48 pages 1-hour read

Granny Torrelli Makes Soup

Fiction | Novel | Middle Grade | Published in 2003

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Symbols & Motifs

Meals

Meals are a motif prevalent throughout the novel. The novel is broken into two parts, with each part revolving around the preparation of a meal: either zuppa or pasta. In both cases, the meal preparation and the sharing of the meal afterward reflect the characters’ emotional beats, including their moments of reflection and realization.


In cooking meals, the young characters prepare ingredients, shape dough, and relax while basking in the smells of the dish before eating. In their character growth, which is the central focus of the novel, the same young characters must similarly assemble their memories, form them into meaningful patterns, and pause to absorb what that process has yielded. As the children cook and eat, they self-reflect and grow—the work of analyzing one’s own actions may be challenging, but the results are nourishing.


Granny Torrelli’s approach to teaching the children to make meals also parallels her approach to guiding them through self-reflection. In cooking, she does offer some explicit instructions, for example, stir the soup and be gentle with the meatballs. However, she simultaneously allows space for the children to practice independence. Rosie gets to pick which salad she wants (the one with oranges), and Bailey is left to crack the eggs himself. Similarly, as Granny Torrelli listens to the children’s challenges, she does sometimes make explicit observations and intervene. Rosie can be stubborn, Granny Torrelli notes, and when Bailey nearly leaves before making peace with Rosie, Granny Torrelli tempts him back with another story. However, Granny Torrelli simultaneously uses her storytelling not to instruct, but to prompt the children to consider possible outcomes of their actions. She then often physically leaves the room, literally giving the children space to try to self-reflect on their own.


More generally, meals are also a point of connection. Food ties Rosie and Granny Torrelli to Granny Torrelli’s family and to their friendship group in the United States. Granny Torrelli believes that her deceased family members are having a pasta party in heaven; even in the afterlife, food brings people together. The pasta party at the end of the novel confirms the power of meals to unite, as Rosie and Bailey invite not only their own families but also Janine, suggesting a chance for reconciliation. It thus brings together all of the various people who are currently in the main character’s lives.

Blindness

Blindness is also a key motif in this novel. In a literal sense, Bailey has partial blindness. Because of his poor vision, he cannot go to the same school as Rosie, and he has a lived experience that is distinct from Rosie’s. Both outcomes deeply upset Rosie. She initially feels that her role should be to take care of Bailey. Bailey going to a different school—especially one where he can learn special skills to support himself—undermines that goal. Moreover, Rosie wants the two of them to be as similar as possible, without any differences to set them apart. Yet Bailey’s poor vision is beyond her imagination; nothing she tries allows her to make Bailey’s experiences her own.


Metaphorically, “blindness” as a motif refers to the young characters’ main challenge: learning empathy, that is, learning to truly see each other emotionally. Empathy requires insight into the motivations and feelings of the other people. Rosie is not able to understand that Bailey needs something of his own and that he takes pride in his ability to read the Braille that Rosie cannot read. Bailey has to learn that his relationship with Janine makes Rosie jealous and that her feelings are hurt when he offers to tutor Janine in Braille, especially after he got angry with Rosie for learning it on her own. Because both children are unable to view things from the other’s perspective, before hearing Granny Torrelli’s stories, they have a sort of emotional “blindness.” This “blindness” is overcome as they learn to look at the other with empathy.


The motif of blindness heightens the significance of other sensations—such as taste and smell, which appear often with all the cooking—and touch, which is especially relevant in the second part of the novel.

Moving Van

The moving van is a symbol that appears in the second half of the novel. It carries a new family that is moving into Rosie and Bailey’s neighborhood. As it arrives and two young boys climb out, Rosie’s “tiger” turns into a “fox.” While she has been jealous of Janine up to now, the arrival of the moving van grants her an opportunity to make Bailey feel a bit of what she has been feeling. The moving van symbolizes change, not only with the people in the characters’ lives but also in Rosie’s approach to making Bailey understand her feelings.


In Part 2 of the novel, jealousy has been a special struggle for Rosie. Nonetheless, after Granny Torrelli’s stories about her own jealousy, and perhaps after her character growth in Part 1 of the novel, Rosie manages to ask the question that’s behind her jealousy: She asks Bailey if he might ever like Janine better than her. However, Bailey is still struggling with empathy in this moment, and he gives a response that fails to acknowledge Bailey’s feelings: “I don’t think so” (109). The memories in the previous section that, when Rosie’s “tiger” comes out, a fight is imminent. As the moving van arrives, however, Rosie takes a different approach. Her “fox” takes over, and instead of instigating an outright fight, Rosie tries the new tactic of getting even with Bailey by fostering jealousy in him too.


However, this change is not necessarily for the best. Granny Torrelli intervenes, drawing Bailey back into the kitchen, and drawing their attention away from the window, with another story. This story, which emphasizes the fragility and value of life, distracts the children from the moving van just as much as it redirects Bailey’s attention toward what she really wants: for Bailey to stay.

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