51 pages • 1 hour read
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Content Warning: This section of the guide includes discussion of mental illness, death, and racism.
The story opens with Maisie Cannon at school, on the last day before winter break. She is reluctant to go to the classroom and is late. As she enters, she sees her classmates journaling. Minutes later, she opens her own notebook to write. The teacher’s writing prompt is the word “sanctuary.” Maisie starts writing about ballet, including the peace and happiness it once offered her.
The teacher wishes the students a nice winter break. As the children leave, she calls Maisie forward and asks her how her knee is. She then states that she must report Maisie’s delayed arrival. She also kindly prompts the girl to arrive earlier in class in order to avoid detention. Maisie understands. The teacher reminds Maisie to seek support from either her or the school counselors if anything troubles her. Maisie responds positively but does not want to talk to anyone.
Feeling “frazzled and exhausted” (7), Maisie walks through the crowd of students and passes by the library, recalling her time there when she still had crutches. On the way to the bus station, she avoids talking to anyone. On the bus, she looks at her math test, which received a grade of 70 % (a C-minus). Upon reading her teacher’s written instructions, Maisie feels a sense of “shame.” She looks at her text messages: one from her mom and two from her friend Eva. Her mother reminds Maisie of her physical therapy appointment in the afternoon and says that she has prepared snacks for their “big trip.” Eva says that she just arrived at her audition for dance school. Maisie responds to her mother and wishes Eva good luck. She then looks outside the window and opens it for fresh air, thinking morosely that she should be at a dance school audition, too.
Maisie walks home while thinking about her ballet classes. She recalls how the students danced with colorful scarves in their fists. The teacher would then pile them in the center of the floor, and they would dance while pretending they were puddles. Maisie wishes that she could go back in time and feel “creative and expressive” again. She always felt joy at the dance studio.
Maisie arrives home. She lives with her mother, Angie Beaumont; her stepfather, Jack Leith; and her brother, Connor Beaumont-Leith. Maisie notices the political signs on their lawn; some are about political candidates, while others sport slogans such as “Water is Life,” “Protect Mother Earth,” and “No Human is Illegal” (13-14).
Maisie’s brother, Connor, calls for her immediately as she enters the house. He tries to play a game, asking her to guess what he is hiding behind his back. He reveals a bag of chocolate coins and says that he is “the richest six-year-old” (17). Maisie smiles but tells him to let her go. The family is planning a trip to the Olympic Peninsula, and Connor wants to find treasure at the beach. Maisie’s mother asks her about her day at school, and Maisie goes to her room to get ready for her doctor’s appointment.
Maisie changes clothes and then stares at the ceiling. Her room is filled with ballet theater posters, photographs, and diverse books. She reflects on her parents’ past history. They were both Indigenous and had “a short and tragic romance” (23). Maisie’s mother is Makah and grew up in Neah Bay, but her father was Piscataway, an Eastern tribe, and he grew up on the Chesapeake Bay. When her mother was a girl, the Makah people resumed hunting the gray whale. The hunt was televised, and protestors threatened the tribe with violence. Her mother’s family had to leave Neah Bay after a bomb threat was aimed at her school. Relocation in Tacoma was hard for the family, but her mother adjusted, made friends, and started a club for other young Indigenous students on campus. Meanwhile, Maisie’s father struggled at high school and decided to enlist. The two first met each other in Tacoma when her father was stationed at the military base. The couple married, and Maisie’s father deployed to Afghanistan the next day. Now, there are two photos of him in the living room. Between the photos lies the folded American flag from his funeral service.
Maisie and her mother leave Connor with a babysitter. In the car, Angie asks Maisie about her day again, but Maisie dismisses the question by saying that nothing happened. Angie then asks how Maisie’s knee is feeling, and Maisie says that it is getting “better each day” (31).
Maisie thinks of her day at school. She ate alone as always and found herself getting distracted in history class. Ever since she tore her ACL and had surgery, she must refrain from physical activities and feels that school is “boring.” Her lessons in math and Western history mean nothing to her. Maisie wonders why her mother wants to hear about her “deeply underwhelming and unhappy existence” (33).
Maisie and her mother arrive at the physical therapist’s office. The receptionist, who is friends with Angie, gives Maisie a novel, which pleases the girl because books help her “forget [her] own pain” (36). Mr. Lawson, the therapist, examines Maisie and announces that she is making “steady progress.” When he gives her permission to go on hikes with her mother, Maisie feels joy again and believes that everything will change for the better. Mr. Lawson tells her that if she continues with her prescribed exercises, she will soon be able to return to ballet school.
Maisie does her usual exercises with Mr. Lawson with “soaring confidence,” but she cannot forgive herself for the decision that led to her injury. She recalls being in the dance studio last autumn with her friends—Hattie, Eva, and Taylor. Hattie was always the best dancer, and Maisie considers her to be “gifted.” Maisie is also jealous of Hattie because she lives in a beautiful house in Seattle, where her mother installed a barre to help her practice. Maisie also recalls the day when Hattie danced on pointe like a “real ballerina.” On that day, Hattie asked Eva and Maisie if they wanted to try a piqué turn on pointe shoes. Before that moment, Maisie had not practiced this technique, but Hattie encouraged her, so Maisie decided to try.
Now, Maisie finishes her physical therapy exercises, and although Mr. Lawson praises her, she still wonders when she will be able to return to dancing. When she asks, he insists that she should not return to dancing until next year. Although Maisie is disappointed, she understands. Mr. Lawson encourages her by saying that she is recovering, but he emphasizes that “trauma takes time to heal” (48). As she continues with electrical stimulation therapy, Maisie still dreams about dance auditions, imagining the studio and the piano music.
