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57 pages 1 hour read

Shelley Read

Go as a River: A Novel

Fiction | Novel | Adult | Published in 2023

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Part 2Chapter Summaries & Analyses

Part 2: “1949-1955”

Part 2, Chapter 10 Summary: “1949”

In the months following Wil’s murder, Victoria becomes depressed and fatigued as her body changes with her pregnancy. She tries to cover her changes with loose clothing but realizes that she will need to leave home when she is no longer able to conceal her state. She fears that Seth will kill the baby. No one in town or in law enforcement searches for Wil’s killer, but Seth starts to take jobs far from home, only coming back briefly to contribute his pay.

In April, Victoria packs and saddles the family horse, Abel, and leaves the farm while her dad is helping with the birth of calves at another farm and Uncle Og is in his room. She leaves a note on her bed explaining that she has gone away and will not return, without explaining about Wil and her baby. She rides Abel high into the mountains and then sends him back home, forcing him to leave her by throwing rocks at him. She continues to Wil’s hut where she plans to live alone in the wilderness with her child. She sets up a firepit for cooking and attempts to dig a latrine and forage for edible plants, but the ground is still frozen, and food is scarce. A powerful storm rolls in, and she is knocked over in her scramble to reach the hut, jarring the baby and falling unconscious. Before she passes out, she is struck with the realization that her plan to live in the wilderness is not going to work.

Part 2, Chapter 11 Summary

Victoria returns to consciousness inside Wil’s hut and is comforted by the morning light after the storm. She remembers her fear when her mother died years ago, but she also recalls the courage she drew upon to persevere through her grief day by day and become the woman of the house. Victoria relaxes into the rhythms of the forest and begins to develop her skills for survival in the wild. She digs a latrine when the ground thaws, elevates her food to keep it from bears, and plants seeds for a vegetable garden.

As her son grows inside her, Victoria feels more and more connected with nature and the lives of plants and animals. She realizes that she is less afraid of living alone in the woods than she is of living in a house with her violent brother and friends, who were often threatening. 

Part 2, Chapter 12 Summary

In June, Victoria is still struggling to find good sources of food. The canned goods and pickled items that she brought from the farmhouse are now dwindling. She climbs a hill to pick berries but is too weak to return for more. She craves meals rich with animal fats and carbohydrates, and sometimes she cries when she thinks of food. She struggles to catch trout in the river, only managing to catch and eat one small fish. In the middle of the night, she wakes up starving and pulls beets up from her garden before they are fully grown, eating mouthfuls of dirt along with them.

Then, she has her first contraction. After days of contractions, she goes into labor on some blankets on the floor of her hut. When the baby is born, he is not breathing. She imagines that Wil appears, rubbing the baby back to life like the stillborn puppy he saved. She massages her son and sucks the mucus out of his mouth to clear his airways until he cries his first cry. Looking into his eyes, she feels that they are two souls reconnecting after having been apart for a long time.

Part 2, Chapter 13 Summary

Still bedridden after giving birth, Victoria wraps herself and the baby up and begins breastfeeding him. She names him Baby Blue, after Wil’s last name and the song “Blue Moon.” Her only food sources are the small vegetables that grow in her garden, for she remains too weak to go foraging or hunting. Two weeks later, snow falls and destroys the garden entirely.

After the storm passes, Victoria leaves the hut to seek help, knowing that she will starve if she stays there. As she wanders, not knowing where she is headed, she comes across a family of deer that she had observed near the hut in days past. The smallest and weakest fawn is missing, and Victoria feels desperately sad, as though it is a bad omen.

Part 2, Chapter 14 Summary

Victoria comes across a parked car in the mountains. It belongs to a young couple with a baby who have stopped for a picnic. Victoria decides to abandon her baby with them in order to save him from starvation or from being linked to her and Wil, so she quietly puts Baby Blue in the back seat of the couple's car and runs away. When she returns to the site of the picnic that night, the couple is gone, but there is a peach set out on a boulder like a gift for her. Victoria eats it greedily, realizing that it is a peach from her family’s fruit stand. This reminds her of home.

Hungry for more food and the comforts of home, she wanders down the mountain until she reaches the highway, hitching a lift back to Iola. She asks to be dropped off near Ruby-Alice's house, believing that Ruby-Alice will take her in as she once did for Wil. Ruby-Alice greets Victoria at the door and wordlessly nurses her from starvation back to health. When she is physically strong again, Victoria leaves Ruby-Alice and heads back to her family farm.

