When the World Tips Over

Jandy Nelson

56 pages 1-hour read

Jandy Nelson

When the World Tips Over

Fiction | Novel | YA | Published in 2024

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Themes

The Effects of Parental Abandonment

Content Warning: This section of the guide includes references to mental illness, substance use and addiction, sexual assault, death, violence and child abuse.


When the World Tips Over explores the power of bonds between families and especially the emotions generated by familial relationships. Family bonds can be nurturing or destructive, as events of the novel show. One of the most powerful relationships that shapes a personality is the bond with a parent, and breaking that bond can have lasting and formative effects.


Early chapters of the novel illustrate this power through the impact that Theo Fall’s leaving Paradise Springs has had on his family. Theo is described as a larger-than-life character, a powerfully charismatic personality whose skills at wine-making have become legendary, given the way people describe the effects of drinking Fall wines. Gossip around town that Theo has been sighted here and there—and Dizzy’s certainty that she has seen him on the ridge above their property—give him the aspect of a ghost, a presence that lingers despite his long absence. For Dizzy, who sees other ghosts she will later learn are her ancestors, this is almost a comfort. She takes further comfort in the bond with her mother, whose skill with food she has inherited; Dizzy loves and adores Chef Mom. But her euphoria when she meets Theo again—and the way she immediately recognizes him, though she’s never seen him in person—suggest that his absence has been significant for her, and the longing for a relationship has driven her in ways she has not acknowledged even to herself.


Miles, who did know his father, shows the harm of parental abandonment in the way he has internalized this as a rejection of himself. Miles’s realization that he is gay—and his fear that his sexuality will not be accepted or that he will be unable to find love—makes him sensitive to all forms of rejection. When Miles meets Theo—and he, too, instantly recognizes him, with the same kind of intuition that moves Dizzy—he directly confronts the issue of Theo’s abandonment as a formative wound: Miles “wondered now how much of the yearning at the core of his being, the feelings of emotional exile, all the lonely hope-bitten hours, were because this man had left him” (409). Wynton feels a similar rejection, but his hurt is doubled because not only did Theo leave him, but he also learns that he is not Theo’s biological child. This knowledge makes Wynton fear he has no claim on Theo at all, and the pain of this manifests physically, literally stopping his heart.


Cassidy’s wild grief when she realizes that Marigold has abandoned her is the novel’s most direct and immediate example of the pain of parental abandonment. Cassidy is aware that Marigold has already to some extent left her; she retreats often to The Silent World, and her increased substance use after Dave Caputo’s betrayal leaves Cassidy neglected and vulnerable. But the physical removal of her mother, though for her own safety, feels like the end of Cassidy’s entire world, played out in the image of her crashing Purple Rain—their mobile home and the holder of her and her mother’s life together—into a ditch. Cassidy describes her mother’s absence as a formative influence when she tells Wynton, “my mother has become my shadow, my witness, my rage, my enemy, my ally, my yearning, my joy, my language” (414). Though Theo (whom she calls Dexter) offers a stable home and steady affection, Cassidy is hurt when she receives postcards demonstrating that her mother has continued with her life and is having her grand adventure without Cassidy.


While Cassidy doesn’t get a reconciliation with Marigold, the reappearance of Theo Fall in the lives of all four of his children is presented as a healing influence, a wrong made right. When Wynton wakes from his coma, his recovery is Theo’s music. Miles too feels righted when his father embraces him; he feels he is falling but “intuitively felt that here was someone who knew how to catch him, here was someone who knew he needed catching” (425). For Dizzy, the recognition that her father shares her synesthesia and her love of bizarre facts confirms their bond, and she is immediately prepared to add Theo to her people-pile (the group of people she loves). The sense of completion and reintegration in the final scene in Wynton’s hospital room suggests that, while the pain of parental abandonment is deep and lasting, the reunion with the lost parent can repair those wounds.

