50 pages • 1 hour read
Emma DonoghueA 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 Pull of the Stars opens on October 31, 1918, the day before Julia’s 30th birthday. Julia hurries to get to work, biking to the tram stop and then riding the tram to the hospital. During her commute, Julia reflects on the people who have died of influenza and the men who have died fighting in World War I. Some people wear masks to protect themselves from the flu; Julia sees a couple wearing “bluntly pointed masks like the beaks of unfamiliar birds” (5). The virus and the war have forced so many businesses to close that Julia, seeing the shuttered storefronts, thinks of Dublin as “a great mouth holed with missing teeth” (7).
At the hospital, Julia gets breakfast in the canteen that the hospital has set up in the basement and says hello to her friend, Gladys Horgan. Gladys and Julia trained together as nurses in their early twenties, but Gladys eventually went into eye and ear care while Julia pursued midwifery. After breakfast, Julia heads to a small room with the handwritten sign “Maternity/Fever” (17) on the door. An old supply closet, the hospital has converted the room to a ward for pregnant women infected with influenza to separate them from uninfected women in the regular Maternity ward. Julia greets the night nurse, Sister Luke. Although Catholic orders help run many hospitals in Ireland, Sister Luke, a nun, is serving in a lying-in ward only because of a shortage of midwives.
Julia notices that one of the three beds is empty, and Sister Luke explains to Julia that one patient, Eileen Devine, died overnight. Julia’s other two patients are Delia Garrett, a 20-year-old who is expecting her third child and is frustrated to be stuck in the Maternity/Fever ward, and Ita Noonan, who is pregnant for the twelfth time—though only seven of her children are living—and is becoming increasingly delirious as her fever worsens. While Julia’s supervisor, Sister Finnigan, is away, Julia’s assignment during the pandemic is to oversee the Maternity/Fever ward. Julia asks Sister Luke to send someone to help her. Sister Luke promises to ask on her way out, but both women know that the hospital is severely understaffed.
Julia begins to care for Ita and Delia. Delia complains about the hospital’s not allowing her to go home. Julia explains to Delia that although her symptoms are mild, she is still sick. After helping Ita to the bathroom, Julia retrieves both patients’ breakfast trays and helps feed Ita her eggs and sausage. Delia complains about having to eat rice pudding and stewed apple, but Julia explains that she can’t eat anything fatty or salty due to her blood pressure. While the women eat, Julia discreetly pulls a nail from the wall and makes a scratch on the back of her watch. She has been marking deaths in this way since her early days as a nurse, and this most recent scratch is for Eileen Devine. Julia goes to the supply closet and makes a list of the supplies she needs, knowing that “[s]ince the war, one never knew what would be in short supply, so all one could do was ask politely” (34). When Julia turns around, she realizes that Delia has stolen a sausage from Ita’s plate, but Julia decides not to say anything about it.
A moment later, Ita wets her bed, and Julia realizes that Ita must have not urinated in the bathroom earlier. Julia tries to move Ita so that she can change the sheets, but Delia says she needs to use the bathroom and then jumps up to go to the bathroom herself. After chasing Delia down the hallway, Julia pokes her head into the Women’s Fever ward and asks the nurse on duty for help. The nurse tells Julia that they have 40 patients in their ward and have too few staff as it is. Julia gives the nurse her list of needed supplies and then runs down the hallway to join Delia, who vomits in the hallway before she can reach the bathroom. Once they’re in the bathroom, Julia can tell that Delia has diarrhea.
When Julia and Delia are back in the Maternity/Fever ward, the physician on duty, Dr. Prendergast, stops by. He tells Julia that she can give Delia bromide if she becomes agitated, and she can give Ita some whiskey to help her feel less anxious and fall asleep. Julia is skeptical of Dr. Prendergast’s recommendations but thinks, “I’d been taught never to contradict a doctor; it was held that if the chain of command was broken, chaos would be unleashed” (43). Dr. Prendergast tells Julia that a new doctor is coming in: Dr. Lynn, a woman. After Dr. Prendergast leaves, Julia thinks about how she’s almost 30 with no husband or children. She isn’t sure if she wants a husband. Though men have shown interest in Julia in the past, she thinks, “I couldn’t reproach myself with having thrust opportunities away, but I certainly hadn’t seized them” (44).
These opening pages give the novel’s historical context. The Pull of the Stars takes place in fall 1918 in Ireland, which is still under British rule. Many Irish men have left to fight in World War I. In addition, the 1918 influenza pandemic is having a profound effect on Ireland. As Julia explains, “[F]rom what I could gather, the plague was general all over Ireland” (5). Julia describes seeing many people wearing masks in public to protect themselves from the virus, and she has noticed how many businesses have closed—both due to men enlisting in the war and due to people becoming sick. The hospital where Julia works is severely understaffed and short on supplies. Julia herself must oversee a makeshift ward for pregnant women infected with the virus, a ward that the hospital created to keep infected pregnant women quarantined from the main Maternity ward.
This section introduces the novel’s theme of death. Because of both the war and the pandemic, death is everywhere. Julia thinks, “Not just the hospital, I remind myself—the whole of Dublin. The whole country. As far as I could tell, the whole world was a machine grinding to a halt” (12). When Julia arrives at her station at the Maternity/Fever ward and discovers that her patient Eileen Devine died in the night, she thinks, “The bone man was making fools of us all. That was what we kinds called death in my part of the country—the bone man, that skeletal rider who kept his grinning skull tucked under one arm as he rode from one victim’s house to the next” (19). Death is a major part of Julia’s everyday life as a hospital nurse and in her life outside the hospital as well, where she notices closed-up businesses and people wearing masks. Julia’s description of “the bone man” shows just how grim and heartless death can be. At this moment in history, death is an ever-present part of everyday life.
By Emma Donoghue
9th-12th Grade Historical Fiction
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