60 pages • 2-hour read
Meg WolitzerA 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 mental illness, illness or death, emotional abuse, substance use, addiction, and child abuse.
In September 1984, Ethan and Ash dine at an expensive Japanese restaurant in New York City with network executives. The executives have ordered a full season of Ethan’s animated show, Figland, and Ethan has made himself indispensable by voicing two recurring characters. The show follows Wally Figman, a lonely boy who creates a clay planet that becomes real; inside it, he becomes a clueless grown man. Uncomfortable with the formality, Ethan grows anxious about whether the show will be an artistic failure. Ash recalls visiting a similar restaurant as a child with her father, who taught her to use chopsticks.
Almost three years earlier, Ethan had been hired by The Chortles, an adult cartoon. At the time, Jules was pursuing comedic acting, Ash dramatic acting and experimental theater directing, and Jonah, recently out of the Unification Church, was looking for engineering work. Ethan took the job to stay in New York despite disliking the show’s mean humor. On a staff trip to Maui in December 1982, he realized he was experiencing depression and decided to quit. He called Ash to inform her how this would affect the income that supported both of them, left a note for his boss, and returned home.
Days later, Gil invited Ethan to lunch and urged him to pitch Figland assertively and make himself indispensable, acting as a surrogate father to Ethan. Before lunch, Gil nervously showed Ethan his private charcoal drawings, including one of young Ash and Goodman. In the months that followed, Ethan sketched Figland obsessively. Friends visited, including Jules with her new boyfriend, Dennis. Ethan still felt drawn to Jules but forced the thought aside, remembering a college incident when he inappropriately touched her. Ash reported then that Jules’s acting teacher had humiliated Jules; Jules later considered becoming a therapist and won a scholarship to Columbia’s School of Social Work. Ash shifted to feminist theater directing at her own company, Open Hand. Months later, Ethan pitched Figland and was given his own show.
Back in September 1984, after dinner, Ethan and Ash walk down Madison Avenue in light rain. Still anxious, Ethan recalls caring for his dying mentor, Old Mo Templeton, and credits Gil’s advice for his success. When Ethan worries over the success of the show once more, Ash raises ideas from The Drama of the Gifted Child to highlight the different circumstances of their upbringing. Ethan refuses to leave New York to please her parents and suggests hiring a private detective to find Goodman. Ash is devastated, warning that finding Goodman could create legal trouble. Ethan apologizes and vows never to raise the subject again.
Dennis rushes out early one morning to buy the May 1986 issue of Media Now, which publishes an annual list of the 100 most powerful people in media. He returns to their cramped West 84th Street walk-up to tell Jules that Ethan has made the list at number 98. The ranking triggers a prolonged, painful conversation between Jules and Dennis about the widening gap between their lives and those of their closest friends.
The chapter backtracks to cover several years of the two couples’ shared history. Jules and Dennis married earlier that year in a modest ceremony, with Ash giving a warm and memorable toast. Two months later, Ash and Ethan held a lavish 200-guest wedding at the Water Club. Though the Wolfs’ secret continues to bind Jules and Ash together, Jules has told Dennis everything about Goodman. Dennis reacted with shock at the Wolf family’s arrogance, though he has kept the secret faithfully.
Through the mid-to-late 1980s, the couples take vacations together funded by Ethan, traveling to Tanzania, Paris, Madrid, and Venice. Jules watches Ethan gradually grow comfortable with wealth and privilege, a change that quietly disappoints her. On a trip to Venice, Ash slips away to Oslo, ostensibly to research an Ibsen production, but Jules knows she is meeting Goodman in Norway. The narrative provides an update on Goodman: he has survived drug addiction, completed a recovery program in Iceland, and now lives alone above a fish shop with financial support from his family.
Back in New York, Ash’s production of Ibsen’s Ghosts receives a strong review in the New York Times and is extended, launching her directing career in earnest. At a celebratory dinner, Dennis unknowingly consumes food contraindicated by his MAO inhibitor. He collapses, vomiting, and is taken by ambulance to the hospital. Lying on the restaurant floor, Jules abandons all her resentment and simply wants back what she and Dennis already have.
