50 pages • 1 hour read
Paule MarshallA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In December 1939, the United States enters World War II when Japan bombs Pearl Harbor. Despite the entire community’s investment in the war, the Boyce family is less engaged in politics. The war finally becomes a reality for Selina when her body begins to mirror the “upheaval” (58) of war; her first period comes and her breasts begin to develop.
On Saturdays, Silla puts the girls to work in the kitchen preparing ingredients for the Barbadian specialty foods Silla sells to her friends and neighbors. These acquaintances talk about the war, hand out unsolicited parenting advice to Silla (she should take her children to church if she doesn’t like their behavior, for example), debate whether they owe the United States as black immigrants, and talk about whether obeah (a folk religion from the Caribbean) works. Ina hates these conversations with the first-generation immigrants, but Selina enjoys them because she finds her “mother’s power with words” (63) intriguing; it’s a power she seeks for herself when she tries to create poetry at school.
One Saturday, Silla snaps after her friends talk about how many Barbadians are buying houses. She tells her friends that no matter what, she plans to sell Deighton’s land. The intensity of her promise casts a pall on everyone in the kitchen, and her friends must intervene when Silla threatens harm to Selina if she tells Deighton about her plans. The last straw for Selina is when one of Silla’s friends touches Selina’s breast and laughingly tells the women in the kitchen that Selina is so grown up now that she will certainly keep Silla’s secret. Selina feels marked by that afternoon, especially the woman’s touch on her breast, which “made her one” (69) with the bodies of these women, their “malice” (69), “the mother’s gorgeous rage” (69), and Silla’s plot against Deighton.
Silla’s secret plan to sell the land is a great burden to Selina. Two weeks after the scene in the kitchen, Selina reveals Silla’s scheme to her father. Deighton tells her not to worry because the plans are empty threats, and he plots to buy the girls whatever they want once he begins earning money as a trumpet player. Selina is not reassured.
Selina discovers that Ina has been eavesdropping on this conversation, and the two girls quarrel over who is Deighton’s favorite. As the argument heats up, the sisters come to blows. When Deighton breaks up the fight, Ina runs away to her room. Exasperated, Deighton accuses Selina of being her mother’s child. Selina is pained by this accusation and overwhelmed by the sound of Miss Suggie, a boarder in the family’s rented house, entertaining a man in her room.
Selina runs to see Miss Thompson at the beauty parlor after the fight. Miss Thompson tells Selina to stop expecting adults to make any sense at all—they don’t listen to anyone because they are too wrapped up in themselves. Against Miss Thompson’s advice, Selina decides to confront her mother at her new job at a factory.
Silla’s shift is almost over when Selina arrives, so Selina waits and watches with “grudging affection” (89) as her mother works an industrial lathe on the loud, overwhelming factory floor. While the other workers look tiny compared to the equipment they operate, Silla “was like the machines, some larger form of life with an awesome beauty all her own” (90).
On the trolley ride home, Silla reveals how angry she is that Selina boldly came to see her at her job. Silla tells Selina she has to learn how life really works: The world is not on Selina’s side, and Selina must learn to think things through before acting. Using herself as an example, Silla tells Selina about how she took the time to learn to work the lathe before convincing her racist employers that they should give a black woman the chance to control one.
Selina is surprised when her mother confesses that she would love to buy some of the fancy clothes in the store windows that flash by the trolley. When Silla tells Selina that she intends to buy two dresses for the girls to wear to an upcoming wedding, Selina is disgusted by her mother’s naked desire for material things. When Selina tries to explain that there are intangibles that are more important than things, Silla ridicules her. Selina confronts Silla about the plot to sell Deighton’s land. Silla laughs when Selina tells her that no one—not even Deighton—listened when she revealed Silla’s scheme.
A year passes. The Boyce house is so tense that Selina spends her days in the library or with Beryl, for whom she has complicated feelings of longing. One afternoon, Selina discovers an official-looking envelope from Barbados in the Boyce mailbox. Silla tells Deighton that his sister has sold his land for $900; she did so because Silla pretended to be Deighton in a series of letters that culminated in a request to sell the land. The envelope from the mailbox contains a bank draft payable to Deighton. Deighton meekly agrees to cash the draft that following Monday.
On Monday, Deighton is dressed in his finest and seemingly very happy. Deighton is affectionate with his wife, a rarity in the Boyce house. Overcome by this unusual display of charm, Silla agrees to let Deighton cash the draft on his own at the bank. It is evening when he returns and announces that he has spent every penny of the money from the land sale on gifts for his family and a fancy trumpet for himself. Silla collapses, and Selina loyally stays behind when Ina and Deighton leave the room. In spite of herself, Selina is sad. “[T]here was a part of her that always wanted the mother to win, that loved her dark strength and the tenacious lift of her body” (118), she discovers.
Months later, Selina, Ina, and Silla go to the Steed wedding dressed in clothes from Deighton’s shopping spree. The women leave for the wedding alone because Deighton, now the subject of gossip because of the scandal over the money, is not sure he will attend.
At the church, the guests wait almost an hour before the bride arrives. Selina grows more and more uncomfortable as she listens to their friends and neighbors commiserate with Silla over Deighton’s overindulgent splurge. Silla sits quietly until an older man she knew from Barbados asks her to dance with him. When Beryl shows up, Selina convinces her to dance to the calypso music with her, and Selina begins to feel a little joy.
Her happy feelings last until Deighton arrives later that evening. The entire community closes ranks around Silla and the Boyce sisters by turning their backs on Deighton and singing the lyrics to a song that says, “Small Island, go back where you really come from!” (134). Deighton staggers away.
