50 pages • 1 hour read
Sarah WeeksA 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 setting of Pie, as depicted by the author, is the imaginary tiny village of Ipswitch in an unidentified part of Pennsylvania. The community has only 162 citizens, implying that almost all the residents know one another. When Charlie identifies himself to Mayor Needleman, the mayor immediately acknowledges knowing his parents. The other aspect of this familiarity is that strangers stand out. Attendees of Polly’s funeral quickly realize it when an unknown woman bends over the casket and then exits the chapel against the flow of the crowd.
Weeks demonstrates that the village is not only emotionally closely bound but also that their economic possibilities are tightly yoked as well. Residents understand that the death of the famous pie maker who brought Ipswitch national fame—and lots of business—means the financial well-being of the entire community is uncertain. As if to capture the magic of Polly’s baking gift, almost four dozen households launch into pie making. As the author notes, some of these efforts result in epic failures. There is a shared awareness that no one will succeed in replicating Polly’s success without her still-concealed crust recipe.
Another element that the author touches upon is the potential role of the eccentric person in small-town life. Weeks portrays three Ipswitch women who stand outside the anticipated norms, each dealing with her uniqueness differently. Unabashed, Polly embodies total altruism, freely bestowing perfect pies upon anyone who will accept them. Villagers accept her benevolence, even though many—including her sister—think she is “crazy” (9). Miss Gurke secretly works her body into a mass of finely developed muscle, hoping she will one day set a new standard for the ideal woman. Melanie Needleman harbors powerful political ambitions, which she channels through her husband’s mayoralty.
Only three young people appear in Pie, all in the same grade: Alice, Charlie, and Nora. Born about 1945, these tweens are among the earliest members of the Baby Boomer generation, arriving in the years immediately following World War II. Weeks includes a number of details that children of this era would find authentic. The author describes products familiar to the mid-1950s, such as Fizzies: seltzer tablets that foamed in water to create a flavored drink. When Charlie speaks of Alice’s first pie, saying, “What do you mean, pretty good? […]. It’s great” (170), he parrots the long-standing slogan of Sugar Frosted Flakes. Weeks mentions popular mystery book series such as Nancy Drew and the Hardy Boys. This was the first generation of TV watchers, and the author mentions one of the first youth-oriented programs, Sky King, about a Western pilot who found a reason every week to fly his plane and solve mysteries. A key character on that program is the pilot’s niece, Penny, a pretty blonde teenager. Charlie endears himself to Alice when he notes that she would look like Penny if her hair were a bit longer.
Weeks emphasizes the simplicity and relative freedom of the children’s lives by describing their ability to ride at will all around the community. They show up wherever they want for lunch, with Alice making peanut butter and jelly sandwiches, or the two go to Charlie’s house, where his mother feeds them. Alice has the freedom to take the entire day and help Charlie deliver groceries around the village. The author’s descriptions silently reveal the distinction between life for young people in 1955 and current tween experiences of regimented schedules with many technological advances but less relaxed liberty.
By Sarah Weeks
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