“Mack lost his parents in a car accident and Maribel tried to believe this was the same thing as her not having a father, but in fact, it was vastly different. When Maribel thought of her father, there was no one to picture. She was left with an empty spot inside, a part of her missing. A hole.”

Maribel sympathizes with Mack regarding the loss of his parents but can’t fully understand it because their losses aren’t equivalent. Mack had parents who loved him and whom he lost in young adulthood, whereas Maribel has never had a father figure to look toward. One of the underlying sources of tension in her relationship with Mack rests is her belief that Mack can assuage his grief with her, coupled with the fact that she cannot fill her own “empty spot” with Mack. The passage thus develops the theme of The Long-Term Impact of Emotional Voids.

“Vance was a black sheep, an evil twin, a kid who got off the boat thirty seconds too late.”

In a succinct manner, Vance explains how he sees himself as an outsider in the world of The Beach Club. He notes that he is the “black sheep,” an idiom denoting someone who is an outcast or renegade. However, in the context of the work’s setting—the largely white community of Nantucket—the metaphor takes on deeper resonance, particularly in conjunction with his later reference to Mack as the “white prince” (139). The implication is that Vance’s awareness of the realities of racism heightens his resentment of Mack, who benefits from being white. The similarities between the two underscore the idea that what most separates them is something Vance cannot control: He and Mack have the same birthday, speak similarly, and are the same height, yet society has cast Vance as the “evil twin” to Mack’s good-guy persona. This resentment, however, is coupled with self-hatred: Rather than noting that Mack got there early, Vance blames himself for being “too late.”

“He’s saying the greatest demonstration of love is devotion, being there with your beloved day in and day out.”

Bill explains Robert Frost’s poem “Devotion” to Love O’Donnell. Bill turns down a potential affair with Love because he is devoted to Therese and is willing to be with her “day in and day out” through difficult and traumatic times. Bill returns to the idea of devotion when hoping for Cecily’s return: “Maybe if they went through the motions […] God would recognize their pain, and more importantly their devotion […] and He would let this wish come true” (350). Bill consistently turns to Frost’s poetry for comfort as he thinks about his ill health and the passage of time.

“The two of them had known so much pain. Therese’s way of dealing with it was to sniff out other people’s sore spots, wanting to make them better. Bill’s way was to read his poetry.”

In a passage that touches on Finding One’s Way Through Grief and Anger, Therese alludes to the death of her stillborn son and the “pain” that his passing caused her and Bill. The incident shaped the way the two deal with grief: Bill turned inward and found comfort in the words of Robert Frost, while Therese turned outward, seeking validation by trying to soothe others’ pain. This foreshadows and contextualizes Therese’s involvement with Leo Hearn’s family, her panic over his son’s allergic reaction, her anger at Cecily, and her desire to have Mack and Cecily marry.

“‘To be honest, I’ve never understood why children feel they need their parents’ approval,’ Lacey said. ‘I believe the earlier you stop hoping for that, the happier you’ll be’ […]

[Jem]’s face brightened. ‘Yeah, I figure they might not like the idea at first but once I make it, they’ll be fine with the whole thing.’

‘You might be better off not worrying what your parents think at all. Ever.’”

This conversation between Lacey and Jem establishes her promotion of individual independence over skewed familial loyalty. Her advice is particularly appropriate to Jem’s situation, as it later emerges that his parents really do dismiss his dreams. At this point, Jem still wants to believe that they will understand, but Lacey warns him not to expect this, encouraging him to look to himself for strength instead. Lacey consistently gives this type of advice; for instance, she is later pleased when Cecily follows her heart and runs off to Brazil. Although she is the oldest character, Lacey is deeply sympathetic to the young people who surround her.

“‘You can show me the way yourself when we go on Tuesday,’ Arthur said. ‘You promised, remember? Your day off, Tuesday.’

Love knew she very specifically had not promised to run on Tuesday. She couldn’t remember her exact words, but she was pretty sure she hadn’t even agreed. It was just like the wealthy to assume everything would go just as they wanted. And what if Arthur Beebe didn’t even work for his money? What if he were an example of the idle rich, flying his plane, sitting on beaches? Love knew this should make him far less attractive in her mind. But it didn’t.”

This passage establishes how manipulative Arthur Beebe is. Love is smart enough to realize that Arthur expects “everything [will] go just as [he] want[s]” because he is wealthy, even if the source of that wealth is suspicious. That she can look past his entitlement shows how committed Love is to her plan to find a sperm donor: Because she doesn’t expect the father to remain in the picture, she ignores red flags. At the same time, her relationship with Arthur hints that Love would like a deeper romantic attachment; she finds him “attractive,” not merely useful.

