40 pages • 1 hour read
Sue Monk KiddA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The theme of grief is so prominent in this novel it could almost be seen as a character itself. Lily holds the grief of her mother leaving her, of causing her mother’s death, and of being rejected by T. Ray. She spends most of her young life longing to be loved: “Children did not have two parents who refused to love them. One, maybe, but for pity’s sake not two” (41). To cope with her grief, Lily creates a narrative in which her mother is perfect and loving, and while her mother may have been loving, it was Deborah’s own grief, sadness, and depression that rendered her unable to care for Lily in the way Lily always wanted.
T. Ray is cruel to Lily because he cannot see her outside of the grief he has experienced with her mother. Because T. Ray cannot feel his grief or give voice to it, he is also unable to let it go. Lily does not recognize this until the end of the novel, but when she does, it is a powerful reminder of what can happen to a person when they stuff all their grief away.
June’s grief over the heartbreak that she experienced years before results in her fear to commit to the man she loves. June’s other major grief, the one that Lily cannot seem to understand, is over the fact that August worked for a white woman for so long. This grief is not contained to the one circumstance of August’s work situation, but the reality of America and how white supremacy has caused and will continue to pose a threat to the pink house and those who live and worship there. Zach’s grief over the system of structural racism turns into anger and then motivation as he longs to be part of a system that will “bust ass with the truth” (121).
May’s grief is the most encompassing of them all and is a direct result of racism and oppression. May’s state of being is a response to April’s grief over the racist reality she lived in, and when she can’t bear it any longer, she dies by suicide. August and June have been grieving May long before they find her drowned in the river, a fate that they always seemed to feel coming. May’s character is an example of what happens when one is overcome by grief, when there is no protection between oneself and the world of heartbreak. May’s grief is caused by institutional racism, and for her, death is the only relief.
While highlighting the many tolls grief may take, the novel also examines how people may lift themselves out of grief. August shows Lily that while the burden of one’s grief may never be totally lifted, sharing it with others can make the load a little easier to bear.
Before Zach ever gives Lily the notebook for her future stories, August introduces the concept of storytelling as a powerful force to understand one’s life by. August shares many stories with Lily over the summer, one of them being the story of the bees. In teaching Lily how to care for the bees that make the Black Madonna honey, August is doing more than imparting a skill to Lily; she is giving Lily a view of a family ruled by and centered around one woman, the queen. While August can be seen as the matriarch and queen of this hive/house, she is also referencing Black Mary. All Lily has wanted her entire life is a mother, and when the truth about Deborah is disappointing to Lily, August challenges her to look to Mary as a mother, but also to look within herself, to write herself into the story of being mothered.
August tells the story of Our Lady of Chains repeatedly because she recognizes the importance of remembering and she sees how people’s stories about themselves and the world around them can become true. She tells Lily later that the story of Our Lady may not factually be true, but that while the ship statue may not have actually been Mary, she took on the spirit of Mary because that’s what the people needed her to be. The power of the Black Mary comes from those who fished her out of the water, who gave her power when they gave her a story. As August explains, “She’s really just a figurehead off an old ship, but the people needed comfort and rescue, so when they looked at it, they saw Mary” (141).
August tells Lily about the tradition of storytelling beginning with her grandmother by sharing her memories of these visits with Lily. Lily is envious of this memory of August and her sisters and laments, “I was wishing I had a story like that one to live inside me” (142). Lily expresses that the only story she does have is the one in which she kills her mother. What Lily fails to recognize in this moment is that August has chosen that, the story of her grandmother and her love, as the story she will live by and not any of the other countless stories in which she has likely experienced racism, discrimination, or loss. Lily will come to realize that she has other stories she can live by, other loves that she can count on, and that it is up to her to choose which stories she wants to take up space in her heart.
This book is made up of almost all female leading characters, and this setting disrupts Lily’s more conventional ideas of what makes a family and a home. Lily witnesses the Boatwright sisters’ care, love, and power in how they look out for each other, those in their community, and eventually Lily and Rosaleen.
Lily shows up in Tiburon looking for a very particular kind of motherhood story: She is hoping to find the origins of her biological mother and confirm that she was never actually abandoned. Lily has decided that her own mother’s failure in motherhood is a direct result of how lovable she herself was and is. Lily has decided that confirming that her mother never intended to leave her is the key to her being able to love herself and stop living in the past.
Lily’s entire identity is centered around being motherless; as she notes, “You can tell which girls lack mothers by the look of their hair” (3). Lily not only always views herself as being someone without a mother, but also thinks that is how everyone else sees her as well. Lily’s desire for her mother is complicated because she holds both the desire for love from her mother and the need to be forgiven by her for accidentally killing her. Lily cannot receive either of the things that she wants from her mother, and it is in spending the summer with the Boatwright sisters that she learns she has the power to know her mother’s story, remember her, and let her go. Lily learns that any love and forgiveness she needs will have to come from within herself. August tells Lily this when she expresses her hope that “Our Lady could act for Deborah and be like a stand-in mother for you” (287).
While Lily has spent all her life mourning the mother she never knew, she has overlooked a type of mother she was given in Rosaleen. Rosaleen may not be exactly what Lily wants in a mother, but Rosaleen loves and cares for Lily and looked out for her when no one else did. Lily is only able to recognize all the motherly love she does have once she lets go of the idea of the motherly love she was denied. She recognizes the power of this group of women and their love for her when she says, “And there they were. All these mothers. I have more mothers than any eight girls off the street. They are the moons shining over me” (302).
By Sue Monk Kidd