Romantic Love as Destiny

The word beshert appears in the novel as a way to describe how two people belong together, including Theo and Bernadette, Alonso and Sebastian, and, it’s implied, Cassidy and Wynton. Beshert is a Yiddish word that translates to “destiny” and in Jewish belief is often translated to “soulmate,” but a deeper understanding of the concept refers not just to belonging to a person but to finding one’s larger place in the world along with that person. There’s an ancient Jewish belief that God arranges couples before they are even born, determining who is destined to be together, and this beshert guides the two souls together during life. The novel makes use of this nuanced interpretation to show several examples of characters who, in following their passions, discover their beshert, their destiny.


Wynton and Cassidy play out this concept in their meeting in the meadow when both are 13. While this encounter might be coincidence, to them, it is fated. Cassidy was brought to Paradise Springs by her mother in search of Dave Caputo, only to find that this is The Town her mother has been dreaming about for years. Wynton is summoned by the trumpet music he often hears, music he associates with Theo Fall. The magical elements propelling each of their movements suggests that meeting in the meadow is meant to be, and their bond is cemented by the way they confide in and console one another. Likewise, a magical element marks Alfonso and Sebastian as destined to be together; when they embrace, they both rise into the air, a metaphor for the sense of euphoria that intense passion and affection can generate.


Bernadette introduces the word beshert in association with Theo, and the wedding ring Theo carries in his pocket signifies his sense that Bernadette, too, is his person. But Bernadette’s example shows that finding one’s soulmate doesn’t automatically equate to happiness. Her affair with Clive breaks up her marriage, and she spends 12 years without Theo, proving her regret and longing in the dinner she cooks for him every night. Thus, while beshert may lead one to their destined partner, their life together might still hold sorrow. This is further demonstrated by the love of Alonso and Sebastian, who both die at the hands of Victor, though they remain together as ghosts. Marigold and Dave Caputo might each see the other as a destiny—Dave describes Marigold as the dream he, too, was looking for—but their circumstances don’t bring them together. The concept of destiny holds out an alluring promise for happiness and fulfillment, but it is not a guarantee.

Healing Intergenerational Trauma

Each of the major characters in When the World Tips Over experiences significant loss, and these losses reverberate through generations. While romantic love plays an important role in the lives of these characters, sibling bonds and sibling rivalries exert just as powerful an influence, and these connections through blood and family can be inherited like a genetic trait.


Cassidy says of her relationship with Marigold, “There’s an invisible artery joining the hearts of mothers and daughters through which pain is transferred from one generation to the next” (179). Marigold’s frequent depressive episodes mean that Cassidy is often left to her own devices. When her mother enters what Cassidy calls “The Silent World,” Cassidy feels abandoned and even grief-stricken—a grief that intensifies when her mother leaves for good. In this way, Marigold’s pain is passed down to Cassidy, who must rely on her own inner reserves of love and resilience to overcome this intergenerational trauma.


Other forms of intergenerational trauma play out between the men in the Fall family: in Diego’s bitterness that Sofia had a son with Esteban the poet and in Hector’s jealousy of anything Alonso has, which transfers to Victor’s jealous murder of Bazzy and, in a more muted way, Clive’s desire for Bernadette, though he knows she is involved with Theo. The trauma repeats with Wynton and Miles after Wynton suspects they are not fully related by blood and he resents Miles’s closer bond with Theo. This jealousy becomes the intergenerational trauma, the curse handed down through the Fall family, and it requires the restoration of the lost parent—in this case, Theo—for both brothers to realize their love for one another.


The power of sibling love manifests in other relationships as well, most prominently in Bernadette’s grief over losing her brother, Christophe. She describes this as a kind of dismantling of herself. Her longing for that relationship manifests in the letters she continues to write him, a way to preserve that important and nourishing bond. Theo and Clive also exhibit a strong sibling bond, shown in the way they initially refuse to fight one another at Victor’s insistence. It takes competition for Bernadette’s affection to break that alliance. The unique power of siblings to nurture and support one another is reflected as well in Cassidy’s feelings about Miles and Dizzy, and theirs toward her; all three feel the pull of the sibling bond even before, in Miles and Dizzy’s case, they knew it existed. Together, these characters suggest that grief and intergenerational trauma can be powerful motivators in the search for destiny and love.

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