a communal obligation to get a minister for his dying friend, Per Hansa marches into the storm, a sacrifice demanded by the very kingdom he sought to found. His death is the ultimate price of his worldly ambition, so it fittingly comes at the mercy of the world that he has tried to tame, so much more intense and fierce than the world that he left behind. The final image of him, discovered frozen in the spring, is a testament to the prairie’s final victory: “His eyes were set toward the west” (531), showing the relentlessness of his ambition, even in death. This posture suggests that even in death, he is still facing his dream, making the blizzard a powerful symbol of the fatal cost of the heroic though ultimately doomed struggle to conquer the wilderness on human terms.

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