“As Mack replaced the receiver he thought, I love them both. It happened, he supposed; he was just glad he didn’t have to choose between them, not tonight, anyway.”

This sums up how Mack handles his feelings about Maribel and Andrea. He views the two relationships passively, as something that “happened” to him, rather than taking responsibility for pursuing both women. Further, he actively avoids solving the dilemma, putting off a choice at least for “tonight” (and ultimately for much longer).

“It was better than lovely […] It changed my whole view of the island. Before that day, I hated it here. But after that day, things got a lot better. It was weird, the way that happened, like you had magic powers.”

As Jem talks to Maribel about their outing at the beach, hints of how smitten Jem is emerge. For instance, he feels Maribel has “magic powers” and has entirely changed his existence. Jem’s sincerity and belief that Maribel is special also encourage readers to root for their relationship, as these are qualities Mack does not bring to his relationship with Maribel.

“Some people don’t like being happy. They’re much more comfortable when they have a problem.”

Here, Jem is telling Maribel about one of the guests of the hotel, Mr. Feeney, who deliberately breaks his toilet so that someone will have to fix it. Figuratively, the comment applies to several of the characters, including Therese, who likes counseling the guests, Mack, who can’t make up his mind, and Maribel, whose relationship with Mack isn’t giving her what she needs. For these characters and others, unhealthy coping mechanisms have become familiar, inhibiting their efforts to grow beyond their trauma.

“‘Maybe,’ Andrea said. ‘Or maybe you feel sorry for me. The point is you should be with Maribel. I’m just a friend, Mack, a summer friend. You have no idea what my life is like the rest of the year […] I should stop coming here. I’ve depended on you too much, and I made you feel like you can help me. But you can’t help me, Mack. Nobody can help me.”

Andrea’s response to Mack is not what he expected, but it is consistent with her actions. Andrea never promises Mack a more serious relationship than the one they have. She enjoys being a “friend” with benefits, but she sees it as a temporary arrangement for three weeks out of every year. Even though she finds him attractive and can “[depend] on” him, Andrea knows that their time together exists in a bubble and that Mack can’t comprehend day-to-day life with a child who has autism. She takes responsibility for his misinterpretation but doesn’t change her mind.

“‘We want you to be happy, Mrs. Higgens,’ Cecily said. This was her father talking, the exact words he would say if she sent Mrs. Higgens into the office, which was what she should probably do: let him deal with it. But if she was going to start her life as an adult, she was going to have to be brave. “However, if you’re not comfortable with people of other races on the beach, then I guess you’ll have to find another beach club.”

On the Fourth of July, the prejudiced Mrs. Higgens, seeing a Black family at the Beach Club, remarks that “working here and belonging here are two different things” (168). Upset in part because Gabriel is Black, Cecily chooses to handle this “as an adult” and speak to Mrs. Higgens on her own. However, when she reports the incident to her parents, they commend her actions but quickly diminish her newfound adult authority by calling her a “child”; they also insist that Gabriel is a “some foreign boy [they]’ve never met” (172), showing subtle racism (or at least xenophobia) themselves. Knowing her parents don’t support her decision-making deflates Cecily’s self-esteem and opens a rift between them.

“‘She wants us to give you the hotel,’ Therese said. ‘She said it herself. If we profit-share, she’ll be relieved. She’ll think, “Okay, I’m free to go. Mack’s in charge.” She’ll think we’ve given up.’ Therese tapped the counter with her fingernail. ‘I’m not giving up. I already lost one child. I’m not about to lose number two. She might not go if she thinks we need her. I stayed up all night thinking it through. Cecily’s weak spot is that she loves us. But if she knows we have some new, official arrangement with you, she’ll leave.’”

Mack asks Bill and Therese to profit-share shortly after Cecily has announced her desire to go to Brazil. They reject his proposal, with Therese explaining that doing so would give Cecily an “excuse” to distance herself further from the hotel’s management. Playing on Cecily’s “weak spot” is manipulative, but Therese rationalizes it with reference to losing W. T., suggesting that she believes Cecily is truly in danger of abandoning her. In further evidence of her desperation, she adds that Mack “could always marry Cecily” to solve the problem (184), which further angers Mack and makes him think of leaving the hotel.

“‘All shaved. You’re ready to go then.’ Mack reached for the latch on the bathroom door but stopped short. ‘Do you like me, James?’ he asked.

