76 pages 2 hours read

The Memory Keeper's Daughter

Fiction | Novel | Adult | Published in 2005

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Symbols & Motifs

Cameras and Film

Cameras—specifically the titular Memory Keeper—and film appear as the primary symbols throughout the novel. The relationship between photography and the characters within the novel begins when Norah buys David the Memory Keeper for their anniversary: “‘I bought David a camera for our anniversary,’ Norah said, wishing she could capture these fleeting instants, hold onto them forever” (78). Norah believes that photography will enable her to halt the progression of time, as though the images exist outside of constrictions of temporality. In this way, she attempts to turn memories into tangible objects, things that can be possessed. These photographs are also inextricably linked to memories: “now she would always have that image with her” (84). The idea of possession seems important to Norah, possibly because it exists as a way for her to counteract her daughter’s loss.

However, other characters have other relationships with photography, indicating the relativity of experience. Whereas Norah uses photography to rebel against the loss of her daughter via possession, David uses photography to feel connected to other people and the environment around him but ultimately objectifies his wife: “He’d seemed obsessed over the years, always seeing the world—seeing her—as if from behind the lens of a camera” (177). David’s obsession with photography distances him from the people and the moments that he photographs.

In contrast, Paul often feels restricted by photographs, as though his father intends to trap him within a particular moment, only perceiving Paul through the lens of David’s own desires. Similarly, Paul feels as though the images are inextricably linked to his father’s secrecy, which he also feels trapped by:

Camera, his father told him, came from the French chambre, room. To be in camera was to operate in secret. This was what his father had believed: that each person was an isolated universe. Dark trees in the heart, a fistful of bones: that was his father’s world, and it had never made him more bitter than at this moment (381).

For Paul, photography is inextricably linked to his father’s secrecy and his refusal to verbally communicate with Paul. Paul encounters photography as an isolating artistic medium, which he tries to counteract with the communal nature of his music.

While photographs demonstrate the interconnectivity of the characters, the nature of photography is also presented as one of hypocrisy: although photos connect people, they also can be isolating, as witnessed by how Norah feels about the photographs David took of her.Photographs can isolate the subjects of the photographs, removing them from the photographer as well as from their contextual memories. Similarly, they also isolate the photographer from the photographed material, implying the pervasiveness of secrecy within the medium. The author also presents the idea of what photographs don’t show as being possibly more important than what they do. The photographs Paul has seen of his parents are in black and white,so he doesn’t understand the color and the connection between his mother and Phoebe. In this way, photographs also demonstrate the potential for missed connections. A photograph might be worth a thousand words, but the other thousand that the photograph does not relate might also be integral to the development of interpersonal connections.

Secrets

Secrecy plays a large part in the plot trajectory of the novel, as it creates tension between the characters. There are many instances of secrecy within the novel, including the most obvious secret: David’s abandonment of Phoebe and his subsequent lies to his family. David’s secrecy allows him to recast himself as a kind of martyr for his family:

He’d come to think of it as a kind penance. It was self-destructive, he could see that, but that was the way things were. People smoked, they jumped out of airplanes, they drank too much and got into their cars and drove without seatbelts. For him, there was this secret (322).

However, this martyrdom is ultimately selfish, as it only references the destruction of himself. David fails to consider the feelings of Norah and Paul regarding this secret, preferring instead to suffer by himself. This desire for secrecy has ramifications that David cannot foresee and eventually leads to the dissolution of his family.

In contrast, Norah’s infidelity is a secret that is shared by all of the members of her family, although David refuses to openly acknowledge it in the same way that Paul references it when he finds his mother’s clothes on the beach:

He shook his head and that was that, the secret, his secret, hers and now his, between them like a veil. His father had secrets too, a life that happened at work or in the darkroom, and Paul had figured it was all normal, just the way families were, until he started hanging out with Duke (207).

Although David’s secret distances himself from the members of his family, Norah’s infidelity connects Paul to his mother, perhaps because she is not nearly as concerned with secrecy as David is. Throughout the novel, secrecy bonds Norah and Paul while isolating David, all as a result of David’s main secret. Even when David tries to use secrecy to connect with his son, his attempt to bridge the distance his secrecy has created is ultimately futile as the damage has already occurred. The connection between Norah and Paul that arises as a result of secrecy then only compounds David’s isolation, preventing him from emotionally connecting with his family.