After Deighton’s public humiliation, things at home become even worse. Selina turns 15, and her friends at school celebrate with cupcakes at the lunch table on her birthday. Selina is both saddened and envious when one of the girls at the table tells everyone about how she had sex with her boyfriend after he told her that they were engaged.
That evening, Selina learns that her father has been injured in an accident at the mattress factory where he works. A machine mangled his arm. Silla refuses to let Selina go to her father in the hospital. She says Deighton does not want his daughters to see him in his diminished state. Selina has a breakdown and is unable to stop screaming.
Months later, Deighton returns home. He has a breezy manner, but he seems withdrawn and strangely content. He tells Selina that his arm will never heal well enough for him to play the trumpet or work in a factory again. Deighton spends all day reading religious pamphlets from a cult led by a charismatic leader named Father Peace, who claims to be God on Earth. On Sundays, Deighton goes to Father Peace’s worship services all day.
Selina accidentally breaks the glass on a picture of Father Peace one day and cuts her hand. Deighton believes Father Peace has supernatural powers that enable him to harm or kill his enemies, so he claims the cut is retribution for his daughter’s actions. His anger frightens Selina. Desperate to reconnect with her father, Selina pleads with him to take her to one of the Sunday services.
Selina attends one of Father Peace’s services with her father. People crowd into a Harlem brownstone to see Father Peace, a small old man whom they all worship and adore. Father Peace selects Deighton to sit by him, which is a great honor among the worshipers. Father Peace gives a sermon on how people should abandon all commitments—even those between family members—and worship him. Selina asks Deighton to take her home, but he initially ignores her, and the other worshipers prevent her from joining her father. When they do leave, Deighton seems weak and confused.
One Sunday over breakfast, Deighton tells his daughters that they must stop calling him their father since the only acceptable relationships are those between members of Father Peace’s group. Silla is at first puzzled by his pronouncement. She asks him what happened to make him believe this; inside, she is both horrified and fearful that she is to blame. Neither of her daughters do anything to relieve her of her fear, so her fear turns to anger.
Silla furiously tells Deighton that all the other West Indians she knows are getting ahead. The Boyces are not, however, because of Deighton. Silla then lists all the ways Deighton has wronged her, most painfully through the death of their son. Deighton responds meekly to her accusations until this last one. He tells her that Father Peace has offered him room and board for running the group’s restaurant. Deighton announces that it would be better for everyone if he takes the offer and lets God provide for the Boyce family. He leaves.
Selina visits her father weekly. Back home, Silla grows desperate and begins to work more hours to cover the family’s expenses. Things continue in this way until 1945, when Silla informs Customs and Immigration that Deighton is in the country illegally. Selina is at the restaurant when the immigration officials, accompanied by Silla, arrest Deighton.
That night, Selina accuses her mother of being Hitler and beats her up. Silla does nothing to defend herself. She “possessively” (159) gathers her daughter up with a “strange awe and respect” (159) afterwards. Silla has proved herself to be her mother’s daughter after all. On the day World War II ends, the family receives a cable from immigration informing them that Deighton drowned on the voyage back to Barbados. He likely killed himself.
While the context of the war has the practical impact of helping the reader understand the flow of time in these sections, Marshall uses the backdrop of World War II to represent the increasing conflicts in the Boyce household and Selina’s coming of age. The specificity of the dates is one of the first indications that Selina is now moving away from the haziness of childhood to the definitiveness of young adulthood. The ability to attach dates to specific, momentous events is one of the hallmarks of adulthood. This section includes narrations of a series of events that change Selina’s life permanently.
War is bloody, extended, destructive conflict that disrupts the lives of those involved. While the World War seems distant in the day-to-day lives of Selina’s family and community, the smaller war happening inside the brownstone—the increasingly acrid conflict between Deighton and Silla—destroys Selina’s life as she knows it. Their arguments pit Ina and Selina against each other, thereby extinguishing one avenue of support for Selina as she navigates the passage from childhood to womanhood. Selina also loves her father and understands, to a certain degree, his intense focus on self-fashioning (as with his unfinished correspondence courses), but she also understands that her mother’s drive and will to succeed are worthy of emulation. The scene in which Selina observes her mother at work is confirmation that there is something admirable about Silla.
Selina’s ability to admire aspects of both her parents’ approaches to life in America is the biggest casualty of the conflict between her parents, however. Deighton’s injury sets in motion his final abandonment of his role as father and provider. The scene in Father Peace’s church, during which Selina is at last forced to lead her father home, reverses the parent-child relationship; Selina can no longer depend on her father as a prop to her identity. Then, Selina’s escalating conflicts with her mother culminate as Selina strikes Silla and calls her “Hitler”—the most potent symbol of evil and oppression a person coming of age during this historical period could have imagined. Silla’s decision to fraudulently sell Deighton’s land and report her husband to deportation authorities are acts of betrayal that ensure the Boyce family unit’s demise.
While much of the conflict that forces Selina to come of age stems from this interpersonal friction between family members, the repercussions of these events extend outside of the Boyce household. When the community repudiates Deighton at the wedding, it shows that members will punish those who go beyond the bounds of the accepted values of the community with exile. Selina finds this event traumatic, however, and so she rejects her community for going to such great lengths to enforce its values. The community in part engages in this rejection to support Silla, who gets much sympathy at the wedding. Selina is unable to envision being Barbadian or Barbadian-American apart from embracing her mother’s values; when Selina rejects her mother’s values, she also rejects her mother’s culture.
This rejection of both her father’s acts and her mother’s culture sets up an internal conflict that Selina spends the rest of the novel resolving. As much as Selina despises aspects of her father, mother, and their culture, all three have deeply shaped Selina’s identity. Her life from this point on is a struggle to come to terms with the parts of her that reflect these influences.
By Paule Marshall