White Oleander

Ingrid is Astrid’s mother and the deuteragonist of the story. She achieves this status in the narrative despite being in prison for most of it. Ingrid is often described through memories that Astrid has of her childhood, through the letters that Astrid receives from Ingrid while she is in prison, or through the few brief visits that Astrid has with Ingrid while she is there. The novel’s exposition is dedicated to explaining what kind of person Ingrid is and what happened that led her to murder her ex-lover, Barry. This decision sends her to prison and separates her from her daughter and only family, and Astrid spends her entire adolescence away from her mother, drifting through a series of foster homes that each traumatize Astrid in their own way. Ingrid is also a poet and extremely intelligent, and she uses her wits and way with words to manipulate those around her, including Astrid; “That was Ingrid Magnussen. She made up rules and suddenly they were engraved on the Rosetta Stone, they’d been brought to the surface from a cave under the Dead Sea, they were inscribed on scrolls from the T’ang Dynasty” (20). Ingrid can be described as sociopathic due to her decision to murder Barry, how she treats Astrid as more of an object than a person, and how she manipulates Claire to become depressed. Astrid believes that her mother is delusional and that she also twists her own thoughts and views into something warped and dishonest: “Things weren’t real to you. They were just raw material for you to reshape to tell a story you liked better” (353). Ingrid also attempts to remain the center of attention in every interaction so that when Astrid tells her about the horrors she is experiencing, Ingrid either lectures her or tries to compete by describing her situation as significantly worse.

While Astrid and Ingrid still lived together, Ingrid treated Astrid as something to mold rather than nurture, never letting Astrid be her own person. As a result, Astrid was always in the shadow of Ingrid until she was separated from her at age 12. When they part, Ingrid suddenly seems to take an interest in Astrid, but it is really just the lack of control and jealousy over other foster parents that leads Ingrid to act this way. She does not want Astrid to form attachments, often reminding her to be independent, remember her Viking heritage, and never fall in love with a man. Astrid has a complicated affection for her mother; when she is younger and before the murder, Astrid looks up to Ingrid, desperate for her attention and affection and knowing no world outside of her mother. After she is apart from Ingrid for several years and sees the world through the lens of many different types of families, Astrid’s feelings toward her mother change. She starts to see her mother for the dishonest sociopath that she is and even begins to hate her at one point: “I hated my mother but I craved her. I wanted to understand how she could fill my world with such beauty, and could also say, that woman was born to OD” (346). Astrid and Ingrid’s relationship is an exploration of The Delicate Balance of Mother-Daughter Relationships. It is not until Ingrid admits all of the events of Astrid’s past, including leaving her for an entire year, that they can start to move forward with their relationship. Ingrid is eventually released from prison without Astrid’s help, and Astrid admits that she will always long for her mother.

Claire is one of Astrid’s foster mothers, and she, more than the others, takes care of Astrid and maintains an interest in Astrid’s school, hobbies, and future. When Astrid first meets Claire, she feels like it must be too good to be true. Ron is not home for the first week, and Astrid and Claire have time to bond with one another. Claire is an actor who rarely gets work and spends most of her time at home. She has no children, and when Astrid comes to live with her, Claire seems to feel she has a purpose. She encourages Astrid to take honors classes and helps her excel by tutoring her, and she also puts Astrid into an art class at the museum. Claire often spoils Astrid, buying her expensive clothing and allowing her to eat whatever she wants. Astrid feels like she has finally found a mother in Claire, but when Ron is due to come home, Claire changes. Claire seems overly concerned about appearing happy and stable for Ron, and Astrid starts to sense that something is wrong. Astrid describes Claire as fragile: “She reminded me of a certain kind of rose she grew in the garden, called Pristine. It was white with a trace of pink around the outside, and when you picked it, the petals all fell off” (213). There is a marked contrast between how Claire appears and how she truly feels, and her façade slowly begins to fade. Sometimes, Claire’s fragility comes through, and Astrid catches warning signs that she might have issues she does not discuss, such as when Claire allows the homeless man to touch her hair. Claire mainly depends on Ron to hold her up, and as time passes, she finds it increasingly difficult to cope when he is away.

