48 pages • 1 hour read
Bill Cleaver, Vera CleaverA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Mary Call Luther, the 14-year-old narrator and protagonist of the novel, is characterized as resourceful, self-reliant, and a problem-solver. She cares little for how she looks, and as the novel progresses, her appearance becomes more and more disheveled and drawn, mirroring her internal state. Her identity as a woman is not particularly meaningful to her; instead, her identities as a Luther and as the new head of household are the most integral aspects of herself, and they are what shape and propel the coming-of-age plot.
Mary Call consistently values family bonds; the goal of keeping her family together motivates her throughout the text, as well as her promises to her late father, Roy Luther. Mary Call speaks her mind and has little self-consciousness as she quips with adults, including with Kiser Pease, a man who is her father’s employer and 16 years her senior. Her remarks are often witty, insightful, and irreverent without being insulting.
She greatly appreciates nature; as this novel is “written” by her, the detailed observations of the land, weather, and flowers highlight her connection to her environment. She uses detailed descriptions of the land to convey her emotional landscape. Throughout the novel, in times of crisis, she reflects on the land’s characteristics and troubles. The effects of winter on the land are especially emphasized and are visual representations of her internal state. They are in tune with her own life, the weather and elements mimicking her own narrative; birds seem to communicate with the Luthers, foreshadowing events to come. She often begins and ends each of her chapters with a description of the land and weather, implying that this is how she orients herself and makes sense of her life. The landscape becomes a contextualizing, comforting source.
Connected with her love and respect for nature is a belief in God. She talks to him throughout the novel, finding him a source of strength in the absence of any parental or adult figures. These conversations highlight her thoughtful, perceptive nature. She despises ignorance and holds education in high regard. She does not consider poverty to be humiliating or disgraceful, but charity and ignorance are shame-worthy.
As the novel progresses, her ability to keep her emotions dormant weakens; the Cleavers express this through her attempts to refute that she is not crying when in fact she is “bawling.” This dissonance between what she narrates and what is really happening demonstrates her extreme wariness of showing emotion, being vulnerable, and finding solace in others. She believes she has to carry everything on her own back. She has no real peer or friend, and thus her outlets are God and Romey.
Mary Call develops throughout the text; she is a dynamic, round character. Faced with great difficulties that she cannot manage on her own, she comes to realize that she is not the only person who can protect her family. She reexamines her notions about Kiser Pease and her siblings, realizing that Roy Luther’s promises should not be dogma.
Despite Mary Call’s insistence that she is “cloudy-headed,” Devola is aware of her surroundings and has no qualms valuing what she finds to be meaningful. Devola exhibits more stereotypical maternal qualities and represents patriarchally defined femininity; at the end the novel, Mary Call even compares her to their late mother. She is innocent, empathetic, and understanding; she does most of the cleaning and cooking in the Luther household, making dishes with thoughtfulness and care. She loves listening to music, the color yellow, driving, and singing. She does not enjoy the backbreaking work of wildcrafting in the mountains.
Although often described as “tender” and “gentle,” Devola is not a pushover. She speaks her mind to Mary Call, criticizing her for turning mean and cold toward the family amidst their growing hardships. She has her own opinions, as seen in the way she always stands up for Kiser Pease in the face of Mary Call’s insistent negativity toward him. It is apparent that Devola genuinely likes Kiser. She also appreciates the quality of life that Kiser could afford her and her family. She envisions a comfortable domestic life in which she, Kiser, and her siblings live together in a nice home with hot water and electricity.
Devola is underestimated by both Mary Call and their father, Roy Luther. Over time, Mary Call realizes Devola’s strengths and capabilities, and she decides to forgo her promise to Roy Luther. Roy Luther’s decision to not allow Devola to marry Kiser is a key element of the plot, causing conflict and tension between Mary Call and Kiser Pease as well as more hardship for Mary Call internally.
Romey is the only male sibling in the Luther family. At the young age of 10, Romey is observant and thoughtful; he is able to calculate the coming rain based on the sky, he registers Kiser’s absence due to his lack of chimney smoke, and he is aware of and appreciates the land’s characteristics. He is both curious and worried throughout the novel, his questions showcasing a hunger to understand the world as well a desire to make sure his family will be okay. He often asks Mary Call for reassurance and knowledge.
