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In the prologue, Eddie explains that he is using his phone as an ineffectual means of connection: He sends texts to his dead wife’s number. While she was alive, Eddie would go on cross-country trips as a truck driver, and Ani would text him. Although the texts were mostly mundane, they made him feel less isolated and alone on the road. Eddie doesn’t describe whether he responded to her texts in kind, or even what lead to the demise of their marriage, although their separation suggests that the connection between them deteriorated. Eddie sees these text messages from Ani, whether he is romanticizing them after the fact or not, as the lifeline that kept his loneliness at bay. In reality, the occasional one-line text is fairly paltry in terms of nurturing an entire marriage from the other side of the country. When Eddie is helping Ani bathe, she curses at him for not taking care of her when it counted, when they were still together.
Eddie’s texts after Ani’s death are even more futile, an expression of affection that is simply too late. The communication devices used in the play are dead ends. Ani tells Eddie multiple times that she has an emergency button that will summon help to remove Eddie from her apartment. She sees the button as a safety net that allows her to preserve a measure of autonomy in her own space. After Eddie severed the line of communication between them for six months, Ani wants to feel as if she has control. Eddie, however, reveals that the button only calls him as her emergency contact. Ani doesn’t want to see Eddie, but she has no one else to call. Eddie uses his phone to try to rebuild their connection; he plays music for Ani, but he only manages to highlight how far apart they have grown.
Jess reaches a similar dead end when she calls her mother after running out of John’s apartment. She leaves a message to tell her how much she loves and misses her, and says that she wishes her mother were still herself. This suggests that Jess’s mother, or at least the mother who raised her, is nearly as unreachable as Ani is for Eddie. When Eddie suddenly receives texts from Ani’s number, he tries desperately to turn the texter into his wife. Eddie goes to the bar and says that there isn’t anyone who resembles Ani. He looks for a sign that the texts are meaningful by trying to connect Jess to the phone number. In the end, technology is a poor substitute for personal connection. When Eddie’s phone buzzes after Jess runs out, he feels fear and sadness, as a legitimate human connection has just slipped away. But Jess returns, and Eddie ignores his phone. Their connection is tentative, and much more complicated than the relationships that they’ve been having with their phones. It also has the potential to become something real, a friendship that they both badly need.
In the prologue, Eddie tells the stranger in the bar that he and his wife were planning to travel to Maine for her birthday to see the trees. However, the flashback scenes reveal that the trip to Maine is simply part of the fantasy that Eddie constructs of his marriage, a romanticized illusion that skips over their separation and Ani’s accident. Unlike Eddie, who drove all over the country for work, Ani barely left New Jersey while she was alive. Her only glimpse of Maine came from a vacation photo on a coworker’s desk, made even more authentic by its frame made of twigs. In the photo, the coworker, who was newly divorced, is alone but happy.
To Ani, Maine represents the self-actualization she has dreamed of achieving, a level of happiness that didn’t require anyone else. Eddie doesn’t understand this, or why his promise that they can go to Maine together one day isn’t what Ani wants. When Eddie mentions that he will rip up the divorce papers, Ani says that the papers used to be trees. Metaphorically, trees are the natural, uncompromised beauty of what their love and relationship once was. Now that those trees have been converted to paper, they can’t ever be what they were.
Maine is also tied into the repeated motifs of cars and driving. When Ani was in her accident, she told the EMTs that she was driving to Maine. She tells Eddie that she wasn’t heading there, but that perhaps she might have if she had kept driving. Where cars are concerned in the play, there is a fine line between safety and danger. Driving is a means of mobility and escape. Eddie describes driving across the country and seeing its vastness and beauty. Yet Ani’s attempt to escape ends in an accident, and ultimately, her death.
Eddie loses his license and livelihood behind the wheel of a car when he drives under the influence. For Jess, her mother’s car is her last semblance of shelter. Jess says that she had slept on other people’s couches for a while, but she became tired of relying on others. Living in her car allows Jess to feel entirely self-sufficient. It’s a piece of property that belongs to her. But the battery has died, and Jess admits that she doesn’t know how to survive such cold weather. Eddie recognizes the potential danger of cars, worrying that Jess might die like the woman who suffocated on gas fumes. He sees these accidents as moments of bad luck that balloon into devastating consequences. Offering shelter to Jess is his way of trying to prevent the unknown.
Bathing and the ability to be clean are a matter of human dignity. They are complicated in the play by disability and poverty. Both John and Ani require a caretaker to bathe them, which means allowing another person to see and touch their naked bodies, regardless of insecurity or discomfort. John tells Jess that he doesn’t have a choice in whether to have another person shower him, but Jess reminds him that he does have a choice in who he hires to do the bathing.
Typically, John’s two options would be a professional caretaker or a loved one, both of which have drawbacks. John is living on his own for the first time, and he is accustomed to being bathed by professional nurses and caretakers. Because he has money, John hires Jess privately. He wants something more than what professionals offer, although he isn’t quite sure what that means at the time. It becomes clear that John wants his caretaker to be emotionally vulnerable to make him feel more comfortable with his physical vulnerability. He manages to break down Jess’s defenses, but this backfires when she develops feelings for him. Although their relationship is based on John’s need for help washing himself, he doesn’t show Jess much understanding when she steals soap, an act which suggests that she too needs help to stay clean.
John is most sensitive about exposing his genitals, which he is still able to wash himself. Jess sees his entire body in the shower, but turns to give him privacy. Giving the illusion that she hasn’t seen his genitals creates an interesting juxtaposition between her flirtatious relationship with John and the first date John is going on with Madelyn, who he hopes will want to see his genitals.
Ani prefers a nurse who is friendly but impersonal; it helps her to forget herself. Eddie sells himself as a potential caretaker by reminding Ani that he knows her body better than anyone, but this only reminds Ani of her body before the accident. Eddie wins out as the most financially viable choice, but his familiarity with Ani’s body creates issues. As he washes her, Eddie touches Ani’s genitals in an attempt to test her ability to become sexually aroused. However, he is uncomfortable when she asks him to perform the simple function of washing them. Eddie doesn’t see Ani for her new reality as a disabled person. Her bath nearly becomes deadly when he leaves the room and she almost drowns.
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