The chapter opens with Jonah and his partner, Robert Takahashi, a lawyer at Lambda Legal who has HIV/AIDS, riding home from the hospital at dawn after Dennis’s medical crisis. Dennis has survived a mild stroke caused by a food interaction with his MAO inhibitor. The doctors take him off the medication immediately and predict a full recovery. Ethan insists on handling all the hospital paperwork so Jules can go directly to Dennis.
The chapter then shifts back in time to trace Jonah’s history. After graduating from MIT in 1981, Jonah was recruited by two friendly members of Reverend Sun Myung Moon’s Unification Church and, lonely and adrift, joined their commune on a Vermont farm. Jonah’s concerned friends and his mother, Susannah, drove up to retrieve him from the commune. Ethan argued passionately for Jonah to leave, and the group eventually kidnapped him, driving past town without stopping. In a midtown hotel room, a professional deprogrammer spent three days deconstructing Jonah’s indoctrination.
While deprogramming, Jonah noticed Ethan gazing at Jules with unmistakable longing and blurted out that Ethan still loved her. Ethan dismissed the comment curtly. Jonah never raised it again, but never forgot it either.
The chapter also details the beginning of Jonah and Robert’s relationship. Jonah, still working through his traumatic experiences at the hands of Barry Claimes, has always feared sexual overstimulation. Robert’s illness requires him to observe careful, controlled intimacy, which paradoxically suits Jonah well. The two men fall into a loving, serious relationship, and Jonah accompanies Robert to an AIDS protest at the White House in Washington, DC.
As a postscript, it is revealed Susannah Bay, charmed by the commune’s appreciation of her music, stayed behind on the farm. She eventually joined the church permanently and was married in a mass blessing ceremony at Madison Square Garden to Rick McKenna, a stranger from Scranton, Pennsylvania.
Aurora Maude Jacobson-Boyd is born to Jules and Dennis in 1990. The pregnancy was unplanned, conceived on a charged night after a glamorous Figland museum event left Jules feeling inadequate compared to Ash and Ethan’s life, and then suddenly grateful for what she and Dennis had. Dennis, however, has been emotionally affected after surviving his stroke. None of his replacement antidepressants have proved effective, and he loses his job at MetroCare after experiencing a mental health crisis during an ultrasound procedure. He spends years without employment, and experiences a persistent low-grade depression his doctor calls “dysthymia.”
Rather than seeking further clinical work, Dennis becomes Aurora’s full-time caregiver, a role that unexpectedly affirming. The repetitive, quiet rhythms of caring for a young child are soothing in a way adult professional life was not.
Three months after Aurora’s birth, Ash gives birth to Larkin Templeton Figman. The two new mothers bond over their shared experience of early parenthood, but their daughters turn out to be very different: Aurora is raucous, physical, and commanding, eventually renaming herself Rory; Larkin is calm, literary, and delicately beautiful. The contrast between the families deepens: Ash and Ethan move into a large Greenwich Village brownstone staffed by a Jamaican couple, while Jules, Dennis, and Rory remain cramped in their fifth-floor walk-up.
Ash visits Jules to confide in her. Ash’s parents, facing reduced finances after Gil’s retirement and the collapse of his firm, have asked Ash to take over the cost of supporting Goodman in Iceland. Ash agrees, secretly funneling a small portion of Ethan’s Figland earnings to her brother via a separate financial arrangement Ethan knows nothing about. She also maintains a secret phone to stay in contact with Goodman.
The chapter closes with Jules attending a professional conference at the Waldorf Hotel, where she approaches the elderly Dr. Spilka, Goodman’s former therapist. Jules asks him obliquely whether Goodman was guilty. Dr. Spilka first confirms he remembers the case, then insists Goodman murdered the girl and was imprisoned. Jules corrects him, and his daughter intervenes to explain that he has dementia and confuses cases. Jules is left shaken but ultimately feels no closer to certainty.