Without a parental figure, Mary Call often turns to Romey for support; he brings his own perceptions and insights to their conversations. Romey is Mary Call’s foil, and hence the authors use him to highlight aspects of Mary Call that she chooses to ignore, especially occasions when she displays emotion. Romey gives insight into Mary Call beyond what she would choose to write on the page. He highlights her weaknesses but also her struggles and humanity.
Romey is more outwardly emotional than Mary Call, a quality that she reacts to with scorn because she understands that weakness can threaten Survival in a Harsh Environment. Romey attempts to hide his emotions, but they often leak through, including crying and bouts of anger. He is the only character to show strong, visible anger toward Mary Call. He wants their situation to be different. Mary Call remarks that “Romey’s hunger for things we don’t have never leaves him” (28). This hunger is sated in the end in the image of the two siblings wildcrafting amidst spring’s verdancy and vigor.
Kiser is a 30-year-old bachelor who owns the land and house that the Luthers rent and work on through a sharecropping system. At first he is characterized as a despicable antagonist by Mary Call—the greedy, heartless employer who values money over family (his own and the Luthers). He is described as taking advantage of Roy Luther and as a threat to the family’s self-sufficiency. Although Kiser loves Devola, Roy Luther forbids him from marrying her.
Mary Call describes Kiser in physically unappealing ways. His brown teeth are a source of irony for her, emblematic of the fact that being well-off does not mean being well-kept or dignified. His rotting teeth are juxtaposed with the Luthers’ white teeth (they use natural products from the land); their teeth symbolize their resourcefulness and cleanliness.
Through Kiser, Mary Call displays her disdain for having to bend to needless authority. She makes Kiser into an enemy. Her perception of Kiser, however, undergoes fundamental changes. Through their interactions, she notices moments of mutual respect between the two, as well as complex emotions in Kiser. She sees that he really does love Devola and that his illness made him into a kinder man. Having to reexamine her clouded view of him is symbolized by the fact that, throughout the novel, she tells everyone that he is 40 years old; the reality is that he is 30, highlighting the inaccurate ways Mary Call has depicted and internalized him.
Kiser is often both amused and annoyed by Mary Call. He does not consider her beneath him despite the fact she is a girl and significantly younger than him. He respects her intelligence and stubbornness, while also getting frustrated at the ways she tries to impede him. He takes her seriously. He is also generous with the family during the courtship of Devola.
Roy Luther is the former head of household, or patriarch, of the Luther family. Although he is present in the beginning of the novel, he does not have any lines of dialogue; his illness keeps him from speaking. This aspect contributes to the fact that the characterization of Roy Luther is mainly done through the eyes of Mary Call.
While Roy Luther is ill and then dies, his presence is felt throughout the novel in the ways he has placed responsibilities onto Mary Call. These responsibilities and concomitant values—such as loyalty and pride—shape Mary Call’s coming-of-age story. He is staunchly against charity and welfare from the government, distrusting most services and institutions. He also feels strongly about not mirroring outsiders’ views of poor, mountain people: “people think we’re crazy because we’re always wanting to fight and blow people’s heads off” (104). He therefore highlights a divide between rural and urban life and points out harmful stereotypes of poor people as violent.
Roy Luther’s ethos is isolating; while he does not allow preachers or doctors into the house for mostly financial reasons, he also exhibits a mindset wherein nearly any service provided is inferior, suspicious, or even harmful. His resignation is tied with a loneliness that both Romey and Mary Call rail against. For Mary Call especially, ignorance is linked not only with an inability to engage with the world and protect loved ones but also with loneliness and isolation.
Roy Luther is a complex figure in Mary Call’s eyes. Although she sees him as a weak, defeated man, she also tries her hardest—at the expense of her health and well-being—to uphold his values and promises. He also makes up part of her conception of the Luther family identity, which is one of strength and perseverance, tied intimately to the land.
Near the end of the novel, while Mary Call is looking for a cave for her family to move into, she visits Roy Luther’s grave. She feels no connection to him; she cannot feel his presence there or in her memories. This scene not only represents the ways in which Roy Luther did a disservice to his daughter but also shows Mary Call’s distance from her father’s way of life. She has to make her own path forward with the people around her.