Part 2, Chapter 15 Summary

Victoria returns to her family home and her father, unsure of the welcome she will receive. Both Seth and Uncle Ogden’s rooms are empty. She has matured and changed and wonders what her new relationship with her father will be like. When he sees her, he is silent but prepares dinner for her in the kitchen. As the week passes, they become more accustomed to each other’s company. He tells her that the sheriff questioned Seth about Wil’s death, and she tells him that she thinks Seth killed Wil. Her father admits that he suspected it to be true.

Victoria notices that her dad has a cough that is increasing in severity, and he begins coughing up blood. Within a few weeks, his lungs collapse. As he is dying, he tells her that she looks beautiful like her mother did. Victoria feels like she is losing her “last link on earth” (154).

Part 2, Chapter 16 Summary: “1949-1954”

At her father’s funeral, Victoria learns from Sherriff Lyle that it was her dad who tipped off the law to Seth as a suspect in Wil’s murder, but there wasn’t enough evidence to arrest him. Instead, Lyle warned Seth and Forrest Davis to leave town. Lyle also tried to locate Wil’s family but was unable to find them to let them know of their son’s murder.

Several years pass. Victoria takes over the family farm, tending to the peach orchard despite being constantly reminded of the memories of those she has lost. In 1954, a plan to build a reservoir over Iola and dry up the Gunnison River infuriates the townspeople, who protest the development. A government representative comes to offer to buy out Victoria’s land, and she accepts. She is the first person in town to sell her property, and the townspeople ostracize her for her betrayal.

Ruby-Alice falls ill, and Victoria returns her kindness and nurses her, eventually taking her and her animals in to live with her at her peach farm. Victoria decides that before she leaves Iola, she wants to save the peach trees, her family’s legacy, from being destroyed by the imminent development of the reservoir. She rallies the help of a team of botanists from a local university to transfer the rare peach trees to a nearby valley. The scientists visit the farm and begin to gather data while Victoria begins to consider which of her family’s keepsakes she will bring when she leaves.

Part 2, Chapter 17 Summary

Suddenly, Seth returns to Iola from California, and a local named Millie Dunlop stirs up trouble by telling him about the government settlement money, which she tells Victoria should be split between the two siblings. When Victoria hears from Millie that Seth is back, she runs back to the farm in a panic, worried that he will do harm to Ruby-Alice if he finds her there. As a show of strength, she starts carrying her dad’s old rifle around with her, which she learned to shoot when she was younger but hasn’t used since.

When Seth arrives, he knocks on the door, and Victoria goes out on the porch to talk to him, carrying the rifle. She is afraid to let him in the house where Ruby-Alice is. He seems changed to her, apologetic and beaten down by hardship. He explains that he was not the one who killed Wil, but that he stood by and watched while Forrest Davis tied Wil’s hands to the car and dragged him. Victoria demands that Forrest be brought to trial, but Seth explains that he was killed in a fight on their travels together. Seth wants to come back and farm the land when Victoria leaves. Angry and unable to forgive Seth, Victoria threatens to burn down the orchard and the farm if Seth returns before she is gone.

When spring arrives, the team of botanists come to remove the orchard, transplanting all the trees to their new location across the mountain. While the orchard is being moved, Ruby-Alice dies peacefully. The whole town shows up for her funeral, reminding Victoria that despite their flaws, they are decent people. After the orchard is moved, Victoria packs up her truck, her chickens, and Ruby-Alice's dogs and looks at the farm one last time before leaving.

Part 2 Analysis

In Part 2, Victoria transitions from girlhood to motherhood, moving forward despite the loss of Wil and the hidden ugliness in her community that his disappearance implies. Yet devoid as she is of any real community support, Victoria’s experience of Female Identity and Motherhood becomes a desperate one of survival and perseverance through impossible obstacles. Without a mother to guide her, Victoria is unaware of the biological signs of pregnancy and only realizes that she is pregnant when the baby begins to move inside her. Her circumstances force her to leave behind the traditional female role that she inherited from her mother, who performed all the domestic chores in a house filled with only men. Even when she tries to retreat “back into the role of obedient girl” (102), however, her changing form demands that she take action to protect the baby from Seth’s violence and the town’s bigotry. The motif of the river appears once again in the narrative, this time to mark Victoria’s transformation as she leaves her youth behind. As the narrative states, “Just as a single rainstorm can erode the banks and change the course of a river, so can a single circumstance of a girl’s life erase who she was before” (108). In yet another mark of her maturing identity, she signs a note to her father “Victoria” rather than “Torie,” taking on the name that she will use throughout adulthood. Much later, when her father is dying, it is significant that he compares her beauty with that of her mother’s, for his comment indicates his recognition of her maturation and her new status as the family matriarch.