Silence

From the outset of the novel, silence is associated with the twins’ birth, as the snow creates a blanket around the town which stifles the environmental noise. Similarly, the office room in which Norah delivers the twins is also silent:

Later, when [David] considered this night [...] what he remembered was the silence in the room and the snow falling steadily outside. The silence was so deep and encompassing that he felt himself floating to a new height, some point above this room and then beyond (17).

From their very birth, Phoebe and Paul are associated with silence. They are brought into a silent world in which Norah and David are not speaking to each other. Of course, silence becomes the method by which David understands Phoebe, as he refuses to talk about her, essentially stretching the silence that existed the night of her birth into her life. Because Paul is inextricably linked to his fraternal twin, his life therefore becomes filled with silence. However, Paul reacts against this silence, using his music as a way to counteract his familial silence. This silence is related to Phoebe, and therefore, to her apparent loss, as Norah and David can never seem to find the words to say to each other. Much of the silence within the Henry household revolves around thoughts left unsaid; the words and emotions left unspoken create distance and tension between David and Norah. The silence that begins the night of the twins’ birth increases throughout the novel until David’s death, when both Paul and Norah regret all the things they never said to David. However, David represents the impetus behind the void of communication, as his decision to abandon Phoebe is ultimately what leaves the rest of his family in silence.

Bones

As an orthopedic surgeon, David is linked to bones. He uses bones in order to understand the world around him, believing that they serve as a connection between himself and other people. Instead of the mystery of emotions, David finds bones to be something about other people that he can easily understand: “He liked that bones were solid things, surviving even the white heat of cremation. Bones would last; it was very easy for him to put his faith in something so solid and predictable” (8). Instead of the ephemeral nature of people’s personalities and emotions, David looks to bones in order to connect to other people.

He also specifically turns to his knowledge of the skeletal structure in order to help people, which reinforces his notion of himself as a kind of savior. Bones are things that can be easily understood; they are things that are more or less the same from person to person. David understands how to mend broken bones in a way that he does not understand how to mend, say, Norah’s broken heart over the loss of her daughter. Similarly, David appreciates that bones survive; they are more durable than the fire of cremation, for example. In this way, it seems as though David relates people to their bones, as though he believes that their souls continue on—perhaps even after death—via their bones. However, the nature of bones is further complicated by the fact that they are internal; it is only once the body has given way that they can be seen. In this way, bones also represent secrecy, aspects of a person that must be uncovered in order to fully understand.

Rocks

Much like many of the other symbols within the novel, rocks represent the conflicted nature of human relationships. David sees rocks as the earth’s skeletal structure which lie underneath the skin of soil, for example, when David finds a geode:“He held it, warming his palm, thinking of all the mysteries the world contained: layers of stone, concealed beneath the flesh of earth and grass; these dull rocks, with their glimmering hidden hearts” (122). David conceptualizes rocks as the earth’s bones, enamored by their paradoxical mystery and tangibility. He repeatedly emphasizes the secrecy inherent within rocks, even likening the barriers that his secrecy creates between himself and his family to rocks. Rocks affect the relationships of the characters within the novel, both in the narrative and in the metaphorical sense.

However, David also likens rocks, specifically fossils, to the photographs he uses to connect to other people:“David fingered the fossils; light and delicate, millennia old, time preserved more clearly than any photograph ever could” (141). David uses rocks, and in this case, fossils, to relate to the world around him much in the same way he uses bones to understand people and photographs to communicate with others. The author demonstrates fossils’ slippage between the bones that created them, the rocks that they currently reside as, and the photographs that they resemble. In this way, rocks demonstrate the interconnectivity evident within the environment, as one thing easily translates to another. Fossils transcend the constraints of time, as they remind the beholder of what they used to be, what they are, and their potential. Rocks slip seamlessly between past, present, and future and thereby exist outside of temporality, implying that personal connections also exist outside of the constraints of time.

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