The Names
53 pages • 1-hour read
Florence KnappThe Names
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Symbols & Motifs
Content Warning: This section features depictions of physical and emotional abuse.
Names
Knapp’s motif of names shifts and evolves in its thematic significance as the story progresses. Initially, the act of naming reflects The Large Impact of Small Choices. Cora agonizes over registering her son’s name as she believes her decision will influence the formation of his character and his life’s trajectory. The idea is based on the theory of nominative determinism, which suggests that names can consciously or unconsciously guide individuals toward certain paths in life, such as pursuing professions that align with their names. Early in the novel, Gordon provides an example of this phenomenon when he observes that the name “Mr Legg is pretty common” (2) amongst orthopedic surgeons.
Cora’s inherent belief in the significance of names in determining one’s fate establishes the central premise of Knapp’s novel. For example, Cora fears that naming her daughter Maia (meaning mother) may have had unintentional consequences. While she chose the name to create a special connection with her daughter, Cora notes that Maia emulates her placatory behavior toward Gordon and is concerned that she will repeat the same patterns. Her aversion to calling her son Gordon stems from a similar anxiety, as, for her, the name is synonymous with cruelty, control, and abuse. To Cora, the patriarchal tradition of passing a name down the generations “feels like a chest-beating, tribal thing” (6) that ignores the individuality of the child.
In the narratives where Cora chooses a different name for her child, her decision acts as a metaphor for redirecting her family’s legacy. The acts of defiance endanger her but also provide a source of empowerment, signaling resistance to Gordon’s control and abuse. The associations of the names Julian and Bear convey her aspirations for her son. She hopes that the meaning of Julian (“sky father”) will help him transcend “a long line of troubled earth fathers” (4), while Bear will be both gentle and brave. Cora perceives each name she chooses as a “mould” into which “she must now pour the goodness of her son […], hoping he’ll be strong enough to find his own shape within it” (1). Knapp nuances this determinist view in the resolutions of each of the three threads—like Bear and Julian, Gordon Jr. eventually breaks free of his father’s abusive influence and embraces his authentic nature.
In charting the lives of Bear, Julian, and Gordon Jr., Knapp examines how far the expectations attached to their names are fulfilled. Fearless yet gentle, Bear becomes the living embodiment of his name. At the same time, the extreme violence the choice triggers in Gordon means that Bear’s “name—his essence—bec[omes] inextricably linked with a man’s death” (217). Furthermore, Bear feels the need to live up to his name’s adventurous associations, to the detriment of his relationship with Lily. Meanwhile, Julian’s sensitivity and creative streak fulfill the ethereal associations of his name, but he is haunted by his father’s legacy, struggling to rise above the past. Gordon Jr. initially reflects the toxic legacy of his name as his behavior echoes his father’s traits. However, he ultimately subverts the name’s associations as he chooses a different, redemptive path, rejecting his father’s values.
Art and Creativity
Knapp’s background as an expert crafter and the author of books on quilting and sewing informs her use of art and creativity as a motif within her novel. Her passion for arts and crafts shines through in the novel’s symbolic depiction of art and creativity. Throughout the story, artistic activities represent authentic self-expression while also serving as a therapeutic source of psychological healing.
Cora’s life with Gordon starkly contrasts with her former existence as a ballerina. Her recollection of “how years earlier, as a ballet dancer, her own body had been alive, alert, attuned to music” (21) emphasizes that her marriage erodes the sense of vitality and joy that this art form once gave her. By throwing away Cora’s radio, Gordon deprives his wife of her last connection to her passion for music. The act is part of his ongoing campaign to strip away every aspect of his wife’s identity and individuality.
For Julian, creativity becomes a lifeline in the aftermath of his mother’s death. As a child, making spangles for lace bobbins serves as therapy, helping him to cope with his unresolved trauma. In later life, his artistic sensibility leads to a successful career as an artisan jeweler. Knapp conveys how converting raw materials into objects of beauty provides an outlet for Julian’s emotions, allowing him to express feelings he represses in everyday life. He also finds “his people” among a group of fellow artists, including his wife Orla, whose geometric wooden artworks are reminiscent of patchwork quilts.
Gordon Jr.’s route to art and creativity in the novel is more sporadic, reflecting his conflicted identity. His innate capacity for sensitive self-expression is illustrated when, as a seven-year-old, he decorates the “Luke” name card he creates with space imagery. However, his father’s oppressive influence prompts him to stifle this aspect of his character. Instead, he increasingly turns to math, a subject based on logic and certainty. Only later in life does he return to art, trading investment banking for a more rewarding job in an art gallery. The role of art in Gordon Jr.’s journey toward authenticity is also highlighted in the symbolism of the Goya painting, Saturn Devouring His Son. Learning that Saturn’s son, Jupiter, later usurped his father, Gordon Jr. interprets the painting as representing his liberation from his father’s oppressive shadow.
Animals
In The Names, the motif of animals is used to reflect the characters’ inner lives, relationships, and transformations. As the main characters’ associations with animal imagery evolve throughout the novel, the differences in the parallel narratives are emphasized.
In his life as Bear, Cora’s son embodies the dual meanings of his name. He is fearless, like a wild bear, but also kind and gentle, like a teddy bear. Bear’s “animal energy” makes him a vital force in the lives of others. By contrast, Julian is compared to “a tadpole gathering courage to metamorphose into a frog” (228). The metaphor highlights how, for many years, Julian is paralyzed by self-doubt until he is finally able to live a full and vivid life.
In Bear’s narrative, Maia’s brother calls her “Bees” because of a game they played as children. Bear’s declaration that “We’re creatures. I’m Bear, she’s Bees” (52) highlights the easy natural connection between the siblings in this iteration of the story. This bee imagery is echoed in Julian’s storyline, but with entirely different implications. Returning from the registry office, Cora notes her daughter “is humming, a low, frantic sound, full of erratic key changes” (22). The frenzied buzzing noise reflects Maia’s anxiety over how her father will respond to her brother’s name. Later in this narrative, a therapist observes that Maia used the “fawn” response in interactions with her father. The comment refers to Maia’s attempts to appease her father’s temper while ignoring her own needs, a natural human reaction to trauma. Maia’s visual image of a “baby deer—quiver-legged, dapple-spotted, vulnerable” (55) powerfully conveys the fear and anxiety that have dominated her life.
Cora is also linked with animal imagery throughout the novel. Gordon’s abusive dehumanization of his wife is emphasized when he makes her eat from a bowl on the floor like a dog. Meanwhile, a figurative description of Cora as a pinned butterfly highlights how her husband effectively imprisons her. Later, liberated from her husband’s control, she is compared to “a creature emerging from hibernation” (279). The image underlines Cora’s journey from captivity to freedom.
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