52 pages • 1 hour read
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Content Warning: This section of the guide includes discussion of addiction, substance use, racism, and mental illness.
Marigold and her blended family (her mother, Raquel; younger brother, Sammy; stepfather, Alec; and younger stepsister, Piper) arrive at their new home in the Maplewood neighborhood of Cedarville, a midwestern city. They traveled together over several days from Marigold’s old home in a small, predominantly white California beach town. Raquel has earned a chance for the family to live for free in a renovated house by accepting an artist-in-residency position with the Sterling Foundation, a group devoted to reviving the neighborhood economically and culturally; Raquel will write a book over the three years they live in the house while also attending engagements and benefits for the foundation. Alec is an accountant who loves this idea; Mr. Sterling, head of the Foundation, has secured a job for him as well.
The decrepit neighborhood astounds Sammy and Marigold, and Marigold is paranoid that the old house has bedbugs, a particular fear of hers. Piper keeps a close claim on her father, Alec, making it apparent that she does not approve of this marriage or new family. When Marigold raises doubts to her mother about the move, Raquel reminds her that they could use three years of debt-free living because of Marigold’s recent stay in a pricey drug rehabilitation facility. Marigold uses mantras and reminders about positivity and patience from her guru to try to contend with the stress of seeing the new home and the strong desire for marijuana. She texts with her best friend from California, Tamara, but thinks that the rest of her old acquaintances “can die a slow death” (7).
Irma, a representative from the Sterling Foundation, shows them through the house; Marigold thinks she sees a shadow in one of the bedrooms, but no one is there. Once Raquel signs the agreement, Irma warns them against wandering alone, says the basement is off-limits, and tells them they must be careful to lock up. The family is stunned. The contractors’ phone alarms go off at 5:35 pm, and all leave immediately.
On the first morning in the new house, Piper snippily asks for bacon and eggs, though Mari, Sammy, and Raquel prefer vegan food and oat milk. Alec offers to take Piper out to breakfast and get groceries. Raquel wants to know who left one of her good crystal glasses out on the counter, and Marigold says she heard someone walking around in the night, but no one claims to have put the glass there. The contractors arrive, looking as though they dread entering the house. Mr. Watson, head of the crew, asks if the family found a missing hammer, but no one saw it. Marigold is a “newly crowned minimalist” who has little but some light-colored warm-weather clothes and a comforter set to unpack: “Everything else was burned” (29).
Later, she and Sammy prepare to take Bud, their dog, for a walk (and see if they can get cell service), but when Marigold flings the door open, she walks right into the knocking fist of a boy her age, Yusef Brown. The blow connects with her right eye and sends her to the floor. The boy, who helps with his uncle’s yard care service, is smooth-talking and handsome, but Marigold is embarrassed and does not gracefully respond to his comments. He also tries to offer Sammy a Snickers candy bar, but Sammy is dangerously allergic to nuts, and both Marigold and Raquel yell to get the candy away. Yusef tries to chat up Marigold about Kings High where she will attend, but she pointedly asks if he has work to do. Yusef leaves. Marigold finds her phone sitting in the middle of a stair, weirdly placed by someone else.
Alec will be working as a financial analyst for a partner firm of the Sterling Foundation. The night before his first day, Alec cannot find his watch. After cleaning up from dinner, Sammy notices a horrible smell coming from a basement vent. The next day, Mr. Watson grows tense when Sammy says it smelled “like someone died in [there]” (42). He flatly says the contractors will not go down the basement. Another worker gets the cable TV working; an evangelical named Scott Clark is giving his daily sermon. When Marigold says they are not Christians but spiritualists who believe in a higher power, the worker is not impressed; he says everyone watches Clark and that he is “a mighty prophet around here” (43).
