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Content Warning: This section of the guide includes discussion of illness and death.
In The Penderwicks on Gardam Street, the widowed Martin and his four daughters navigate the complex process of learning to love again after loss. Initially, all of the sisters staunchly oppose their father dating because they have negative associations with stepparents due to their experiences with Jeffrey’s stepfather and Anna’s various stepmothers. Rosalind in particular struggles with the idea of someone replacing her beloved mother and altering the family structure, which is why she proposes the Save-Daddy Plan even though it conflicts with her conscience: “She knew in her deepest heart that a more honest title would be the Save-Rosalind-and-Her-Sisters Plan, but she was not ready to admit that even to herself” (68). Over the course of the novel, each of the four sisters bonds with Iantha, who is pivotal to their process of learning to love again.
The Penderwick sisters’ embrace of Iantha as a surrogate mother marks the completion of their emotional arcs. The love between Iantha and the Penderwick siblings evolves so gradually and naturally that Rosalind doesn’t realize that the family has already embraced a new mother figure until Chapter 20. Watching Iantha and Martin together, she reflects: “What if Mommy was right about Daddy getting lonely and needing a grown-up woman to talk to besides Aunt Claire? [….] [W]hat if he dates and then marries someone really nice and kind and smart?” (275). Birdsall emphasizes the girls’ emotional healing by having Rosalind propose “the new and improved Save-Daddy Plan” (277), in which they actively encourage and enable Martin’s romance with Iantha rather than attempting to sabotage it. The sisters’ roles as bridesmaids in Martin and Iantha’s wedding and the toast they give at the reception reinforce the growth and healing they’ve experienced as a family.
Lizzy’s letter and favorite act as symbols of the complexities and challenges of learning to love again. Lizzy’s letter gives Martin not only her express permission but also her ardent encouragement to move on after her death. As Martin notes: “Lizzy knew I’d miss her. […] She talked to me then about dating, and asked me to promise her I wouldn’t be alone forever” (67). However, Martin’s arc demonstrates that, like the grieving process itself, learning to love again after loss can be a slow and painful process as well as a source of healing and solace. Martin invents the story about Marianne—a character from Lizzy’s favorite book—because he still isn’t ready to move on four years after Lizzy’s death. He spends the “dates” he claims to have with a woman named Marianne reading Sense and Sensibility—a way to spend time with his late wife and continue to grieve her loss. By the end of the novel, Sense and Sensibility facilitates his conversation with his daughters in which he communicates openly and vulnerably about his desire to grieve on his own terms.
Iantha’s character arc is one of the novel’s key examples of the transformative, healing power of learning to love again. She goes from a lonely, widowed single mother to the happy, thriving mother of five. An important factor in Iantha and Martin’s compatibility is that she understands his situation on a deeply personal level. In her own quiet way, she also works through the pain of losing a spouse over the course of the novel. The epilogue brings the theme to a joyful conclusion as Martin and Iantha’s wedding proves that both adults have reckoned with the pain of losing their spouses and are ready to embark on a new love story together.
Consistent with the family stories tradition in children’s literature, The Penderwicks series concludes its narratives with moral lessons. This sequel gives particular attention to the virtues of honesty and loyalty. From Jane’s play, Sisters and Sacrifice, to Rosalind’s Save-Daddy Plan, Birdsall fills the novel with moments to help teach her young readers the importance of telling the truth and showing loyalty to their loved ones.
The novel’s central plot—Martin’s attempts at dating and the girls’ attempts to sabotage him—lays the groundwork for Birdsall’s thematic examination of honesty. The girls breach the family’s code of honor by going behind Martin’s back to implement the Save-Daddy Plan—a choice that causes them immense guilt. Jane laments that they are “caught in a web of lies and deceit” when they arrange his date with Lara (84). At the same time, Martin’s fear of reentering the dating pool and his shame about contradicting his late wife’s wishes lead him down his own path of deception. The more he lies about “the mysterious Marianne” (190), the more strained his relationships with his daughters, especially Rosalind, become.
