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Meagan ChurchA 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 and gender discrimination.
Lulu’s stamp books, which she redeems for household items and personal goods, are a symbol of her desire for time alone to spend as she chooses. This activity, her only intellectual outlet, is performed “in the hour between when Henry le[aves] for work and Wesley w[akes] up” (9). Most of her life is devoted to caring for Henry and Wesley’s domestic needs: cleaning, cooking, shopping, and so on. However, her stamp books are an enjoyable break from the otherwise routine and monotonous days: “one of [her] favorite pastimes, especially when [she] needed a moment to get lost in a rhythm” (9).
The stamp books also symbolize the positive and negative sides of postwar consumer culture in the US in the 1950s. Lulu has had little choice over the place where she lives: They moved to Greenwood for Henry’s job, Henry chose their home’s floor plan, and his mother selected their décor. Lulu, who dislikes Henry’s mother’s style, often redeems her stamp books for items to replace the objects her mother-in-law foisted upon her—the only way she can reject this unwanted inheritance and make the space she lives in her own, given the fact that she does not have her own income or access to money. Lulu’s loyalty-program reward stamps give her a chance to experience a taste of freedom in a life mostly devoid of it.
The Good Housekeeping cleaning schedule is a motif that highlights Female Isolation and Conformity. This magazine insert is a prescriptive routine for housewives, outlining which household tasks should be done each day of the week to keep one’s home ideally clean and one’s family always fed. Lulu describes the schedule as “the key to being a good housewife—or at least a decent one” (14). Enforced domestic chores do not create a fulfilling life, but Lulu thinks she is the only woman for whom the completion of menial tasks feels burdensome and unpleasant. She believes that “everyone on Twyckenham Court follow[s] it. Except for [her]. But they d[o]n’t know that” (14). Lulu worries about being an outlier and a failure, comparing herself to the perfect-seeming Nora and others who conform in a robotic way: “It was as if the schedule was embedded in their programming” (14).
The cleaning schedule also emphasizes Patriarchy’s Infantilization of Women. When Nora explains the schedule to Lulu, she describes it as something to adhere to without question: “The point is so you don’t have to think about it. You just do it” (15). Nora suggests that it’s a relief not to have to think, which protects from considering life satisfaction. Unlike men, who are never told not to “think about” aspects of their lives they dislike, women are compelled to maintain complacency and obedience.
Lulu’s gelatinous dishes symbolize her role in the community. After preparing her first Jell-O creation, she saw that the flattened persona of the Jello-O master “was who they expected [her] to be. So [she] played along. [She] bought more molds” (26). Tamping down other aspects of herself and self-conscious of her outsider status as someone who grew up on a farm, Lulu hopes that, by embracing her role as the Queen of Jell-O, she can become “one of them” (26). This is one reason why she gets territorial when Bitsy brings a Jell-O dish to their card game: Jell-O has become her identity.
Lulu’s dishes also signify her psychological unwellness. At the Mayfields’ New Year’s Eve party, she compares herself to the not-quite-solid dish: “the perfection salad in the center of the table moving, jiggling, swaying from side to side, looking as if it might fall at any minute […] my insides felt like they were oscillating along with the salad” (27). The wobbly gelatin reminds Lulu of her own inability to be at ease in the role she feels compelled to perform.



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