At the prison, Astrid sees Claire as her mother does—“actressy, naïve, ridiculous” (249). She acts more like a fan of Ingrid than a woman taking care of a murderer’s child. Ingrid tells Claire that her husband is cheating on her, which begins a spiral that ends in Claire’s death by overdose. Astrid is the one who finds Claire dead, and along with dressing her up, spends the day in the house with her body until finally calling Ron in the evening. Astrid is permanently changed by her time with Claire: “If I had anything good, it was only because of Claire. If I could think of myself as worthwhile for a second, it was because Claire made me think so. If I could contemplate a future at all, it was because she believed there was one” (283). After Claire dies, Astrid loses hope for a long time, resorting to a callous and substance-filled life in which she is reckless with her body, mind, and future. It is not until Astrid becomes an adult and can move out on her own that she finally begins to heal from the loss of Claire.

Ray is Starr’s boyfriend and a constant presence at Astrid’s first foster placement. He is a flat character who is defined by his sexuality and outward calm. Ray is a married man but has no idea where his wife is. He has been in a relationship with Starr for a while when Astrid moves in, but she immediately becomes jealous of Starr when she is with him. Ray starts inappropriately approaching Astrid, telling her she is beautiful and staring at her often. Astrid starts to pick up on this and, being 13 years old, relishes the attention. She is too young to realize it is wrong and allows Ray to continue secretly courting her while Starr becomes increasingly suspicious. Astrid loses her virginity to Ray in an act of statutory rape, and Astrid thinks, “There was no God, there was only what you wanted” (97). The two continue being involved until Astrid is shot by Starr and leaves the trailer forever.

Ray is a carpenter, and for Astrid’s birthday, he gifts her a moonflower jewelry box. It is a subtle symbol of her budding sexuality and his interest in her. When Astrid leaves after being shot, she begs Davey to grab the jewelry box for her so she can remember Ray. Ray’s involvement with Astrid sets her up for a series of relationships with older men, mainly primed by Astrid’s initial relationship with Ray. Astrid does not have a father and now does not have a mother. Ray seems to sense her vulnerability and takes advantage of her, blaming her for seducing him, while in reality, he was the one who groomed her. When Astrid tells her mother about Ray, Ingrid tries to warn her multiple times to stay away from him, but Astrid ignores her warnings.

Rena is Astrid’s last foster mother before Astrid turns 18 and moves out on her own with Paul. She is described as favoring “rock music and American slang both twenty years out of date, [and] discount Stoli from Bargain Circus” [316]. Rena lives in a part of Los Angeles called Ripple Street; it is a rougher, neglected area, but one that Astrid quickly falls in love with. Rena drives a Grateful Dead van and offers Astrid a cigarette as soon as she picks her up from the children’s center. Rena also has two other foster girls living with her, Yvonne and Niki. Rena is honest and hardnosed but also fair and does not let the other girls bully Astrid when she is new.

She has the girls collect valuables from peoples’ garbage and sell them: “She trained her black magpie eyes on the curb with its neatly arrayed trash cans and recycling bins. She could see in the dark with those eyes.” [316]. She also makes Astrid sell the expensive clothes that Claire bought for her. Astrid finds this difficult at first but soon learns she can remember without the objects in her hands.

Astrid finds that she likes living with Rena because, despite her flaws, Rena offers stability and a place where Astrid can live unencumbered and without worry. Astrid also learns the power of thriftiness from Rena and the value in things others see as useless. Rena seems to genuinely care about the girls in her care, even if she is somewhat cold and extremely permissive. She is similar to Starr in that she dresses provocatively and often uses her prowess to gain the attention of men she never plans to interact with. Astrid describes Rena as “a woman who had divested herself of both future and past” (385) because Rena holds no attachments to the past and does not worry about the future. Everything in her house is for sale.

Starr is Astrid’s first foster mother and also her biggest antagonist. Starr is a born-again Christian who “used to be an alcoholic and a cokehead and topless waitress” (54), but she is sober when Astrid first meets her. She recently regained custody of her biological children, Davey and Carolee, and now takes in foster children. Her boyfriend is Ray, a married man who becomes involved with Astrid when she is still underage. Starr lives in a trailer park and spends most of her time preaching about Jesus. She ironically does this while dressing in an overtly sexual manner and even engaging in semi-sexual acts in front of the children. She buys Astrid similarly revealing clothes, contributing to her sexualization. She takes Astrid to church, where it becomes clear to Astrid that God is worth thinking about. Starr also has a crush on the pastor of the church. She further contributes to the sexualization of Astrid by making out with and touching Ray while Astrid is around, and when she begins to suspect Astrid of being involved with Ray, she starts to drink again. Soon, Starr becomes abusive, getting in a fight with Carolee, eventually dislocating Davey’s shoulder after she breaks his model. He becomes upset with her, then shoots Astrid, hospitalizing her.

