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Content Warning: This section of the guide includes discussion of death and child death.
Death and the grieving process are at the foundation of Where Butterflies Wander, and the plot centers around decisions based in grief and loss. The novel shows this process through comparable parallel experiences: Marie and her family have recently lost a daughter and sister in Bee, and Davina has been grieving the loss of her own daughter her whole life. Each major character is shown dealing with this experience of grief differently, and the novel explores how these experiences can either work to add support to the social system or detract from it. While Leo has become more cautious and protective since Bee’s death, Marie has become irritated, on edge, impulsive, and lost in her thoughts. She puts her focus into material gains to distract herself from her emotions, and the death of one child negatively affects her relationship with the children who are still alive and their ability to process their own grief. The novel is non-judgmental, however, in showing Marie’s response to grief as a matter of survival: “Forward, forward, forward…it takes enormous effort, each breath, each step. But I will do it, an inch or a millimeter at a time. For Pen and Hannah and Brendon and Leo—for those of us who remain” (44). The novel shows that Maria forces herself to carry on, even though she often feels like giving up, and that her motivation is her children.
Marie’s experience of grief is primary to the narrative in that her decisions drive the action and plot of the novel. The story places Marie and Davina as opposites in terms of their approaches to grief, as well as in their battle over the property, creating the narrative tension. Marie’s grief pushes her to the edge, and she eventually has Davina arrested, while Brendon, Marie’s ally in the family, sets the cabin on fire. After the fire, Davina muses on the concept of loss and how it has affected her life: “Loss. It comes in different forms—financial, physical, emotional. I’ve experienced them all. But none so lasting or painful as the lingering echo my daughter has left in my soul” (110). Like Marie, Davina knows what it’s like to have something precious stolen from her, but unlike Marie, Davina still has a chance to see her daughter again. After loss comes opportunities for renewal and new growth, and this is what Marie and her family discover during their time in the woods and living alongside Davina.
Maria’s response to grief invites comparison with that of the other characters, providing the novel with emotional and moral alternatives. Hannah’s grief seems to come in the form of severe migraines that prevent her from enjoying her daily life, while Brendon’s grief is mixed with guilt, so he isolates himself from the rest of the family. Penelope is younger and still allows herself to engage in magical thinking, so she sees Bee as a butterfly that appears on the property. Davina lives in her second mother’s cabin as a way of keeping herself attached to that life and often wishes she could see her daughter again. Davina and Penelope relate over their shared experiences of grief, and Davina is the only person who doesn’t see Penelope’s thoughts on butterflies as strange. Their discussion on this forms the crux of the novel’s message on death and grief, as Davina says, “No one loved is ever truly gone. And if we keep them in our heart, we are able to keep them with us” (74). Davina gives Penelope a bee balm plant so that she can attract more butterflies into her own garden. Davina helps Penelope feel reassured and secure in her own grieving process, even if it seems strange to the rest of her family. In this way, the novel models the healing process that the rest of the family increasingly reaches by the conclusion.
This theme of the novel argues that memories cannot be outrun and that some memories are meant to last a lifetime. The novel shows how memories of a lost object of love can be both painful and a consolation. In particular, it argues that avoiding the pain of memories can prevent healing in the present. The novel especially enables the consideration of memory and its effect on the present through the multiple character perspectives of the chapters and the reader’s intimacy with their inner feelings, including memories.
At the beginning of the novel, Marie and her family are in the midst of their grief, and everything seems to remind them of Bee. Penelope looks just like her sister, so when her family looks at her, they see Bee. That Penelope is both a living character and a ghostly reminder of Bee is emphasized by the novel’s presentation of her as living in an inner world of her own imagination. Just as her family sees past her to memories of her sister, she has largely retreated into a private world of isolation. The novel makes this implicit in the ways that Penelope’s inner monologue and perspective are so rarely shared with the others in her family, especially at the beginning of the novel.
The novel explores the unavoidability of memories through the character of Marie. It suggests that because Marie denies herself memories of Bee, she is filled with memories of her own past, despite wishing to avoid an emotional connection to the house. The past comes back the moment she steps into her grandfather’s old home. It is almost exactly as she remembers it, and it suddenly feels like no time has passed since she was there as a child: “It’s unbelievable to think how much time has passed, memory a trick able to distort minutes and years to what seems like only seconds and days” (12). Marie remembers things that her grandfather used to say and how he used to smell like tobacco. This is a link between Maria and Davina: Like Marie and her memories of the house, Davina’s heart is filled with memories of the cabin and growing up there with Rosalinda. Those early experiences shaped the person Davina has become, and everything she knows is contained within its walls. For Leo, Penelope, and Hannah, the most important memories are of the old family home. Unlike Marie, they do not have a prior connection to the New Hampshire property and so cannot replace their painful memories of their own home with alternative ones. For these characters, the move is an attempt to run away from painful memories: The novel bears this out as Marie comes to the same realization and the family will move back to the location of Bee’s life and death.