At dinner, everyone has a root vegetable dish and salad except Piper, who eats grilled cheese and fries that Alec makes for her. Raquel questions why the oat milk is almost gone already. Piper claims she saw someone in the hallway in the night who claimed they used to live in the house. Raquel and Alec assume she is making up an imaginary friend. At 3:19 am, Marigold woke to the feeling that someone was in her room. The door is open, and Bud, who sleeps with her, is pacing downstairs. A light is on in the kitchen, the glass is out again, and it looks like it has unrinsed remains of milk in it. The terrible smell returns. Marigold hears creaking, and Bud growls; she flees back to bed.
Marigold and Sammy walk down the street to get a signal and then call their father, a contract architect on a job in Japan. He tells them that the Maplewood houses being renovated were likely built in the 1900s, that many like them burned in riots, and that the surviving ones were likely foreclosed on in the recession. He speaks alone to Marigold and reminds her she has this one chance to keep her record clean going forward. Marigold says she understands. She tries to search online for facts about Cedarville, but it does not work. Sammy convinces her to enter the abandoned house on the corner. They see tons of dust, moldy furniture, and evidence of a squatter. In the kitchen, they are terrified when they hear someone upstairs; when Piper comes into the kitchen, Marigold snaps at her about playing on the second floor, but Piper says she was not upstairs. They argue, and Piper runs out in tears.
Raquel is late on a deadline because of the Sterling Foundation commitments and keeps misplacing things. Marigold notices that a family crest is carved into the fireplace, the same one she saw in the abandoned house. Mr. Watson reveals he is one of many contractor supervisors to take the job; the others all quit.
In the shower, Marigold tries to wash her hair, but the water cuts off twice. When she turns to reach the conditioner, she sees a shadowy hand through the curtain reaching for the knob. She accuses Sammy of the prank; he insists it was not him. Marigold is so upset she has trouble breathing; Sammy guides her to sit on her bed and fetches her inhaler. Across the hall, Piper watches them from her bed, listening. Marigold sees “[s]he already knows” something is going on (60).
Marigold uses her laptop to video call Tamara, telling her about the creepy house, Yusef, and Piper’s annoying behavior. Tamara suggests she grow marijuana in an abandoned lot nearby, which Marigold thinks is a good idea; Tamara also warns Marigold not to be “caught up” in the wrong activity, to which Marigold reminds her she was “poisoned,” not caught up.
When school begins, Piper starts fifth grade, Marigold starts junior year, and Sammy is in middle school. Alec reveals Marigold’s dad, Chay, sent her new track shoes, but Marigold says they can return them, as she doesn’t plan on running track there. This upsets Raquel, but Marigold heads out to school. The building is old; most of the students are girls. She meets a girl, Erika, who smells of marijuana, but Marigold is paranoid about asking for any. Yusef tries to charm her after school, but Marigold tells him to stay clear. After school, she tells Raquel she needs cash for lunch, but Raquel says she will write a check for a school account to avoid giving Marigold cash. Frustrated, Marigold goes for a run. On the other side of Sweetwater Avenue, her street, Maple, has nicer houses and people living in them. But when they see her, they stare. Marigold reflects on getting arrested and taking Percocet and then thinks about the hand in her shower and how it appeared to be burned. She craves marijuana to ease her nerves.
Raquel says perhaps Piper should see a counselor about her imaginary friend she calls Mrs. Suga, an older Black woman. Alec says she could go to “the same place Marigold goes” (78). Marigold thinks about the supplies she will need to start a marijuana garden. She reflects on her love for gardening and the many terrariums she used to have. She goes to the urban garden club meeting at the library Yusef told her about. If she volunteers for community planting projects, she can use their garden tools and soil free of charge. Yusef is there; she rides in his truck to the first project, planting trees on the freeway. After the task, Marigold asks about some buildings that look like factories; Yusef says they are prisons.