‘No,’ James said. His green-gray eyes were a blank slate. ‘I love you.’”

James’s father has chosen not to be involved in his life, so Mack shows him the basics of shaving. In a moment of vulnerability, Mack asks James if he likes him. James’s response is especially meaningful when taken in tandem with the fact that “Andrea never told Mack she loved him—always she responded by saying ‘I know.’” (123). This moment helps Mack realize that Andrea really isn’t interested in a long-term relationship.

“She should be happy; she had wanted this for both Mack and Maribel. But the truth was, she liked it better when Mack and Maribel were miserable. She liked it better when she was the one lucky in love. Now Mack and Maribel were beyond lucky; they’d hit the jackpot. Married! She cried bitter, jealous tears […] their good news didn’t mean bad news for Cecily. Lots of people could fall in love and get married at one time. But that thought didn’t make anything better, not with Gabriel thousands of miles away and Cecily stranded here, on this dinky, go-nowhere island.”

Cecily experiences a variety of emotions as she reacts to Mack’s engagement: She notes that she’s unhappy, bitter, and jealous. Lonely for Gabriel, she wishes for love and resents Mack and Maribel for being happier than she is. However, the “jackpot” that she wishes for really centers on her desire not to feel “stranded” and isolated on the “go-nowhere island.” The intensity of her emotion is in part a reaction to her parents forbidding her to travel.

“How-Baby nodded, ‘I can tell. Know why? Because you’re a good kid. A team player. If I should be so fortunate as to meet your father someday in heaven, I’ll tell him he raised a fine young man.’”

Throughout The Beach Club, Mack is moved by anything that resembles parental support. How-Baby here speaks of something that Mack will never receive directly: his father’s approval, which How-Baby indicates Mack certainly deserves. How-Baby’s kind and sensitive comment validates Mack’s trajectory over the last 12 years, shoring up his sense of self. Moreover, How-Baby himself serves as a paternal figure, dispensing advice and wisdom: How-Baby earlier coached Mack successfully on his relationship with Maribel, so he takes what How-Baby tells him seriously. Although Mack ultimately does not take the job How-Baby offers, their interactions demonstrate The Importance of Chance Encounters to personal development.

“‘You have to leave!’ Love was so disappointed with herself, letting this get out of hand. First he wanted to visit Colorado, then move there, and the next thing she knew he would be asking her to marry him, he would be interested in fathering the child that was only minutes old inside of her. ‘Get out!’ she said, pointing at the door.”

This argument between Love and Vance occurs when Love is newly sure that she has conceived. She previously convinced herself that she and Vance have a casual relationship that will last only for the summer. As Vance speaks of the future, she panics because anything more serious isn’t part of her carefully arranged plan for having a child. Nevertheless, she can’t help feeling later that she needs to tell Vance what is going on. Though the immediate result of the argument is an agreement to keep their relationship a summer fling, it marks the moment when Love begins to consider something more.

“Jem wiped at his tears angrily […] He barely knew the guy. So he was dying, so what? They were all going to die, every single person, no one would escape it. Jem was going to die, Maribel, Mack, the girl Jem left at the Muse, the cab driver, Jem’s parents, Gwennie, Mr. G, Mrs. Worley. Everyone. So why the tears? Maybe because life felt good—even though Jem was miserable about Maribel, it felt good to hurt, to yearn, to want. It felt good to drink twelve drinks in one night, it felt good to empty his stomach on the side of the road, it felt good to submerge his body in the cool water and watch it shine and sparkle around him.”

Neil’s announcement that he has cancer leads Jem to cry, a reaction that surprises him. His grief is for Neil, whom he has come to consider a friend, but he is also moved by the fleeting nature of life and the way it heightens his appreciation of its beauty. The two men are swimming in the ocean surrounded by phosphorescent organisms that create an aura of light around them that Jem feels is “like magic.” The contrast with death makes Jem vividly observe “the shine and sparkle” of the sea. He suddenly realizes that “to hurt, to yearn, to want” is part of life’s journey and that even though these experiences may be temporary, they are precious. This moment starts a profound change in Jem as he begins to fight for what he wants his life to be.

“Inside was a check for fifteen thousand dollars and two one-way tickets from Nantucket to Los Angeles, courtesy of Rosenblum Travel. The note attached said: ‘Get her. NR.’”

Neil’s monetary gift to Jem will make Jem’s dream of going to California and starting a business accessible, which shows that he has faith in Jem. Further, the tickets and note show that Neil believes that Jem can win Maribel back, something that Jem has doubted. Unlike Jem’s parents, Neil treats Jem as an adult with a future of his own, further bolstering Jem’s resolve.