Davina’s life is also defined by memory, beginning with memories of escaping her father and eventually being taken in by Rosalinda when her mother died. Davina empathizes with Penelope’s desire to keep Bee’s memory alive and regularly thinks back to traumatic moments in her life, not wanting to forget anything important. Davina reminds herself of the day the truck exploded and the months of recovery afterward and asks herself, “What is life if not a collection of cherished memories?” (210). When the cabin burns down, many of the objects that connected Davina to her past are gone, and she is forced to start anew in a home she once lived in with her biological mother, replacing lost emotional connections with others. The novel suggests that Davina’s past and present come full circle, especially as Davina has the chance to reconnect with her own daughter in the house where she lived with her mother.
Fate refers to the idea that everything is predetermined and will unfold exactly as it is meant to. Fate can refer to divine plans or to a non-religious belief that the universe is unfolding in accordance with a set path. Chance, on the other hand, is the presumption that events occur due to luck or randomness and that there is no plan or “force” guiding the way lives unfold. Fate and chance are often presented as opposing ideas, but in Where Butterflies Wander, fate works alongside chance rather than opposing it. Small decisions create massive impacts, and sometimes people meet or interact in ways that are too conveniently timed to be coincidental. The first example of this is how Rosalinda saw Davina and her mother for the first time, only briefly, as they dashed into the forest. She believes that it was “providence, God’s hand on destiny” (2), and she believes this because she ended up being the one to take Davina in and raise her later on.
Seemingly minor occurrences, like the appearance of the butterfly when the family arrives, work alongside more significant moments, like when Brendon failed to supervise Bee in the pool or when the truck exploded and Davina became the only survivor. Davina used to reflect on that experience and wonder whether it was luck or fate, but believing that it was fate was impossible because it would have meant believing that losing her daughter was also fate. Davina eventually came to understand that she is lucky (or blessed) to be alive, but this took years of healing and reflection. Brendon, when he is striving to make amends, reflects on the idea of fate and chance, noting, “I’m starting to learn we have less control over things than we believe” (257). Sometimes, the novel shows, people are compelled to do things that come from a source so far deep within and from so far back in time that they have little say over whether they act or not. At other times, people can make conscious choices to change, like when Brendon decides to perform good deeds. The novel suggests that by engaging with ideas of fate and chance, the characters can consider their own agency and impact and embrace a proportionate sense of responsibility.
When events from the distant past come to play a part in the present, this further illustrates how fate or some underlying plan could be involved. The original house that Davina and her biological mother moved into becomes the new home she lives in, and Marie manages to locate Davina’s daughter. After years of believing that she would never see her again, Davina reunites with her daughter; all the heartache of the past weeks, and all of the loss she experienced, was worth it because it culminates in this one important act of kindness from Marie.
Where Butterflies Wander explores the problem of superficiality as a means to avoid or detract from the inner or emotional life. This is shown as a particular danger when emotions are painful, such as following a death. The character of Marie is the focus of this theme: In the wake of her daughter’s death, she decides to put all her attention and time into selling her grandfather’s property so that she can buy the family a new house. Marie convinces herself that she can get rid of her grief and help the family start over by changing superficial features in her world, like the house she lives in.
The novel critiques this attitude through the different responses of others and by examining the ways in which Marie’s focus on the superficial negatively affects her family’s ability to heal. Hannah is immediately skeptical of this idea, knowing that Bee’s memory will be with them wherever they go. This is borne out by the narrative when the family arrives at the property, as Penelope sees a butterfly and believes it is her sister there waiting for her. It takes several serious events, like Davina’s eviction and the fire, for Marie to finally reflect on her own actions and belief system and to realize that it was a mistake to place her focus on a new house and not on her family: “I lost sight of that simple, eternal truth—deluded myself into believing a house would bring relief, when, if there’s one thing I should know, it’s that nothing not of flesh and bone ever satisfies the soul but briefly and superficially” (244).
The novel also explores superficiality through Davina’s injury and the way it affects others’ treatment of her. Davina knows what type of person she’s dealing with by the way they react to her scars: “I can tell a lot about a person by how they react to my scars. Some can’t take the sight, either from too much empathy or too little” (64). Similarly, Penelope runs in horror when she first sees Davina and refers to her as a monster. Brendon calls her a “witch,” and Penelope thinks of scary fairy tales when she first encounters Davina. Davina is heavily stereotyped by almost everyone she meets, but most of all by Marie, who categorizes Davina as an attention-seeker and deceiver and does everything in her power to make life difficult for her. Penelope soon comes to see how kind Davina is and knows how wrong her mother is about her. Penelope and Hannah defend and support Davina, while Leo tries to remain neutral, and Marie and Brendon fully reject her.
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