56 pages 1 hour read

So Big

Fiction | Novel | Adult | Published in 1924

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Chapters 1-4Chapter Summaries & Analyses

Chapter 1 Summary

Dirk “Sobig” DeJong earned his nickname as a very young child; whenever his mother asked him how big he was, he responded, “So-o-o-o big!” (2). He was raised on a farm run by his mother after the early death of his father, Pervus. Later in life, Dirk would achieve great success. This left his mother, Selina, with complicated feelings about her son’s wealth and status.

The narrative moves back in time to Selina’s childhood in the late 19th century. She is born Selina Peake and raised in Chicago by her father, Simeon Peake. Simeon is a professional gambler whose fortunes ebb and flow. When he is flush with success, he treats his daughter to a lavish lifestyle. When he is not so fortunate, they scrimp by. They travel often from city to city following the death of Selina’s mother. Selina occupies herself with books and, for three “dark years” (3) from age 9 to 10, she lives with two aunts while her father grieves for his dead wife. Selina dislikes this period and longs to be back on the road with her father, who eventually saves her from her aunts’ guardianship. The young Selina is determined not to live a fusty, dull life like her two aunts. In Chicago, Simeon pays for Selina to attend the prestigious Fister school. No matter how poor he may be, he always manages to find the money to pay the school fees. At the school, Selina makes friends with a young girl named Julie Hempel. Julie’s father, August, is a butcher who will eventually achieve astonishing success in the meatpacking business. Selina loves to attend the theater and resolves to be a famous novelist in the future, much to Julie’s chagrin.

At the age of 19, Selina and Julie prepare to graduate from the school. Julie’s father is enjoying tremendous success, and her family is wealthy. In contrast, Selina and her father often endure poverty. His reputation as a gambler leads many people—including Julie’s mother—to look down on Selina. One evening, after declining an invitation to dine with Julie’s family, Selina returns to the sparse lodgings she shares with her father. She hears ominous sounds in the hallway and witnesses her father’s dead body being carried into the room. He has been shot by accident in a gambling house; a woman shot him while aiming for someone else. Due to the wealthy people involved, the incident is hushed up. Simeon leaves his daughter two diamond pins and just over $400. Facing a difficult future and still grieving her father, Selina decides to become a teacher. To work in the city, however, she must gain experience in a more rural location. She departs from Julie, though their paths will cross again in the future.

Chapter 2 Summary

Selina is hired by the Dutch school at High Prairie, a farming community 10 miles outside Chicago with connections to August Hempel. She is paid $30 a month and will live in the house of Klaas Pool, a farmer and the head of a family. During this time, the Hempel business is rapidly expanding, and August is on his way to becoming a millionaire. Selina sells one of her father’s diamonds and keeps the other. On the way to High Prairie, the rural community reminds her of old stories such as Sleepy Hollow. It is populated, she believes, by “sturdy, phlegmatic, industrious farmers” (11), most of whom have Dutch heritage. Klaas Pool escorts Selina to his home. As they ride in his carriage, Selina comments on the beauty of their surroundings. The ponderous, sincere Klaas is amused that someone could find cabbages beautiful. He repeats the phrase “cabbages is beautiful” (12) to himself, chuckling. Selina refuses to be offended by his response. She is determined to live her life as an adventure; her new career in High Prairie is the first step on this adventure. As they ride, Selina asks Klaas about his children. His two daughters, Geertje and Jozina, he says, will attend Selina’s school with the other children from the community. His son Roelf is now old enough to work on the farm, Klaas explains, so he will not attend the classes even though he is still just 12. Selina is surprised but determined to enjoy her experience.

Chapter 3 Summary

The Pool house is “a typical High Prairie farm” (15). Inside, Selina meets Maartje Pool, Klaas’s wife. Maartje works tirelessly for her family, and Selina is at first taken aback by her rough, tired appearance. As Maartje welcomes Selina inside, Selina notices “two pigtailed heads” (16) belonging to Geertje and Jozina. The girls hide and giggle with one another. Maartje shows Selina her new bedroom. Inside the cold room is a large bed, an antique wedding chest, and a metal drum stove that is designed to heat the room but rarely functions. Maartje shows Selina the contents of the beautifully carved wedding chest, which has been passed down in her family for 200 years. Inside is her wedding gown, as well as her bridal cap and shoes. Should Selina marry a High Prairie Dutchman, Maartje jokes, then she may wear the outfit. They are interrupted by a call from Klaas, who is hungry and wants his dinner. Elsewhere in the house, Selina meets the gnomelike Jakob Hoogendunk, who helps on the farm. Alone in the room, Selina unpacks her trunk. She does not have many possessions, but she did spend money on a “wine-colored cashmere” (20). Spreading the cashmere on the bed, she feels more at home. She descends the stairs to dinner. As they often do, the family is eating pork. The array of fresh vegetables grown on the farm, Selina is surprised to learn, are rarely served at the table. Such produce must be sold rather than eaten. At the meal, Selina meets Roelf, a “dark, handsome sullen boy” (21). After the coarse meal, Jakob and Klaas fall into conversation about the farm. Selina surprises everyone by asking questions. Her “audacious female” (23) behavior shocks the conservative family. With Klaas and Jakob seemingly unable to respond to her question about fertilizer, Roelf plucks a book from the shelf and gives her the information she wants to know. Fertilizer, she learns, is made from nitrate of soda, ammonium sulfate, and dried blood. Feeling embarrassed, Selina retreats to her cold bedroom. As she prepares for bed, she discovers that Roelf has been reading the dictionary. Shocked that someone would read a dictionary, she resolves to acquire much more interesting books for the introspective youngster. As he brings her warm water to heat her room, Roelf confides in Selina that he too finds the cabbages to be beautiful. Much to her surprise, Selina falls asleep quickly, thinking about fields fertilized with dried blood. She wakes up to the smell of bacon. Her room is terribly cold.

