51 pages • 1 hour read
Julie OtsukaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Part 1 is narrated in first-person plural point of view by the titular swimmers, a dedicated community of local pool members. They describe the pool’s setting in its cavernous underground chamber and reveal the various reasons they come to the pool: to escape, heal, or feel like themselves again. Alice is subtly singled out: “one of us—Alice, a retired lab technician in the early stages of dementia” (3), while the majority of the swimmers remain unnamed and indistinct parts of “we.” Alice will become the focus of Parts 3-5, though, in Parts 1 and 2, she is presented as merely one of the various personalities in the group.
The swimmers, who run the gamut of professions, personalities, and circumstances, form a unique community at the pool, where they adhere ritualistically to individual routines and shared rules. They’re practically different people aboveground (the swimmers’ term for the world outside the pool facility), nearly unrecognizable to each other. In fact, running into a fellow swimmer away from the pool creates an awkward situation, as if they’re discovering a secret, shameful side to a trusted friend. At the pool, though, they are bonded by a communal identity stronger than their differences.
There’s plenty to escape from in the world aboveground. The overwhelming litany ranges from daily frustrations to world crises, including environmental disasters, economic stressors, emotional despair, midlife crises, and war. Additionally, most of the swimmers are beginning to show signs of aging—weight gain, wrinkles, and gray hairs—but at the pool, they feel young again, like their “old youthful selves” (10).
The pool has its own organizing structures and hierarchies, like the fast, medium, and slow lanes, which define so much more than the swimming speed of their respective occupants. Fast-lane swimmers are athletes and overachievers. Medium-lane swimmers are those who have accepted either mediocrity or fate. Slow-lane swimmers comprise the elderly and those with chronic pain issues. The pool’s hierarchies are not the same as those aboveground. For example, body consciousness, shaped by society’s beauty standards, disappears when the swimmers enter the water. All the other frustrations in the swimmers’ lives—migraines, bankruptcy, failing marriages—disappear too.
In keeping with the pool’s unique hierarchies, the swimmers identify several “types” to watch out for: those who occupy the pool’s shared space with aggression, obliviousness, sexism, and creepiness—”the pickup artist” and “the peeper” (11)—to name a few. Some people regularly use the locker room but not the pool, for various reasons. After major holidays, newcomers appear, hoping to swim off the extra weight they’ve put on. These binge swimmers, as the narrators call them, never last long. They’re merely temporary interlopers into the swimmers’ world. Even permanent pool groups, like the amateur divers or the masters swim team, barely intrude on the sense that the pool is the titular swimmers’ private world.
In addition to a set of formal, written rules for pool use, the swimmers must abide by unwritten rules aimed at preserving their community and their sanctuary. For example, minor complaints should be dealt with directly because complaining to management might get a swimmer banned from the pool. For this, the complainer will be ostracized. Other unwritten rules include: Do not bother the former Olympic swimmer or ask her for an autograph, do not gloat when you recover a lost item in the Lost and Found, and do not get angry with binge swimmers—they don’t know any better.
Though the swimmers have lives outside the pool, returning to those lives after a swim can be unpleasant. It’s noisy, bright, and chaotic. Thoughts of swimming are rarely far from their minds, though. They even think about it in bed at night, visualizing their stroke form or assessing their breathing techniques. When they stay away from the pool too long, the swimmers experience irritability and poor concentration. When they’re swimming, they experience euphoria. It feels like they’re flying.
The swimmers structure their lives around their pool routines. During the annual ten-day pool closure for routine maintenance, they cram in a year’s worth of other meaningful or necessary activities, like taking family vacations, reconnecting with friends, and undergoing medical procedures. The rest of the year, the pool comes first. The swimmers’ pool routine is so integral to their lives that failure to make an appearance at the pool for a week or two triggers a series of inquiries from the group into the missing swimmer’s whereabouts. They might call, email, or slip a handwritten note under their front door, just to make sure everything’s okay. Most often, it’s a temporary absence due to something like an injury or work trip. When a swimmer leaves for good, however, they’ve become a defector.
The swimmers all have their own routines, measured in number of laps, ritual behaviors, and individual compulsions. One swimmer, for example, cannot begin his swim until he takes three sips from the rusty water fountain. Another has to touch his cap twice and count to five before he can get out of the pool. Time of day, lane choice, and stretching methods also factor into each swimmer’s formula for an effective and satisfying workout.