Olivia is Astrid’s neighbor when she lives with Marvel and Ed. Olivia is the only Black woman who lives in the privileged suburban neighborhood, and Marvel is certain that she can afford it only because she is a prostitute. When Astrid first sees Olivia in her yard, tending to her flowers, she regards her as sophisticated and intriguing. Marvel notices Astrid looking at her and starts saying horrible things about Olivia, warning Astrid to stay away from her. When Astrid tells Ingrid about Olivia, Ingrid is of a similar opinion, seeing Olivia as a woman who only lives to give men what they want. This resistance only makes Astrid want to know Olivia more, and soon the two become friends. Olivia reluctantly allows Astrid into her life, knowing how Marvel feels about her and Marvel’s unpredictability. Nevertheless, she starts taking Astrid shopping and for meals, getting high and drunk with her, and talking to her about her line of work. Astrid is influenced heavily by Olivia, even trying her own trick for a bag of marijuana at one point. When Marvel finds out Astrid has been drinking with Olivia, she physically attacks her and then keeps her in lockdown for several weeks afterward. Olivia is a static character defined mainly by her profession and brief friendship with Astrid. She explains her values to Astrid, stating that she prioritizes money and pleasure above commitment and love. Astrid wonders if she could live a similar life one day, but when stray dogs attack her and her cashmere sweater (gifted from Olivia) is cut into pieces, her hopes of a luxurious, pleasure-filled life vanish: “I held the bits of my luxurious side of my face as she cleaned out the wounds, injecting a beautiful numbness” (173).

Yvonne is one of the girls living under Rena’s care at Astrid’s final foster placement. She is snide and unwelcoming to Astrid at first but soon realizes that Astrid is someone she can trust, and she and Astrid become almost like sisters. They share a room at Rena’s, and Astrid is there for every pain, sheet change, and sick night Yvonne experiences during her pregnancy. The father of Yvonne’s child is absent, and she plans to give it up. At first, Astrid wonders why Yvonne would go through all that trouble. As she gets to know Yvonne, she can see that it is Yvonne’s way of feeling needed and purposeful. It is the second child that she plans to give up, and she endures the pregnancy with nobody’s help besides Astrid. Yvonne symbolizes What It Means to Be a Woman and what Astrid views as a true mother. When Yvonne is in labor, she is in extreme pain, and it seems like she might die. Yvonne inspires Astrid, and Astrid looks up to her as a person of great strength: “And Yvonne, mi hermosa, you gave me the real mother, the blood mother, that wasn’t behind wire, but somewhere inside” (437).

Marvel is another of Astrid’s foster parents. She lives with her husband Ed and two young children, whom she often makes Astrid babysit. Marvel provides Astrid with a somewhat normal home life at first. Although Astrid is used for chores and other such things, she is fed, and the house does not seem to have any significant problems. This begins to change when Astrid first notices Olivia, a woman who works as a prostitute and lives next door. Marvel starts calling Olivia racist slurs and putting down her choice of work, and all it does is make Astrid want to get to know Olivia even more. A few months into living with Marvel, Astrid gets drunk with Olivia and wanders home hungover the next morning. Marvel finds her in this state and drags her across the yard in front of anyone who might be passing by. She continues attacking Astrid inside the house, threatening her to stay away from Olivia. Olivia does not contact Astrid again after this, most likely to keep her safe. Astrid eventually leaves Marvel’s house when Marvel decides she no longer wants her there and sends a notice to the school. Astrid thinks “of the lies that Marvel would tell the kids, why [she] didn’t come home” (189).