Birdsall uses the Sisters and Sacrifice sublot to demonstrate the sisters’ loyalty to each other and teach them the virtues of honesty. The middle sisters have completed each other’s homework before, but this time the effects of their deception spiral far beyond their expectations when Skye’s teacher decides to stage the play Jane wrote and casts Skye as the lead. Like the other members of the Penderwick family, Skye and Jane have a strong sense of ethics. The escalating deception needed to maintain their original lie troubles their consciences, as Skye notes when she sees herself listed as the author on the play’s programs: “Deceit multiplied by the number of people who read this program. How much deceit does that make altogether? My honor will be lower than nothing” (236). Skye’s distress at their breach of ethics intensifies to the point when she faints in the bathroom prior to the performance.
Throughout the ordeal, the sisters remain staunchly loyal to each other—Jane tirelessly helps Skye rehearse for the performance, and she refuses to let her sister shoulder all the blame when Skye offers to “say [she] stole the play from a book” (251). The girls’ decision to tell their family and teachers the truth evidences their moral character. The girls resolve to make things right by completing their original assignments themselves. Their honesty inspires similar transparency and vulnerability in Rosalind, who confesses her attempts to sabotage their father’s dates, and Martin, who reveals his fabricated relationship with a fictional literary heroine. The family members’ many confessions act as the novel’s emotional climax, reinforcing the story’s moral lesson.
Martin’s confession in Chapter 19 allows Birdsall to demonstrate that adults also make mistakes and that the important thing is taking responsibility for one’s actions. Martin’s honesty heals the distance that developed between him and his daughters over the course of the story and mends the family’s bruised trust by affirming their absolute loyalty to one another: “I solemnly swear on the Penderwick Family Honor—sullied, but not irreparably—that I’ll never choose a woman you girls don’t like and approve of” (262). Martin’s confession also facilitates the novel’s happy ending, motivating his daughters to encourage his budding feelings for Iantha. By showing how important honesty is to the loving and loyal Penderwicks, Birdsall encourages her young audience to remain true to their values.
Rosalind’s journey includes many traditional elements of a coming-of-age arc, such as the loss of a parent, experiences of first love, and developing a greater sense of independence by facing obstacles and making choices. The eldest Penderwick daughter has to mature too quickly because her mother dies when she is eight. By the time she’s 12, Rosalind has grown accustomed to prioritizing her siblings’ needs even when she’s physically and emotionally exhausted: “Really, she was dreadfully tired. But before she could rest, there was a littlest sister to check on” (141). While her younger sisters try to summon Aslan and pretend to be secret agents, she spends most of the novel worrying about their father dating.
Rosalind’s relationship with Tommy examines another common struggle faced by adolescents, the confusion of budding romantic feelings. After the disappointment of her one-sided crush on Cagney in the series’ first book, she resolves “to stay away from love […] for many years” at the start of the sequel (8). As a result, she doesn’t feel ready to acknowledge her feelings for Tommy and becomes frustrated with him and herself when he dates Trilby. At the end of the novel, learning to accept her father dating gives Rosalind a more positive view of romance in general, evidencing her growth and allowing her to imagine a not-so-distant future when she can pursue a romantic relationship with Tommy. In Chapter 21, Tommy helps her apprehend Norman even though the two seventh-graders had just argued. This reminder of their unshakeable loyalty encourages them to be honest with each other about their affections at last: “‘Maybe you and I can date when we’re older,’ said Tommy, trying to look nonchalant and failing horribly. ‘Like when we’re fourteen’” (295). Rosalind’s reply, “Thirteen, I think,” underscores her stage of life—the nexus of childhood and adulthood.
In the final chapter, Martin addresses the heavy burden of responsibility that he’s allowed Rosalind to bear: “I’ve relied on you too much since your mother died” (300). This acknowledgement eases some of the pressure on Rosalind to grow up too soon. Martin’s marriage to Iantha also frees Rosalind from her sense that she needs to be the ‘woman of the house’ or her sisters’ surrogate mother. Although Rosalind’s circumstances pressure her to grow up, the loving adults in her life take steps to allow her to enjoy the remaining years of her childhood. As the story ends, Rosalind looks forward to becoming a teenager and some of the changes that will come with growing up, but she doesn’t push herself to rush into a romantic relationship, giving herself permission to be a child for now.



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