44 pages • 1 hour read
J. Ryan StradalKitchens of the Great Midwest
Fiction | Novel | Adult | Published in 2015A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Symbols & Motifs
Gastronomical Dishes
One of the distinctive structural features of Kitchens of the Great Midwest is its use of culinary dishes as the titles for each chapter, each serving as a symbol. The initial chapter, “Lutefisk,” highlighting a dried white fish cured in lye, symbolizes Lars’s Nordic heritage and the migration of such communities and their culinary traditions to the Midwest. Simultaneously, it becomes a source of embarrassment for Lars, who struggles with romantic pursuits due to his association with the pungent fish.
The following chapter, “Chocolate Habanero,” sees food transformed into a weapon as Eva cultivates fiery habanero chilies, turning them into oil to confront her schoolyard bullies. The third chapter features sweet pepper jelly, revitalizing Braque's life after her regimented athletic diet. It teaches her to be bold, brave, and view Food as a Source of Identity and Community rather than something to control.
Chapter 5, “Walleye,” showcases Eva's extraordinary palate as she discerns the ingredients used in a restaurant's preparation of the native Canadian and North American fish. “Golden Bantam,” Chapter 5, centered around an heirloom variety of corn, reflects Octavia's self-perception as wealthy and beautiful, though her arrogance is revealed when Eva graciously allows her to take credit for the bantam.
In Chapter 6, “Venison,” traditionally-sourced game meat symbolizes death, foreshadowing Jordy's accidental killing of a mother deer and mirroring his own mother's imminent demise. Chapter 7, “Bars,” referencing the sweet treats, explores the healing power of sweet food and the transmission of love to family members, contrasting with supposedly healthy desserts lacking taste or love in their creation.
Mothers
Motherhood stands as a central motif in the narrative, with a spectrum of maternal figures portrayed, ranging from absent and abusive to loving and sacrificial. Braque's mother, who has an addiction to drugs and alcohol, serves as a cautionary figure driving her toward excellence in athletics and academics, as she vows never to follow in her mother’s footsteps. In contrast, Jordy Snelling's mother, battling cancer, embodies the profound love between a mother and her son, serving as his lifeline amid his addiction. However, her eventual passing leads Jordy down a path of drug dependency, highlighting the significance of motherhood to survival.
Pat Prager epitomizes the selflessness and devotion of motherhood, embracing the role of a nurturer even for her stepchildren. She takes the blame for her son's transgressions, exemplifying her sacrificial spirit. In contrast, Eva Thorvald's mother, Cynthia, abandons Eva in pursuit of a hedonistic lifestyle. This abandonment, coupled with the loss of Eva's father Lars, propels Eva on a quest to find familial connections and maternal figures throughout her life. However, Cynthia's eventual regret and desire to reconcile with Eva highlights the power of maternal relationships.
Through these varied portrayals of motherhood, Stradal delves into the multifaceted nature of maternal love, examining the sacrifices, challenges, and joys that define the maternal experience.
Women in Competition
The motif of women in competition with each other in the novel highlights both the gendered dynamics of Midwestern culture and the socioeconomic conditions of the region. The first example is Eva and Octavia. Octavia looks upon Eva as her competition; while she is in a higher socioeconomic bracket than Eva, she is less talented and knowledgeable about cooking. Octavia competes with Eva over Robbe. The fact that she views another woman as a rival for a man draws attention to patriarchal dynamics that place value on women based on their relationship to men. Octavia also competes with Eva over their cooking. The fact that Octavia ends up destitute because she does not possess Eva’s knowledge and talent highlights the limited opportunities available in the region, particularly for women; Stradal critiques the idea that there is only room for one female chef to rise, not two.
Celeste and Pat are literally in competition when they enter their bars to be judged. Pat calls Celeste a “harlot” when she feels threatened. Stradal uses this specifically gendered slur to suggest that their competition represents patriarchal values in the region; Pat feels that she can win by presenting herself as a virtuous woman in contrast to an impure and devalued woman. Furthermore, her sense of threat in the competition highlights her understanding of the scarcity of her resources and opportunities.
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By J. Ryan Stradal
