41 pages • 1 hour read
Laurie Halse AndersonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In junior high, Anderson and her family move around often. After school in one particular town, she spends her time reading in a cemetery. Her father’s alcoholism worsens, and Anderson must illegally drive her drunk father home in secret.
Anderson’s father is eventually fired and excommunicated from the Church. She picks a fight with her father, leading her mother to slap her across the face: “wordless / combustion / but she was my mother / so I swallowed the lighter fluid” (46). After this incident, Anderson’s father leaves for a prolonged time.
At 13, Anderson is accosted by a boy she meets and bites him to get away. A few weeks later, Anderson’s family moves once again and she makes new friends. Through these new friends, she meets a boy, explaining the attraction by saying, “Broken children / can see each other from miles away” (52). She goes on a walk with the boy down by a creek in the woods and they throw pebbles in the river before he turns to kiss her. The kiss very quickly goes too far, and the boy forces himself on Anderson and rapes her. Anderson tries not to look at his angry face as the rape happens and feels outside of herself until he is done. She tells no one what happened.
She then tells the story of a boy in her school who narrowly avoided being killed in a game of Russian roulette. He and his friends were playing “chicken,” as many boys do, pushing the boundaries of dangerous behavior. Anderson’s rapist dies while playing chicken and is run over by a car. She begs her father to allow her to go to the funeral. He attends alongside her, but Anderson knows the memory of her rape won’t leave her just because he is dead.
Once again, the family moves. Both her mother and father’s drinking increase in severity. Unable to cope with the trauma and stress of her rape, Anderson uses drugs to numb her pain. She calls ninth grade her “year of living stupidly” because she takes drugs and cut class with a tough group of classmates (64). Her family experiences serious financial troubles in the wake of her father’s termination from the Church, and they share a growing concern that their father might kill himself. To cope with these difficulties, Anderson drinks, likening the burn from alcohol to a concrete burn that “burns down to your bones if you don’t get help” (66). Anderson’s older voice proclaims that for all of her physical wounds, she had no idea that her trauma could be a source of pain, and there was no protocol to fix it. She hears rumors at school about other girls being assaulted but still feels alone.
A teacher recognizes Anderson’s passions for reading and studying languages and urges her to join the International Club. Anderson is also recruited by a gym teacher to join the swim team. These activities engage Anderson, allow her to make some friends, get her out of her house more often, and save her from her downward drug spirals.
This section begins with a description of Anderson’s rape and what led up to the assault. The event functions within the book as a rupture and a traumatic loss of innocence. Her decision to stay silent in the aftermath of the rape will later influence the story and protagonist in her novel, Speak. The rapist’s death occurs not long after, and Anderson’s reaction to it is meant to showcase the conflicted feelings she had for the boy, as well as the overwhelming power of shame.
This effect plays out on a sentence-level: Her diction becomes less whimsical and imaginative and instead grows harsher, referring to death, burning, and pain. Dark language like this is meant to evoke her negative state of mind and deep sadness while dealing with her trauma alone. The sense of darkness is amplified by the ways in which she braids violent or painful imagery with stories of life events. She weaves a description of the particular burns one can get from concrete with a story about her drinking; when she describes her rapist’s death, she intersperses the story with stories of other boys’ near-death experiences. By braiding imagery and story in her poems, Anderson builds tension in the text while also giving the reader a more complete understanding of the pain she went through at this stage in her life.
The narrator continues to switch between a younger, more adolescent voice and an older adult voice. Although both are the same person, she does this to illustrate not only her naïveté, but also what she knows now as an adult that she wishes she had known then. When she hears gossip that another girl at school may have been sexually assaulted, teenage Anderson is unable to process that someone else might be experiencing the same kind of pain that she is, while adult Anderson feels tenderness and rage on behalf of her teenage self and the unnamed student. Having both voices gives the book a sense of depth and gravitas, and it is easier to achieve these dual voices through free verse as opposed to straightforward prose.
The two activities that save Anderson after the rape and help her find herself again involve the International Club, which allows her a space to play with language, and the swim team and other sports, which allow her to re-establish a positive relationship with her body. Anderson ultimately survives because of her relationships to language and her body, so these experiences are formative for her.
By Laurie Halse Anderson