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Hollis remembers “I never showed this picture to anyone” (59). It depicts her laughing in a field while she drives the truck with Steven one night when Izzy and the Old Man are out at the movies. Before the parents leave, the Old Man instructs Steven to clean up a mess he made in the shed, saying “Did you notice how neat Holly’s things are?” (60). Hollis is worried by this statement. When the parents are gone, Steven takes Hollis out to the field and demonstrates how to drive the truck, which turns out to be great fun. Hollis feels uncharacteristically free and joyful.
Hollis wakes up early one morning and tries to do the homework she forgot about the previous night. She hears that there’s snow in upstate New York where the Regans live and wonders what life would be like if she lived with them. Realizing she will never finish all her homework before school, Hollis decides to skip again and walks out to the pier with Henry the cat following her. As the narrator, she says, “I knew it was a mistake. But still I kept going” (63). The captain of a local boat offers to pay her to help him clean the boat, and she is excited to have some money to buy food.
Hollis walks home happily, but when she arrives, the mustard woman is in the living room. Josie is making lengthy small talk with her, and Hollis realizes Josie can’t remember who the mustard woman is. Finally, the mustard woman says, “I think, Mrs. Cahill, that we need to talk about another place for Hollis” (66). She explains she’s found a family for Hollis to live with, and that, while Hollis doesn’t need to move there right away, she’ll start visiting them soon. When the woman leaves, Hollis can’t help nastily pointing out to her that she has an “extra large” sticker attached to the back of her sweatshirt.
Hollis is on her way to give Izzy a picture she’s drawn of her flipping the amazing pancakes she always makes. Hollis remembers a visit with Izzy to a nearby cemetery where Izzy’s parents and a six-day-old child she gave birth to are buried. Izzy explains that she was never able to have more babies after that child died, though she wanted a big family. In the cemetery, they can hear the Old Man and Steven yelling at each other far away. Hollis asks if this always happens, and Izzy says “It does seem worse this summer. […] But they have to find their own way” (69). This statement worries Hollis a lot.
Returning to the moment when she’s planning to give Izzy the drawing, Hollis overhears Izzy and the Old Man discussing whether Hollis will be able to keep living with them when they leave their summer house. Not knowing Hollis is listening, both parents agree she belongs with them, and they make hasty plans to add a room to their winter house so the agency will let her stay. They won’t be able to complete it fast enough for her to come with them right away, but they imagine they could do it by early fall. They refer to her as their daughter. Hollis briefly remembers the stucco woman calling her a “mountain of trouble,” but brushes it away, believing that she will finally have a family.
The scene where Hollis and Steven drive the truck features a mixture of freedom, joy, and lurking danger that exemplifies how Hollis is feeling at this stage of her time with the Regans. On the one hand, she is starting to let loose and truly have fun, feeling safe with Steven because he’s earned her trust. On the other, learning to drive illegally could have bad consequences (and ultimately does in the later car accident). The detail that the field they are driving in must be mowed regularly because it’s full of rattlesnakes supports the sense of danger just barely kept at bay. The lurking danger exemplifies how Hollis feels about the Regans—there are increasing signs that they are her true family, but because of her intrusive memories, she is always worrying whether anything good will stay that way.
The Seventh Picture is a good example of how Hollis’s memories are layered in the narrative. Though the section begins with Hollis on her way to give Izzy a drawing, it quickly expands into a variety of other memories—how she used to eavesdrop, Izzy making pancakes, the day Izzy took Hollis to the cemetery. Even when the narrative returns to the present, throughout the conversation between Izzy and the Old Man, Hollis is flashing back to the W picture and the stucco woman calling her “a mountain of trouble.” The experience of reading these interwoven memory scenes mimics Hollis’s stream of consciousness.