72 pages • 2 hours read
O.T. NelsonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Storytelling serves an important function, particularly in the early parts of the novel. Several chapters end with Lisa telling Todd a bedtime story, and these stories all contain a lesson that establishes a theme or argument the novel intends to make: First “Todd” learns to fish in order to contribute to the family; next “Todd” and “Lisa” learn to make and sell candles in order to earn a happy Christmas; finally, Lisa tells Todd a story about a king who learns that everyone—including his own son—must earn their own way to be happy, while also reinforcing that knowledge is the most valuable commodity. These stories mirror and justify the novel itself, which attempts to instill a particular set of values through narrative means. These stories also help to mark the progression of Todd’s maturity; the first two stories appear in Part I, but as Todd matures, it takes some time before we get the third story. Eventually, when Todd and the others care for Lisa after she’s shot, the tables turn and it’s Todd’s turn to tell Lisa stories (though he isn’t very successful).
Another motif, particularly in Part I, is vocabulary development. The specific words highlighted tend to connect to important themes in the novel. For example, Lisa considers the word “looting” in order to justify why what she’s doing is different than what looters do in riots; later, she explains and demonstrates the words “logical” and “strategy” to Todd. All three are key concepts in the novel: Lisa must justify what makes it acceptable for her to scavenge goods from abandoned warehouses, and the novel makes a clear argument for the value of careful planning and calm, logical thinking. Indeed, language is itself an important tool of rational thought (at least for humans), so it isn’t surprising that the novel devotes time to its development.
The ability to drive serves as a symbol of freedom and survival for the children, as well as a watershed moment for Lisa. At first, none of the children seem to have even thought about learning how to drive; Lisa comes to the realization almost out of necessity, but it immediately sets her apart, not only because it increases her ability to find and retrieve supplies, but also because it demonstrates her ability to think in ways the other children cannot. Even after she learns to drive, most of the other children do not go out and try to teach themselves the skill; they mostly need Lisa to teach them how to drive. Moreover, when the children eventually go to the other towns to raise an army, they discover that most of those children have still not learned how to drive some two years after the plague.
It’s worth noting two pieces of context regarding automobiles and this novel. First, when Nelson first wrote this novel, automatic transmissions were not yet common, so it’s likely that the children were trying to learn how to drive manual transmission (i.e., stick-shift) cars. Second, the prevalence of cars and the importance of driving is significant given the backdrop of the 1970s gas crisis in the United States; cars are a symbol of freedom not only within the novel, but also in the real world, as readers struggling to get by without them would have understood.
As a companion to the theme of property rights, the novel emphasizes the value of home as a symbol of comfort and stability. This is most explicit in the tragedy of Lisa and Todd’s family home; Lisa rejects the idea of living on the Swift Road farm precisely because she is attached to her family home and doesn’t want to leave it, making its destruction that much more devastating. Moreover, the way the novel treats family homes is indicative of its stance regarding property and inheritance—it’s not just that the children continue to live in their family homes, but that, despite the complete destruction of society, no one ever even questions whether the homes are the children’s private property. Finally, as a symbol of private property, one’s home represents a line that cannot be crossed; Tom, for example, goes from antagonist to villain once he burns Lisa and Todd’s home down, as he isn’t merely taking but in fact destroying what they have so it can never be used by anyone.
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