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In a typical American suburb in Michigan, teen boys compare observations and artifacts about five attractive sisters, the Lisbon girls, and what might have led up to their deaths by suicide. They describe the death of each girl and outline pieces of gossip and observations they made before the girls died. The girls (Therese, Mary, Bonnie, Lux, and Cecilia, in descending order of age), all of whom were teens at the time, died one by one, beginning with the youngest, Cecilia.
Cecilia was 13 when she cut her wrists in a bathtub. The paramedics found her barely alive, wearing a white dress and holding a photograph of the Virgin Mary on her chest; words on the back of the photo noted how the Virgin Mary arrived to “bring peace to a crumbling world” (12). The boys watched as Cecilia was taken out on a stretcher and her mother “let out a long wail that stopped time” (4). At the hospital, Cecilia seemed numb and detached, and when asked, blamed her decision on being “a thirteen-year-old girl” (5). Cecilia was known to wear an antique wedding dress around the house, as she had on that day, and the boys have photographs that showcase how the girls looked and behaved. They describe the elm tree that the girls loved and protected, which was infested by disease and had to be cut down. It was also around this time that the suburb became overrun by fish flies, which filled the air like a black cloud.
The boys discuss the ideal and cherubic forms of the girls and how looking at them always felt like they were somehow doing something wrong. The Lisbon parents seemed not nearly beautiful enough to have produced these girls, and the boys, who watched the family as they left for church on Sundays, describe the parents as “leached of color, like photographic negatives” (6). Mr. Lisbon taught math, while Mrs. Lisbon was a homemaker who spent most of her time fretting over what the girls were wearing. A boy named Peter Sissen was once invited into the Lisbon home after helping Mr. Lisbon at school, and he conveniently found a reason to see the upstairs where the girls’ bedrooms were. There, he found all sorts of things that captured the boys’ curiosity, like the girls’ underwear, a bra hanging over a crucifix, secret stashes of makeup, and a used tampon that Peter called “a modern painting” (8). Another neighborhood boy named Paul Baldino managed to sneak into the Lisbon house using the sewer system and was the one who found Cecilia in the bathtub.
After the incident, Cecilia would come out to sit on the front lawn and stare up at the sky, and one of her sisters was always there watching over her. People in the neighborhood offered theories to the boys about the reasons for Cecilia’s actions, including the need to escape the confines of the house and not being close enough to God. A girl from Cecilia’s class at school claimed that she had developed an obsession with a boy named Dominic, and because Dominic was Italian, Cecilia had taken to eating, talking, and acting like him to gain his attention. When that didn’t work, Cecilia did what “the ancient Romans had done” (18). A psychiatrist who assessed Cecilia stated that she likely didn’t want to die and was instead calling out for an outlet and socialization. The Lisbon parents thus started allowing their daughters to behave more in accordance with their own desires and to participate in social functions.
Years later, they divorced, and when the boys spoke to Mr. Lisbon, he confessed that he found the life stifling. In particular, he found the complete lack of any other male presence suffocating and decided then to host a party for the girls. The boys were all invited, and they recall how the house was quite ordinary. Downstairs in the rec room, the lights beamed, and the boys saw the girls for the first time as individuals, rather than some unified being. They were startled to find that the girls weren’t the perfectly angelic creatures they’d imagined. Cecilia seemed uninterested in engaging and wore crayon for lipstick, along with the same wedding dress she always wore and a collection of bracelets taped to her wrist to hide her scars. A few minutes later, Cecilia went upstairs to her room and hurled herself out the window, impaling herself on the spiked fence below. Once everyone realized what had happened, guests rushed past the frozen Mrs. Lisbon and found Mr. Lisbon outside, holding his deceased daughter as best he could while she remained impaled on the fence.
The novel’s first chapter focuses entirely on Cecilia’s first attempt to die by suicide and her subsequent successful attempt. The novel’s central motif of suicide is clear from its opening line: “On the morning the last Lisbon daughter took her turn at suicide […]” (1). Cecilia Lisbon, the youngest Lisbon girl, is the first to die, and her death becomes the source of gossip and the catalyst for the slow but brutal decay of the Lisbon family and home. The novel introduces the Lisbon girls by their deaths, emphasizing how little the boys who narrate the story truly knew about the girls whom they obsessed over and scrutinized. The Lisbon girls are primarily defined by how they die, given that in life they were more like shadows on the wall than participatory human beings.
The theme of The Objectification of Women immediately emerges through the boys’ thoughts about the Lisbon girls; despite now being middle-aged men, the boys can recount the weather, what the girls wore, and who said what to whom on the day of Cecilia’s first attempt. They’ve spent years compiling artifacts and photos, interviewing neighbors, and straining their minds to recall every last detail of the events that led up to the deaths and yet are unable to answer the question of why it all happened. The story intertwines religious symbolism and sexuality, as the bra that hangs over the crucifix in one of the girls’ bedrooms most heavily symbolizes. In addition, the bra, which belongs to Lux, foreshadows her position as an archetypal temptress throughout the novel.
Cecilia’s first attempt to die by suicide introduces several of the novel’s motifs, including the idea of virginity and purity, which her young age, her white dress, and the Virgin Mary card that she held illustrate. The boys view the Lisbon girls as something apart from the world, almost angelic or otherworldly, which the inclusion of the Virgin Mary, who was chosen and separated from the rest for her purity, indicates. This commentary on the idea of purity also hints at Mrs. Lisbon’s fundamentalist religious beliefs, which are one of the sources of her strictness. Furthermore, the boys’ obsession with the girls resembles a religion because they worship and revere the girls as much as a Catholic person might revere the Virgin Mary. In the boys’ descriptions, the girls appear almost cherubic, with rounded cheeks and soft skin.
Cecilia’s death is symbolic. It serves as a foreshadowing device and sets the stage for virtually everything that follows. Although her sisters’ deaths can’t be fully attributed to Cecilia’s, the grief from their loss was likely a contributing factor, highlighting one of the novel’s main themes, The Effects of Loss. The sense of permission that many speculated the girls felt likely compounded their decision. The youngest girl attempts to die by suicide first because it’s the most extreme way to state the hopelessness and disenchantment that many youth of the era experienced. Given that the climate was faltering, cities were becoming uninhabitable, and the threat of a Cold War loomed, the isolation of the suburbs didn’t serve as a strong enough shield against the state of the world.
The boys suspect that Cecilia somehow perceived the deterioration of the world, highlighting another of the novel’s primary themes, The Death of the Future. They describe her as having “succeeded in hurling herself out of the world” (28). When she dies, the text graphically describes her as having “spattered forearms and pagan nudity” (4), suggesting that her decision to die in such a manner was an attempt to make a statement about maintaining purity in a dying world.



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