Maisie feels relieved after physical therapy. Because Mr. Lawson has suggested only once-a-week therapy sessions, Maisie’s mother announces that they are celebrating at home, but Maisie’s response is “dull” at best. Eva sends a text saying that she did great in the audition, and Maisie congratulates her, but privately, she feels a “pang” in her chest. As she and Angie return home, Maisie feels that her mother is oblivious to her. She remains silent, waiting for her inner pain to pass.
The novel follows a linear narrative structure. Maisie is the protagonist and narrator of the story that unfolds through her first-person perspective. Maisie tells her story of trauma and recovery, coping with a knee injury that thwarts her dreams of becoming a ballerina. Through her perspective that dominates the narrative, the text allows the reader to establish an immediate connection with the character, conveying Maisie’s emotions throughout her journey. The text focuses on a limited period of time, as the story predominantly takes place during Maisie’s winter break. Day’s decision to add dates to the chapter titles creates the sense that Maisie is writing a series of journal entries, and this stylistic choice emphasizes the centrality of Maisie’s personal journey and worsening distress.
As the narrative focuses on Maisie’s emotional trauma and mental distress, these early events foreshadow her intensifying struggle with Overcoming Trauma and Loss. Overcome with grief and regret over her inability to pursue her love of dancing, Maisie is now reluctant to attend school, and she habitually isolates herself from others—even from her friends. She also avoids “eye contact with anyone” and is “careful not to do much of anything” (8). As her poor grade in math demonstrates, her school performance has dropped along with her low spirits, and her sporadic texts with her friends emphasize her increasing reluctance to communicate the depths of her feelings. For example, while her friends send her long messages, her responses remain short and impassive, and her worsening inner crisis causes her to disconnect from her social world and from her family. Maisie avoids her little brother and withdraws from adults as well, feeling that her mother is “oblivious” to her struggles and turmoil. Because she avoids seeking out the support that she needs, Maisie wallows in misguided feelings of worthlessness and believes that her pain does not “matter.”
As the novel illustrates the interwoven nature of Maisie’s mental and physical trauma, it is clear that her knee injury has robbed her of the “sanctuary” and creative outlet that she once found in the world of ballet. For example, Maisie vividly recalls her time in dance school with her friends, missing how “creative and expressive” she felt in those moments (13). Her injury has therefore eliminated her main source of joy and excitement, and she finds herself physically and mentally traumatized. She has lost the “peacefulness” that the dance studio offered her and is now overwhelmed by hopelessness.
However, while Maisie’s character development is bound by crisis in this section, Day also foreshadows Maisie’s eventual healing, as the girl remains determined to recover and return to dancing. When she follows her physical therapy routine “with soaring confidence” (40), her doctor praises her progress, and Maisie dreams about attending dance school auditions in the summer. However, despite these early glimmers of hope, the author also emphasizes the grimmer reality that Maisie’s healing journey will be much more complex. This idea is introduced when the doctor admonishes her that “trauma takes time to heal” (48), and while he is speaking of her physical ailments, the comment can also be read as an indirect reference to Maisie’s struggles with her mental health. Thus, in order to recover fully, Maisie must reconnect with herself and find a new sense of hope and support among her friends and family.
As Maisie undergoes these challenges, Day’s strategic use of foreshadowing can also be seen in the recurring motifs of books and writing, both of which underscore the possibilities of healing. Maisie’s habit of spending time in the library indicates that storytelling empowers her just as dancing does, and in these early sections, she uses the world of fiction to help her “forget [her] own pain” (36). The act of writing is therefore depicted as an alternative form of self-expression for her, and this dynamic first becomes clear when she works through her teacher’s writing prompt at school. Even as she struggles to connect with the people around her, Maisie feels that “the words flow through [her]” (3). In this way, while her inner crisis dominates the initial stages of her journey, her interest in writing as a creative outlet foreshadows her eventual healing.
This section also explores the issue of Navigating the Complexities of Indigenous Identity Amid Social Injustice, and this intricate theme first reveals itself when Maisie reflects on her parents’ past histories. Maisie’s mother and father are both Indigenous but come from different tribes, and when they were growing up, they were both deeply connected to their cultures. Maisie’s narration provides vital context on the intricacies of Indigenous history and of the Makah tribe in particular, and her reflections highlight the social injustices of colonialism and the complex conflicts that have arisen in response to these social forces. For example, she explains that the Makah were made to refrain from their traditional gray whale hunt for many years and that when they reassumed this practice during the late 1990s, they faced immediate intimidation and violence. This tumultuous event led to Angie’s removal from her homeland in Neah Bay, even though “[n]one of them wanted to go” (25). As Maisie relates, “Neah Bay was their home, Mom was starting to learn the Makah language, and the whale hunt had brought the tribal community together” (25). Her thoughts reveal that although the tribe’s 1990s-era whale hunt was controversial, it also held great significance for the Makah individuals who were striving to reconnect with the vestiges of their culture.
Maisie also mentions her father’s funeral, hinting that he died in action, and this detail suggests that Maisie’s family has confronted considerable tragedy, loss, and trauma over the years. Thus, in the midst of processing her own inner conflicts, Maisie must also navigate these wider social currents. As she navigates her life with her mother, her stepfather, and her half-sibling, she feels frustrated and exasperated by the adult world and by her family’s collective struggles. Day emphasizes that Maisie’s sense of self is shaped by her individual experiences and by her complex family dynamics and sociocultural context. As the novel unfolds, Maisie must reckon with her personal trauma and her identity as an Indigenous girl even as she struggles to achieve new levels of growth and healing.
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