Ron is Claire’s husband and one of Astrid’s many foster parents. He is a static character primarily defined by his absence, as he is usually away filming various supernatural and cryptid-related documentary-style films. He is a man of his work and does not spend enough time at home with his family, particularly Claire: “Everything about Ron was smooth, calm, underplayed. […] He didn’t overwhelm you. He didn’t seem to need anything” (214). Furthermore, Ron does not seem to be able to handle when Claire is upset or depressed, as Astrid notices she always cleans the house, puts on a smile, and dresses up when Ron is due to come home. Ron is not a terrible person, but he is foolish, because his main intention in taking in Astrid was to give Claire something to live for and someone to keep watch over her. Astrid is still only a teenager and not emotionally prepared to handle a woman who struggles with suicide and depression, nor should she have to be. She is put unfairly in this position. Ingrid uses Ron as a tool to cause hopelessness in Claire by telling her that Ron is cheating on her. When Claire dies, overwhelmed by loneliness, Ron is distraught, but offers to allow Astrid to stay. Astrid declines, knowing she cannot live there without Claire.

Carolee is Starr’s eldest daughter and the person with whom Astrid shares her room at her first foster placement. Carolee is aloof and strongly dislikes her family, unable to relate to or respect her mother. She is, therefore, usually absent, and when Astrid writes of her, it is usually to describe her leaving through the window in the middle of the night. Carolee becomes a symbol of What It Means to Be a Woman and The Delicate Balance of Mother-Daughter Relationships when she and Starr get into a physical altercation one night when Starr is drunk. Carolee finally packs a bag and leaves her abusive mother behind, and as she does so, Astrid thinks to herself,

This was how girls left. They packed up their suitcases and walked away in high heels. They pretended they weren’t crying, that it wasn’t the worst day of their lives. That they didn’t want their mothers to come running after them, begging their forgiveness (104).

Davey is the first person that Astrid bonds with after being separated from her mother and sent into foster care, and Astrid describes him as “a boy who wanted to be seen” (52). He is a school-age boy whose mother, Starr, takes in Astrid as a foster child. Davey, his mother, and the rest of their family live in a trailer and prioritize religion and shopping. Davey is different from the rest of his family, taking an interest in science, models, and developing a close relationship with Astrid. He even gifts her some animal scat with matching track illustrations for her birthday. Davey comes to look up to Astrid as the sister he did not have in Carolee. When Starr starts drinking again, she beats Davey severely one day, dislocating his arm. Later, she shoots Astrid. It is Davey who calls the hospital to save Astrid’s life. Before she leaves Starr’s forever, Davey is the last person she sees, and the one who collects her things for her.

Paul Trout is Astrid’s boyfriend at the novel’s conclusion and the only love interest her own age that Astrid has throughout the story. Like Astrid, he is a foster child, and their time together is only brief before he is sent away to another placement. Astrid first meets Paul at MacLaren Children’s Center after living with Claire. Astrid describes Paul as having “an artist’s stare, attentive to detail, taking in the truth without preconceptions” (299). Paul stares at Astrid often in class, studying her and trying to figure her out. When he compliments her work, Astrid scoffs, not needing anyone to tell her she has talent. Paul offered Astrid companionship and understanding, and when she finally old enough to go out on her own, she seeks him out. Astrid and Paul end up living in various places around Europe. When Astrid longs for California, she brings up the idea of going home to Paul, who replies, “you can never go home” (441) (The Meaning of Home).

Amelia is one of the foster parents that Astrid stays with. She is particularly neglectful, keeping the refrigerator locked and only serving one meal per day. Amelia is a selfish woman who takes in foster girls for money, and admits this to her friend one afternoon. When Astrid starts to starve living with Amelia, she resorts to eating leftovers out of the garbage at school. She feels as if she is disappearing and wasting away. Astrid starts calling social services repeatedly, trying to get a new placement. When Amelia finds out, she tells Astrid, “You’re lucky I allow you to sit at the table with the other girls, with that hideous face” (199). Astrid’s persistence eventually pays off and she is sent to live with Claire. Astrid remembers her time with Amelia as the one who “taught [Astrid] to stand up for myself, beat on the bars until [she] got what [she] needed” (437).

Niki is one of the girls who lives at Rena’s house, the final placement during Astrid’s years in foster care. Niki is a static character who bonds with Astrid while they live together. She is “magenta-haired” (311) and comes off abrasive and mistrusting when Astrid first moves in. Soon, she is won over by Astrid’s realism and honesty, and the two become close friends. Niki plays in a band, and at the novel’s conclusion, she is said to be coming to Berlin on tour, implying that the girls remained friends. Astrid and Niki also do acid together, which becomes not only a bonding experience as the girls explore the art gallery, but also one of discovery when Astrid finds herself calling out for someone named Annie. She wonders who this person is, and it allows her to later learn that her mother left her for an entire year.