56 pages • 1 hour read
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Content Warning: This section of the guide includes discussion of child death and gender discrimination.
Selina is markedly different from most High Prairie women. She is “too small, too pale and fragile for [the local men’s] robust taste” (33). News of her arrival soon spreads through the gossipy community. During her first trip to the local church, she gains some insight into the local community. She spots a glamorous woman known as Widow Paarlenberg, whose husband died recently and left her a small fortune. Widow Paarlenberg, she learns, is romantically interested in a local man named Pervus DeJong. She often sends food and gifts to Pervus, who finds ways to decline her offerings. Pervus is also bereaved. His wife died two years before, along with his baby daughter, and he continues to work his small, barren farm alone, even as “luck and nature seemed to work against him” (36). Selina sees Pervus for the first time and she is struck by his handsome appearance.
Some time later, Selina attends her first social gathering in High Prairie. According to a local tradition, women put together a food basket. These food baskets are then auctioned off to support charitable causes. Typically, men bid for their wives’ baskets, but the baskets of the local single women are sold to the single men of the community as a romantic overture. Selina, running late for this event, decides to break the traditions of the basket preparation. Despite what Maartje has told her about preparing large, bountiful baskets, she prepares a much smaller but more refined box of food. She arrives at the hall where the auction is held but cannot reach the front to add her food box to the auction lot. Pervus DeJong notices her struggles. He deposits the box among the baskets on her behalf and then fetches a soap box on which she can stand to watch the proceedings. Widow Paarlenberg’s basket is auctioned. The “great hamper” (41) attracts a great deal of attention, with an opening bid of 50 cents. This is a considerable amount in a town where “one dollar often represented the profits on a whole load of market truck brought to the city” (42). The bidding reaches 85 cents; though everyone, including Widow Paarlenberg, seems desperate for Pervus to bid on the basket, he remains silent. Next up, Selina’s basket is presented to mild amusement. The bidding begins at five cents, causing a lot of embarrassment for Selina. Noticing this, Pervus begins to bid. Soon, excitement builds. Men begin to bid on her small food box, including Roelf. Selina is horrified, as she knows that Roelf is saving what little money he has for his artistic ambitions. Eventually, the box is sold to Pervus for $10. The crowd is shocked. These $10 represent “sweat and blood; toil and hardship” (46). Pervus and Selina eat the food together. She offers to educate Pervus in informal evening classes during the winter.
Selina holds a class for Pervus every Tuesday, Thursday, and Saturday. When Pervus comes to the house for the lessons, Roelf glowers and sulks, resenting Pervus for taking away from his time with Selina. During their evenings together in Roelf’s small workshop, Selina has become enthused about Roelf’s “feeling for beauty” (48) and she understands his jealousy. In the chaotic house, however, lessons are difficult. Pervus is a willing but unimpressive student. After lessons, they talk. Pervus talks about his wife and child, as well as the poor conditions of his land, which make farming very difficult. He rebuffs Selina’s suggestion that he might invest money in repurposing and repairing the land. Conscious that their lessons will end when the farming season begins in the spring, Selina tries to control herself. She recognizes that she is falling in love with Pervus. At the beginning of March, he misses several lessons. When he appears at last, Selina is flustered. During their lessons, she feels herself breathing fast. At the end of the lesson, they kiss.
Selina marries Pervus two months later. With the arrival of May, her classes break up so the children can work on their parents’ farms. The arrival of spring also changes Selina’s attitude toward the country, making her wonder more about the “great adventure that her father had always spoken of” (54). The winter, she tells herself, was only an episode in this adventure. Before her marriage to Pervus, Selina speaks to Maartje. The older woman humorously confesses that she ran away before her own wedding to Klaas, but she came back because “you can’t run away from life” (54). Selina also has the difficult job of winning back Roelf’s friendship. Roelf condemns Pervus as a man who will never leave High Prairie. Selina marries Pervus in Maartje’s old family wedding dress. Maartje claims that she looks like “a real Dutch bride” (56). They do not receive many wedding gifts, but Roelf builds Selina a wedding chest of her own. Right after the wedding, Selina moves into Pervus’s house. She has grand plans to redecorate the house and put everything in order. She is surprised to be woken so early the following day, when an amused Pervus wakes her to prepare his breakfast. He reminds her that she is “a farmer’s wife now” (58).
By October, Selina is pregnant with Pervus’s son. Dirk DeJong is born in the house. The narrative moves back to Selina’s pregnancy, as Pervus works hard on the farm. The months following their wedding are the most important for the farming season, but Pervus insists that Selina cannot and should not help him in the fields. Nevertheless, she becomes well acquainted with the rigors of life on the farm. Pervus takes his produce on the cart into Chicago several times a week, often staying in the cart overnight to save money. He struggles to sell his produce, but he rejects any modern, scientific suggestions that Selina offers. He dismisses her suggestions “patronizingly” (61), just as Klaas Pool once did. On one occasion, Selina accompanies Pervus into Chicago, and she is shocked by the “ridiculously haphazard and perilous method of distributing food” (62) for sale. Thinking that they might be able to drain some of their land and make it more productive, Selina tells Pervus about the second diamond left to her by her father. He is dismissive of her ideas. She redecorates the house with help from Roelf, though she often has too many duties and not enough time or money to turn their home into the vision she sees in her mind.