Chapter 4 Summary

November is Selina’s first month in High Prairie. Her days soon settle into a familiar pattern as she battles the cold. She refuses to conform to local behaviors, such as dressing in front of the kitchen stove, and she grows to hate the metal drum stove in her bedroom for its abject failure to heat her room. With chalk from her schoolroom, she draws a demon’s face on the drum. The schoolroom is also very cold, and Selina faces a daily battle to light the fire in the stove before the children arrive. In the Pool house, she is determined to “woo [Roelf] to friendship” (29). She offers him books to read, though his father dismisses such things as “foolishness” (30). Roelf has a small wood workshop where he can express himself artistically. Klaas and the people of High Prairie have no interest in his romantic, intricate designs, however. Selina comes to realize that Roelf is “different” (30) from those around him. He reads her books quickly and tells Selina about his plans to become a successful artist. One day, Selina accompanies Klaas into Chicago. While he sells his produce, Selina tries to visit Julie, but Julie’s mother turns her away, saying that Julie is not at home. Selina dines alone, determined to enjoy herself. She is surprised at how happy she is to return to the warm stove in the Pool kitchen.

Chapters 1-4 Analysis

So Big begins in medias res. Though most of the novel follows the life of Selina in a linear fashion, from her youth to her adulthood, the opening chapter presents the audience with Selina as a fully grown woman. She is not only a widow, but a mother. In this way, the novel foregrounds the bond between Selina and her son, Dirk “Sobig” DeJong, at a formative moment in Dirk’s life, illustrating The Relationship Between Autonomy and Happiness. Selina has forged her own way in the world through sheer will, creating an identity rooted in her own values rather than in societal expectations. Now, as her son attempts to build an adult identity for himself, he must reckon not only with the expectations of society but with those of his mother as well. These two sets of expectations are often in conflict—Dirk wants to gain the kind of wealth and power that he believes will win him the admiration of society, but his mother rejects and belittles these materialist aspirations. Unable to live for himself as she has, he finds himself torn between these conflicting values. As he climbs the social and corporate ladders, the childhood nickname “Sobig” comes to feel like an ironic form of mockery.  

Though the novel is largely linear, the examples of nonlinear storytelling from the omniscient third-person narrator serve to elevate and stress the importance of certain relationships. The scene with Selina and Dirk in the field has little narrative consequence, but it demonstrates the fraught process of identity formation for Dirk as a young adult. Selina and Dirk are alone, wrestling good-naturedly over Dirk’s self-identity. Through structural devices such as this, the novel informs the reader of the importance of a relationship that—in a chronological sense—has not yet begun. In addition, the scene from Dirk’s happy, tranquil youth contrasts with the more chaotic scenes from Selina’s own youth. They may share many of the same qualities, but the mother and the son have very different perspectives on life, formed by their very different childhoods. This difference will be hugely important later in the novel, but it is established in the very first scene as a way to contextualize the story that follows.

As a mother, Selina will have a vast influence on the life of her son. In doing so, however, she will have little experience to draw upon. Her mother dies when she is young, so the most formative relationships in her early life are with her father and her two aunts. Selina hates the time she spends with her aunts, whose obsession with social propriety renders them dull. She much prefers the chaotic and intermittently impoverished life offered by her father. For all his involvement in the world of vice, Simeon is a good father to Selina. Even when he is down on his luck, he ensures that he has money for her tuition. Selina never resents the temporary poverty brought about by her father’s career. When other parents judge him and try to shield their children from his influence, Selina judges them, rather than her father. For the chaos and tragedy of their lives, she never once doubts that her father loves her. This foundation of sincere, genuine affection teaches Selina about which values are most important. Her father may be a gambler, she knows, but he never gambles on her affection. This sincere love only makes the circumstances of his death more tragic. A man whose life has been dedicated to seeking out luck at the gambling table suffers from the misfortune of being caught by a stray bullet. His death is a tragic accident, the consequences of which fall largely on Selina. She is thrust into even more uncertainty, even more chaos, and she lacks in the one source of sincere, constant affection that guided her life.

Without her father, Selina refocuses her ambitions. She had wanted to be a novelist, but this career path served as a vector for her primary interest: The Importance of Self-Expression. Whether through art, theater, or literature, genuine self-expression is Selina’s most valued commodity. She is willing to sacrifice everything for it, including casting herself into a year in the countryside so that she can gain the experience needed to return to the city. This is why she forms such an immediate and strong bond with Roelf. In the youngster, she sees a kindred spirit: someone who is bursting against the confinements of his existence, who is desperate to express himself in a society that deliberately and perpetually limits the horizons of self-expression. The people of High Prairie will never be able to value Roelf’s intellect, but Selina can. As an outsider, she introduces Roelf to a world outside his own. By entering High Prairie, Selina irrevocably alters two fates. She condemns herself to a future in the rural community, while ensuring that Roelf now understands too much of his own self and his own sensibilities to ever be able to settle for this society. They are so alike, ironically, that their futures must be apart.

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