“I’m sure you two are pissed like never before, and I’m sorry. You are great parents and I understand why you didn’t want me to go. But I had to chase this feeling because it’s the best feeling I’ve ever had. You two love each other, think of life without that and you’ll understand why I left. I’ll call to let you know I’m okay but don’t come after me because it will be an impossible search. I love you both and I’m sure you think leaving is easy for me, but trust me, it isn’t.”

The note Cecily leaves for her parents before heading to Rio acknowledges their feelings but asserts her own will. Her sense that Gabriel is special makes her need to pursue their relationship, but she realizes that doing so isn’t without risk, which is a sign of maturity. The note also shows that Cecily is trying to be sensitive to her parents while fulfilling her own needs. For instance, she urges them to see her love for Gabriel as a testament to the example of devotion that they provided, implicitly thanking them for their parenting.

“‘I know,’ Maribel said, and she felt a stab of pain. Lacey Gardner had filled the role of best friend while Maribel had tried so desperately to fill the role of wife. Maribel had missed what was most important. She listened to Mack cry, shushing him every once in a while, marveling at how her love for him was like something she held underwater—as soon as she let go, it bobbed to the surface. She wanted to repeat over and over, ‘I’ll be your friend, Mack, I’ll be your friend,’ but she wondered if it was too late for that. Lacey was dead. The world as they knew it was ending.”

After Mack tells her that Lacey has died, Maribel realizes that to be someone’s friend is the utmost gift. Maribel’s desire to get married left her unable to recognize the kind of emotional support that Mack needed. Though the novel suggests that this isn’t entirely Maribel’s fault, it does shape her regrets and leads to her epiphany regarding Jem. She realizes that Jem acts as her own friend and that she wants to try to be his. While a part of her still loves Mack, she knows that it is time for them to move apart. Lacey’s death is thus a symbolic end for Mack and Maribel as well: They are no longer in the same “world as they knew it.”

“He squeezed his eyes shut. I love you, too, Gardner, he said. Thanks for being my friend.

He let Lacey go.”

Letting go of Lacey’s ashes is an important moment for Mack. Like telling Bill that he’s staying and accepting his love of Nantucket, Mack’s goodbye to Lacey is also a goodbye to his parents. When he attends her memorial, Mack remembers the service for his parents and how who they were got lost “in the sadness” of the funeral in a kind of second death (326). In grieving Lacey, Mack confronts a gentler dissolution of self: Echoing Jem’s experience in the ocean, Lacey’s choice to spread her ashes over Altar Rock shows Mack that it is possible to “become one with” a place (325). When he lets go of her ashes, he takes a leap of faith that she, like his parents, will still surround him, never leaving his heart. This allows him to let go of grief.

“Look at the way she announced her pregnancy. She’d resolved to keep it a secret, but then Lacey died, and although Love didn’t know Lacey that well, she felt something up on Altar Rock, some sort of movement, a rush, what Vance would call a ‘gut feeling’ that Lacey’s death and her child’s conception were not unrelated. They were part of a cycle, they were part of how the big picture worked. And descending into the moors—the breathtaking green-red-gold moors of Nantucket, Love blurted out the news.”

Lacey’s passing makes Love realize that there is a “big[ger] picture” and that she does not want to be alone. Love later describes the “movement” she feels here as “her heart open[ing] up to include other people” (331), particularly Vance. Love no longer wants her life to be “charted, graphed, strategized” (331). Instead, like Mack, Maribel, and Jem, she realizes that she can let go of her previous plans and embrace a new connection.

“Steamship Wharf: the place where twelve years before, he’d stepped off the boat thirty seconds behind Mack, thirty seconds too late. He’d spent a fair amount of time over those years bemoaning this fact. But now, he realized, it didn’t matter. He was going to be a father. A father! Vance climbed into his car and drove off the wharf, and it was as close to a fresh start as he’d ever hoped to have.”

Vance gets rid of the gun he pocketed from Arthur Beebe’s room when he learns that he’s going to be a father. He is now ashamed of using it to threaten Mack and wants a “fresh start.” While he doesn’t plan to drop it into the water off Steamship Wharf, it becomes an appropriate place for his symbolic action of letting go of the past. He proves he’s done with his hatred of Mack and the anger he has carried for so long. He realizes that it no longer matters that he was “thirty seconds too late” because he has much bigger things to look forward to.