The swimmers recognize the pool is not truly a utopia but rather has a balance of pros and cons. There is no beautiful sky or horizon, but there are also no jellyfish or noise pollution. The quiet of the underground pool and the mental clarity generated by the activity enables the swimmers to accomplish impressive cognitive tasks as they complete their laps. One composes astronomy lectures. Another has an epiphany, realizing her father has Huntington’s disease. A swimmer with a photographic memory solves the daily crossword puzzle as he glides through the water.
Friends and family are often critical of the swimmers’ obsessive swimming routines. They enumerate flaws they say this obsession reveals about the swimmers’ characters: their desire to isolate, their need for order, their aversion to spontaneity, and their disdain for non-swimmers. This criticism does not, however, outweigh the real reasons the swimmers cling so fiercely to their chosen activity. In the water, they are unburdened by gravity and free from want. The pleasure of their bodies in motion creates pure joy, putting them in a “trancelike state of bliss” (17). Swimming brings them better health, solace, and something to look forward to every day.
Julie Otsuka’s narrative style immediately defies fiction and storytelling conventions. Part 1 can barely be said to contain a plot. Instead, Otsuka tells the story through a series of lists, painting a picture through unique groupings of details. She has said in interviews that she comprehends the world through details and is interested in seeing the big picture through these details without necessarily knowing which are important and which aren’t.
The lack of a linear narrative further distances the story from a traditional plot structure. Temporal variation is a prominent feature of Otsuka’s style throughout the novel. She does not merely jump around in time. Rather, her descriptions—written mostly in present tense but sometimes dipping a toe into second-person future tense—blur the boundaries between past, present, and future. This approach to time in the narrative reflects the cyclical and repetitive nature of daily life and the routines that shape identity. Loved ones ask the swimmers, “Is it really necessary, […] to do the same thing, at the same time, every day, week after week, year after year, without fail?” (30). Just as their routines make the swimmers who they are, Otsuka’s nonlinear narrative makes The Swimmers what it is, setting it apart as an innovative literary text.
Otsuka uses first-person plural point of view in Part 1, emphasizing the thematic concept of communal identity. This is further supported by the lack of individual characterization among the swimmers. Apart from Alice, they are all indistinct parts of “we.” Numerous lists of their various traits are provided, but these, too, melt together in a conglomerate character representation. Their mutual dedication to swimming creates a community where they feel a sense of belonging. Expectations of group loyalty help cohere the swimmers to their chosen community. The fact that many of their unwritten rules are aimed at preserving the community—getting another swimmer banned is taboo—demonstrates the importance of their communal identity.
Although the swimmers’ individual identities contrast with the communal identity they share at the pool, individuality certainly seeps into the pool milieu. They all share a need for routine and ritual in their lap swimming, but the specifics of those routines and rituals are unique representations of individual identities. The rituals may seem arbitrary on the surface, like taking three sips from the fountain or doing exactly 68 laps, but they are precise formulas for making each swimmer’s time at the pool effective—as self-medication, an escape, a fix, whatever they need it to be. As they reflect some aspect of each swimmer’s identity, they highlight the differences between individual and communal identity. Various details shared throughout Part 1, such as how each swimmer feels about flip turns or the objects in the pool’s Lost and Found, while minor in and of themselves, give shape to this idea.
The setting of Part 1 contributes to the story’s meaning through symbolism and physical descriptions that evoke conventional ideas of parallel dimensions. The underground pool is like an alternate reality to the world in which the swimmers live the rest of their lives. The swimmers even suggest the world of the pool is more real to them, while the world aboveground is the copy, saying, “for we are mere day-trippers here, in the realm of the upper air” (14).
Mental health is an important concept explored in Part 1, especially related to addiction and obsessive behaviors. Like many drugs, going to the pool is both an addiction and a form of self-medication for the swimmers. When they stay away from the pool too long, they experience withdrawal symptoms like irritability and poor concentration. Swimming is presented as an addiction in the way the swimmers structure their lives around their pool routines and in the friction it creates between the swimmers and their loved ones. Many of the swimmers’ pool rituals consist of compulsions, signaling an attempt to impose order and maintain a sense of control through routine actions. Their actions might seem random to an onlooker, like taking three sips from a rusty water fountain before swimming, but they have meaning for the individual. In this case, sipping from the water fountain proclaims victory over the swimmer’s persistent phobia about lead in the pipes.
As a whole, Part 1 relates the idea that the swimmers’ individual flaws and stressors may still be present in the midst of their chosen community, but it is still a sanctuary because they choose it and they belong.
By Julie Otsuka
Asian American & Pacific Islander...
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