Ethan’s professional trajectory illustrates how artistic purity is compromised by commercial imperatives. Gil’s advice to pitch a new show to the network reframes the insular world of Figland from a mechanism for childhood survival into a marketable commodity. Ethan’s anxiety over the potential failure of the show highlights the tension between his original imaginative impulse and the expectations of his new corporate partners. Figland no longer belongs solely to him, it also belongs to the stakeholders who are counting on his ability to make the show a profitable venture. The transition forces Ethan to recognize that he has officially “entered the bloodstream of money and commerce” (261). This transformation anchors the theme of The Intertwining of Art, Commerce, and Morality, reflecting the socioeconomic emergence of New York’s new creative elite during this period.
These chapters also develop the theme of The Corrosive Impact of Envy on Friendship, as disparities in wealth and status transform adolescent anxieties into adult resentments. Jules’s envy of Ash and Ethan is a concrete manifestation of her desire for the freedom and insulation that wealth provides. Jules’s modest financial stability becomes threatened when Dennis experiences a stroke that reshapes their lives and forces Jules into the breadwinner position in their household. Meanwhile, Ash’s creative autonomy is implicitly subsidized by Ethan’s commercial triumph, allowing her to mount productions without financial anxiety and insulating her from the economic compromises Jules must navigate. Dennis’s illness represents the unpredictable tragedies that derail middle-class security, standing in stark relief against Ash and Ethan’s insulated domesticity. Jules’s realization that “[she] always thought talent was everything, but maybe it was always money. Or even class” (285) marks a significant ideological shift. The creative potential celebrated at Spirit-in-the-Woods is re-evaluated through the lens of socioeconomic advantage. This new clarity re-frames past interactions, turning friendly assistance into displays of class difference. The friends’ vacations, funded by Ethan, preserve the friendship between the two couples while formalizing the wealth disparity between them.
Jules’s resentment for Ash and Ethan becomes an opportunity for her and Dennis to grow closer to one another, especially when she chooses to share her secret about Goodman. For Jules and Dennis, the secret becomes a point of marital intimacy and a shared moral judgment against what Dennis views as the Wolfs’ “unbelievably arrogant” (294) entitlement. Conversely, Ash’s secrets multiply and become more isolating. Her clandestine trips to see Goodman are supplemented by a new deception: secretly funneling Ethan’s money to support her brother. This act tangles her loyalty to her family with the betrayal of her husband, showing that she remains more loyal to the former than the latter. Her financial dependency on Ethan becomes the means of her duplicity, illustrating a central paradox of her adult life. These interwoven secrets highlight the characters’ diverging moral paths and the compromises made between loyalty and honesty.
The births of Aurora (Rory) and Larkin introduce a new generation through which the themes of class and temperament are refracted. The girls function as symbolic embodiments of their respective families. Larkin is a calm, literary extension of the Wolf-Figman world of refined culture, while Rory is a force of physical energy whose declaration, “I have an itch inside my body!” (362), captures the restlessness of her parents’ life and perpetuates the dynamics between them. Consequently, Jules observes Larkin with envy, projecting her own feelings of inadequacy onto her daughter. The children become new markers in the ongoing comparison of lives, suggesting that anxieties of status are often passed down.
Chapter 12’s extended flashback deepens Jonah’s characterization, providing a counterpoint to the focus on wealth and creative success. Jonah’s story explores trauma, faith, and the search for stability. Jonah’s characteristic reluctance to speak about his past is undermined by the structure of the text when the novel reveals how he pivoted away from music and became susceptible to the influence of the Unification Church before meeting Robert. In the present of his narrative, Jonah’s unvoiced history shapes his lifelong struggle with direction and intimacy, affecting his careful, boundary-driven romance with Robert. By anchoring adult behaviors in unresolved problems of the past, the text suggests that identity is shaped by the enduring weight of concealed histories.



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