57 pages 1 hour read

The Summer Book

Fiction | Novel | Adult | Published in 1972

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Vignettes 11-14Chapter Summaries & Analyses

Vignette 11 Summary: “The Road”

A bulldozer is clearing a path for a road, and Sophia hides behind a rock and cries out “Jesus, help! There go the woods!” (63). Nervous men work around the rented bulldozer trying to keep it on the right track. Headed for the water, the workers and the bulldozer pass, and Sophia picks up the items she dropped and walks on the newly cleared road, which is bordered by broken trees and disturbed ground.

Sophia walks toward the bay. She sees that the soft ground under the meadow gave way, and the bulldozer is now stuck. A man, Emil, is by the machine, and Sophia asks him where everyone else is. He says they went to get equipment and shrugs off Sophia by saying she knows nothing about machines. Sophia continues to the shore, where she finds Grandmother. She thinks Grandmother will be excited, and she notes the similarity between the events and the Biblical story of Gomorrah.

Vignette 12 Summary: “Midsummer”

Eriksson is a family friend, a fisherman and a scavenger, but he does not visit often. He does not enjoy fishing, but he loves and is skilled at scavenging items from the ocean, including debris from shipwrecks that occur far out at sea. He also takes on odd jobs for people on the island. His visits are short and unpredictable, and he never talks about himself or other people. While he is visiting, everyone focuses on him, and they continue to think about him after he is gone. Most of his visits entail him stopping by the island to leave small gifts before anyone is awake. Sophia likes Eriksson because he treats her like he treats everyone else, rather than treating her like a child.

Eriksson drops off a box of fireworks and says he will return on Midsummer Eve. They clean the house especially thoroughly, although they know Eriksson will not notice, and they decorate it with wildflowers. It is windy and rainy all day on Midsummer Eve, but the family still prepares for the evening’s festivities by setting four places at the table and bringing out extra milk. Although Grandmother knows Eriksson will not eat vegetable dishes or dessert, she makes them anyway, so the table will look nice.

The storm continues all day, and Grandmother, resting in her bed, thinks back to the nicer weather during her youth. The weather subsides, Eriksson arrives, and Sophia shouts that he does not want to eat and that he is in a rush. Grandmother dresses in warm clothes and descends, and the family climbs into Eriksson’s boat. Eriksson drives the boat south to the site of a shipwreck, and they, along with people in several other boats, salvage goods from the wreck. They stay out collecting items all night, and Sophia falls asleep.

In the morning, Eriksson returns Father, Grandmother, and Sophia home, keeping all the salvaged items for himself. Father tries to light off the fireworks, but only the final one fires. Meanwhile, Eriksson returns to the shipwreck.

Vignette 13 Summary: “The Tent”

In her youth, Grandmother had fought so that girls could be part of the Scouts, and she led a troop, and some of her troop members still reach out to her. Father buys a tent and places it in a ravine, so he can get away from home when it is crowded. Sophia asks Grandmother if Father’s tent is a Scout tent, and although it is much different from the tents she used, she says that it could be a Scout tent.

Sophia asks Grandmother about the Scouts, and while she had wanted to talk about it in the past, she does not feel the urge to now nor does she remember much about that time. However, she suggests Sophia spends the night in a tent sometime.

Sophia goes to the tent in the evening and falls asleep as the sun is setting. It is dark when she wakes, and she can hear birds and the crunching of gravel. She asks God for bravery and for people to not mock her if she does get scared, and she lays in the tent and listens to her surroundings.

Getting out of the tent, she walks to Grandmother’s house. Grandmother could not sleep and was thinking sad thoughts. She says things that used to be fun have lost their meaning, and she is frustrated because she can’t talk about them anymore. Sophia, who feels that she is too young to sleep alone in a tent, angrily asks Grandmother what she means by saying it is no longer fun. Grandmother feels limited by her age, which Sophia argues against before Grandmother clarifies:

I’ve been doing everything for an awfully long time, and I’ve seen and lived as hard as I could, and it’s been unbelievable, I tell you, unbelievable. But now I have the feeling everything’s gliding away from me, and I don’t remember, and I don’t care, and yet now is right when I need it (80).

Grandmother can’t remember what sleeping in a tent is like, and she tells Sophia that, when she was young and living in Sweden, girls were not allowed to sleep in tents before she fought to make it allowed. Sophia describes what it is like, and she and Grandmother eat a snack. Tired, Sophia returns to the tent to sleep, and Grandmother returns to bed and remembers her past.

Vignette 14 Summary: “The Neighbor”

A businessman builds a house on a nearby island—Blustergull Rock. Grandmother and Sophia take a boat to Blustergull Rock. They see a “NO TRESPASSING” sign on the beach, but Grandmother goes ashore anyway. She says that they are going ashore because the sign is “a slap in the face” (83).

Grandmother criticizes the house, saying the door is in a bad location and mocking the plastic water barrels. Grandmother and Sophia walk up to the window to peek inside. The shutters are padlocked, and Grandmother picks the lock and opens the window, telling Sophia that under different circumstances they would not break into someone’s house. The house is decorated with maritime artifacts and a large painting of a ship in a storm. Sophia guesses that the newcomer will not know how to properly sink his garbage into the sea, which is bad because everything he has is large.

As they are looking into the house, they hear a motorboat and run and hide in the foliage. The people who landed on the island release a dog, which quickly tracks Grandmother and Sophia. The owner of the house, Malander, introduces himself and his son, Christopher, then invites Grandmother and Sophia to the house. When they get to the house, Christopher notices the broken lock and open window, and Grandmother suggests that whoever broke it was curious about the house and that it is better to leave houses open.