Throughout the novel, the author makes it a point to fully develop the impact of Displacement, Relocation, and Place Identity on people’s growth. This dynamic is shown through Victoria’s unique relationship with her natural surroundings, even in the midst of the tumultuous events that dislodge her from the only lifestyle she knows. In Part 2, for example, Victoria grows into motherhood surrounded by the wilderness, and she relies on both her ties to the landscape and her biological instincts to guide her through an experience that is otherwise utterly foreign to her. Her senses are heightened by her hormonal changes, and she describes her sense of smell as being almost “wolflike.” Thus, even in the midst of this wild landscape, she is comforted by the community of animal mothers that exist in the woods around her. The doe and her two fawns that appear near Victoria’s hut symbolize the beauty and fragility of a mother and child. Despite the dire circumstances of being a teenager alone in the mountains, Victoria’s retrospective narration emphasizes the lasting impact of the wilderness on her memories, for even her most trying recollections are tinged with her appreciation of the beauty of the woods. The life of her unborn child is likewise linked in her memory to the wild beauty of spring, for as her narration states, “My baby tumbled in my womb and kicked at my heart. Sunflowers and purple lupines and pale-pink wild roses ornamented the hillsides” (127). Victoria forms a bond with the mountainous landscape surrounding Iola, and this connection proves itself to be just as profound and intimate as her relationship with Wil.

At each pivotal moment in the story, Victoria finds support in nature rather than in people or society, thus highlighting the effect that a connection to place can have on a person’s identity and well-being. The natural world, despite its many dangers, is portrayed as being far safer for Victoria than her family home in which drunk men used to threaten to break into her room at night. In lieu of familial connections, Victoria’s life choices are now made in accordance with the laws of nature. When Victoria makes the heartbreaking choice to save her child by leaving him with another mother, she is guided by her connection with the doe whose natural instinct dictates its mothering style. As she says, “Like the doe whose instinct to favor her stronger fawn was surely at odds with her desire to nurture the weaker, a voice from a deeper inner recess than logic or love or even hope told me I must make a similar choice” (144). Victoria is therefore mothered by the Colorado wilderness, learning from it how to move forward and survive.

The theme of Grief as a Journey deepens in Part 2 through Victoria’s return to Iola and her father and her decision to run the peach farm herself. This transition is foreshadowed by the Nash peach that she finds on the boulder in place of her child, for the fruit signifies that the loss of Victoria’s child will open a path back to her family. The resilience of the Nash peaches, which grow sweet and lush due to the intensely cold winters of the Gunnison valley, represents Victoria’s movement through grief despite her numerous losses. After her father dies and she takes over the family farm, Victoria is haunted by the people she has lost. In this stage of grief, her choice to stay in Iola is a burden that is aptly depicted through the peach tree motif, for she states, “My love for the place was yet another withered leaf on my barren family tree (160). Her family’s personal losses are connected to the larger grief of Iola’s impending destruction. On the day of her father’s funeral, the last train runs through Iola. As the farm animals die and Victoria loses hope, the news of the dam project reaches the town. Unlike the townspeople who protest the project, however, Victoria embraces the opportunity for change. It is Victoria’s love of her family’s peaches, the “one good thing” (161) she has left, that inspires her to adapt to her new circumstances. Her plan to transplant the peach farm ensures the survival of her family’s legacy and her ability to recover despite her overwhelming losses.

The subplot of Victoria’s relationship and care of Ruby-Alice reveals the novel’s exploration of the ways in which people interact with and heal from The Damaging Legacy of Racism. For Victoria, her movement from prejudice to compassion for Ruby-Alice is one way in which she tries to heal and honor Wil’s memory. Ruby-Alice, whom the town snubs for her differences, is the only person who is not hateful to Wil; on the contrary, she willingly gives him shelter from the town’s bigotry. Victoria’s subsequent loyalty to and protection of Ruby-Alice keeps Wil’s memory alive and present throughout the story. Victoria has been transformed by their relationship in more ways than one, and she recognizes this fact, for she states:

I would never have known Ruby-Alice as anything but a crazy old lady in need of God’s help had it not been for Wilson Moon. I would not have known my own appeal, my beauty, my strength, or the precious feel of Baby Blue in my arms had it not been for Wilson Moon (149).

Although she is deeply traumatized by Wil’s murder and never forgets him or takes another lover, her relationship with Ruby-Alice allows her to process her grief and find a way to keep the kindness of Wil’s spirit alive. 

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