Selina is made to endure “all the drudgery of farm life with none of its bounteousness” (65). During one of Roelf’s visits to the farm, Selina places radishes in her hair. Roelf excitedly declares that she looks like the girl with cherries in her hair depicted on the calendar in the Pool family’s parlor, but Pervus erupts into “one of his rare storms of passion” (66). He criticizes Selina for her behavior, fearing the town gossip. Pervus does not talk often and does not provide much in the way of companionship. Dirk’s arrival helps to alleviate her loneliness, but her second child is stillborn. She suffers intensely. During this time, Selina receives a letter from Julie Hempel. Julie reveals that her now-dead mother hid Selina’s previous letters and barred any correspondence between the two friends. Julie reveals that she is now married and that her father is very wealthy. In the third year of their marriage, Selina ignores Pervus’s protests and works in the fields rather than let the produce rot. She often takes young Dirk with her. In the fourth year of her marriage, Maartje Pool dies. In the aftermath of her death, Roelf—now 16 years old—runs away from home. Before leaving, he visits Selina one final time but refuses to take the money she offers him.
Selina quickly learns that the gendered expectations placed upon women in a rural community like High Prairie are even more restrictive than those of the cities where she grew up. Women in High Prairie are expected to run their household and receive little to no credit for doing so. In Maartje, for example, Selina sees this template up close. She comes to pity the overworked, undervalued Maartje and swears to herself that she will never be condemned to such a patriarchal view of womanhood. The irony of this assertion is that, following her marriage to Pervus, she is woken up early on their first day as husband and wife to make breakfast. As much as she rejects such expectations, they are directed at her by others, including her husband. He does not want her to work in the fields, nor garland her hair with radishes, lest other people in the community begin to gossip about her. Selina may not care that she is defying social expectations, but the man she loves does care. As such, Selina’s married life is spent trying to navigate her own need for agency and self-expression against her husband’s desire for conformity. Pervus expects Selina to be a model High Prairie housewife and, through a gradual process of attrition, they wear one another down. The horizons of Selina’s ambitions draw closer, she accepts her role in society, but she finds new ways to express herself and test her boundaries. Working in the fields and planting the asparagus are battles she eventually wins and, later in the novel, demonstrate The Relationship Between Autonomy and Happiness, as the previously impoverished farm begins to thrive just as Selina herself does. Selina begrudgingly conforms, but she finds new ways in which to test the boundaries of her conformity.
That so much of the demand for conformity comes from Pervus is a source of frustration for Selina. He was the first love of her life, while she was not his. He has been married before, though he lost his wife and child. This tragedy fills Pervus with a profound sadness, eliciting sympathy from Selina that allows her to see him as different to the other men of High Prairie. Pervus plays on his greater experience of marriage, however, to assert his authority as the man of the house. He gets his way most of the time and he rejects Selina’s advice in a patronizing manner that leaves her quietly infuriated. Selina may have thought Pervus to be different, but he shows himself to be just like other men in many ways. As such, Selina is not only fighting against a broader, institutional patriarchal force that limits her opportunity, but also against such a force inside her own home. Her husband embodies many of the beliefs that she rages against; Pervus represents her first love, as well as the source of her greatest limitation. Selina must balance her love with her frustration, learning how to love a man who limits the kind of woman she wants to be.
This marital tension is one of the many quiet tragedies of Selina’s life. With an increasing speed, these tragedies begin to accumulate. She loses her father when she is young, then feels her ambitions curtailed in the name of love. As she navigates the tension between who she wants to be and who her husband wants her to be, she also learns how to become a mother. Selina does not have a model on which to base this role, so she approaches motherhood by attempting to instill in her son the guiding principle of her own life: The Importance of Self-Expression. Early in Dirk’s life, before his own desires have become clear, she imagines that he will live the life of unfettered creative expression that was denied to her.
Selina’s attempts to navigate motherhood are fundamentally altered by the tragedy of losing her second child. The baby is born dead and is never mentioned again. In her quiet response to this profound sadness, Selina shows the way in which High Prairie society has limited her opportunities for self-expression. The declarations of emotion and the desire to share her feelings with others are gone. She does not have a friend like Julie anymore; she does not have the outlet for her emotions that she might have enjoyed as a writer. Instead, she must suffer in silence. She adheres to the expectation of High Prairie women, most of whom have suffered in their own fashion. She bears the burden, as so many have done before her, in a typical, tragic High Prairie manner.
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