Inside, Grandmother sits down and tells Sophia, who is acting shy, that she needs to learn how to socialize. Malander offers them drinks, and Sophia whispers to Grandmother she wants lemonade, then whispers again asking for sugar. They decline a second beverage, and when they go to leave, the dog tries to bite Grandmother’s walking stick, so Sophia distracts it. Grandmother is impressed that Sophia remembers the dog’s name—Delilah.

Before departing, Grandmother warns Malander against building a dock, which will get broken by ice in the winter, but she knows that he, like everyone, will try to build a dock. They leave, and Grandmother tells Sophia that people need to make their own mistakes. She notices that the house looks like a channel marker: “If you squinted and thought about something else, it might almost be a channel marker—an objective indicator that here was a change of course” (94). Malander does not return the visit, and the family thinks about him whenever it storms.

Vignettes 11-14 Analysis

“The Road” and “Midsummer” differ from the other vignettes in that they do not focus on the relationship between Sophia and Grandmother and that they introduce unique themes into the collection. “The Road” centers on Sophia’s reaction to the bulldozer cutting through the island. She is scared at first, having never seen such a destructive machine before, but by the end of the story, she is looking forward to using the future road: “It’ll be a lot of fun to ride instead of walk” (66). Sophia is alone and, as such, is able to form her own opinions of the new road without Grandmother’s input. Grandmother is often shown as resistant to change, so it is likely that she will have an unfavorable view of the road. Sophia has mixed feelings, as she is upset to see the destruction but excited for the change. In being by herself and forming her own ideas, Sophia once again exhibits some growth and maturity.

The primary theme within “The Road” is human-caused environmental destruction, which forms the darker side to Exploring the Natural World. Personification and imagery are used to create a sense of empathy for the forest: “The splintered white trucks of the trees were running with pitch” (64). This passage personifies trees by describing the “running [of] pitch,” conjuring up allusions to bleeding. Personification is used again to describe the ground where the bulldozer got stuck, making it sound as if nature intentionally fought back against a sentient machine: “The grassy bank had given way, softly and treacherously, quite inexplicable, and the forest-eating monster lay there in silence at an unnatural angle, a picture of thwarted force” (66, emphasis added). “The Road” vignette thus depicts nature as a force that is vulnerable to human intrusion, but also powerful enough to defend itself.

“Midsummer” centers on the family’s relationship with Eriksson, a fisherman who prefers travelling around to salvage items from the sea. Much of the vignette is devoted to developing Eriksson’s character, as he appears only in this one vignette. He is characterized as valuing solitude and freedom, and although the family glorifies him, Eriksson is depicted as rude and self-centered. The family’s admiration of Eriksson is demonstrated through their desire to impress him; Grandmother makes extra food that she knows Eriksson will not eat so that the table looks full and welcoming, and Sophia demands they take the napkins off of the table. While Eriksson is present and shortly after he leaves, they give him their undivided attention—“They would hang on his every word, and when he was gone and nothing had actually been said, their thoughts would dwell gravely on what he had left unspoken” (68).

Eriksson’s self-absorption and arrogance are depicted through his refusal to eat the dinner the family prepared in his honor and in not dividing the items they salvaged with the family. The family is intrigued by Eriksson and his life on the sea; however, they are concerned for him, as well. He is known to have bad luck, a dirty boat, and the language used to describe the family’s reflections on the visit—“dwell gravely”—suggest Eriksson is not entirely happy with his freedom. This, in turn, highlights the importance of human relationships, with his solitude forming an important contrast to the warmth of Grandparent-Grandchild Relationships in the text.

“The Tent” shifts focus back onto Sophia and Grandmother’s relationship and onto the primary themes of the text. Sophia engages in Exploring the Natural World by camping for the first time, which she does alone. Sophia’s solitude is described using imagery and sensory language: “No one could look in and no one could look out; she was wrapped in a cocoon of light and silence” (77). Sensory language is used, again, to portray Sophia’s connection to nature: “It was cold, grainy, and terribly complicated ground that changed as she walked—gravel and wet grass and big flat stones, and every now and then some plant as high as a bush would brush against her legs” (78).

“The Tent” also spotlights The Difficulties of Age-Related Limitations, both physical and emotional. Grandmother is unable to maneuver down into the ravine and sleep in the tent due to her declining physical health. She also experiences issues with memory and depression, openly confessing how weary and detached she now feels. Talking with Sophia inspires Grandmother to recollect the positive experiences she had while in the Scouts, and, with Sophia’s help, she can remember her experiences with camping. The details of the story develop the grandparent-grandchild relationship by demonstrating the ways that Sophia and Grandmother positively impact each other’s lives.

In “The Neighbor,” Grandmother is shown to dislike change. She is deeply critical of the new house and its owners, especially since the “NO TRESPASSING” sign and the locked shutters offend her ideas of traditional community on the island. Sophia absorbs Grandmother’s words and actions and begins copying her, such as when she criticizes that the new people will not be able to properly dispose of their garbage. While critical behind the owner’s back, Grandmother hides when the owner first approaches and, afterward, offers veiled critiques when remaking on the broken lock as though it were someone else. Although she is caught in her scandal, Grandmother uses her social skills to act tactfully toward Malander.

Sophia has not yet learned to socialize, and Grandmother feels that she and Father have erred in not forcing Sophia to socialize with people she dislikes. Grandmother embarrasses Sophia by publicly scolding her for standing close and whispering in her ear, likely with the hopes of inspiring Sophia to step back and act with independence. By worrying about Sophia’s socialization skills, Grandmother demonstrates that she is taking a primary role in Sophia’s upbringing, while also suggesting that time is passing and that expectations for Sophia’s behavior are starting to change as she grows.

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