Marigold goes to Yusef’s house to borrow his tiller. Yusef’s grandfather Pop-Pop is watching Scott Clark yell about planting holy seeds. Yusef explains the racket: People order seeds to plant and then send back a donation to Clark’s “church.” Yusef says he has tilled many properties so people can plant those seeds, but they never grow well. Yusef is a DJ-in-training too, wanting to take over his father’s line of work. He plays a song about marijuana, and Marigold asks him if he smokes; he does not and reacts with disgust. She agrees, but inside, she is planning to plant and harvest her marijuana garden before it gets too cold.
The narrative begins with a popular haunted house premise: A family arrives at a new home, hopeful if somewhat trepidatious about starting a new life; then, a host of strange events causes the protagonist to suspect they are not alone in the house. The brief preface sets the mood and conveys the ghost’s ire; much later, the novel will reveal this unidentified viewpoint is Ms. Suga, a woman who experiences prejudice and gentrification. White Smoke differs from many works in the haunted house subgenre, however, because the given circumstances of two characters in the family create risks they bring along to their new setting. First, protagonist Marigold can only earn personal freedom and trust from her mother, Raquel; father, Chay; and stepfather, Alec if she consistently avoids the self-destructive drug use that led to individual and familial trauma in their old town. Second, Raquel signs away the future of their recently blended family by accepting the terms of her artist-in-residency agreement with the Sterling Foundation. These high-stakes complications separate White Smoke from similar horror genre stories and set the stage for the realistic internal and external pressures that will keep the family members from fleeing the house.
The author introduces the theme of The Dynamics and Challenges Within Blended Families even before the family arrives on Maple Street with Piper’s tattling, spoiled behavior, and Alec’s tendency to placate her. Through Marigold’s viewpoint, the author describes the troubled expression on Piper when Raquel and Alec hold hands in the van, a strong foreshadowing of Piper’s inability to accept their new family situation. For Marigold’s and Sammy’s part, these two close-knit siblings form an opposition against Piper, which builds as she demands to pick her bedroom, answers Raquel’s questions and concerns with a smart mouth, and argues with them in the abandoned corner house. Friction also exists between Alec and Marigold, hinted at when Marigold reflects in an interior monologue that Alec knows better than to even ask her to go on the grocery run. Because of the friction between members of this blended family, external conflicts such as those brewing with the ghost in the house will be all the harder to resolve.
Protagonist Marigold must contend with many conflicts besides her family. She faces conflict internally and externally from the past and present. The author reveals her backstory slowly throughout the novel, but one can glean from the first five chapters that Marigold experienced a pivotal, traumatic reaction from drugs that resulted in an expensive stay in a rehabilitation facility. She also contends with the “burning” of most of her possessions. Whether this was a literal or figurative burning is unclear in these chapters, and the extent of her drug use is unclear as well, though Marigold has not stopped using marijuana. Marigold’s bedbugs metaphorically invade her thoughts every day, symbolizing that the battles she must fight against her past demons are far from over. (Later the novel reveals that bedbugs infested her home; to rid them, the family had to burn most possessions.) Regarding present conflicts, Marigold is the first person who the antagonistic ghost in the house torments; she wonders who moves her phone, who turns off her shower, and who opens her bedroom door. These external and internal conflicts from the past and present, along with the “normal” pressures of starting a new school and missing her father, work against Marigold and eat away at the calm mindset she strives to maintain while abstaining from substance use.
A skeleton framework of additional conflicts exists in the novel, though Marigold sees only minor signs of these evils thus far and does not yet put the pieces together. These conflicts support the theme of Using the Horror Lens to Explore and Amplify Societal Issues. First, the narrative foreshadows the degradation of classism when Irma discusses how their new home is considered “the other side of the tracks” and when the Black neighbors down the street wordlessly stare at the new family in an unfriendly way (18). Later, Yusef explains that many in the area are conned into donating money in exchange for Pastor Clark’s holy seeds, implying that those who are uneducated, down on their luck, or who struggle socioeconomically are prone to be taken advantage of by this scam.
“Othering” is at play when Marigold tries to go for a run and receives stares from those in the neighborhood. Marigold’s father Chay foreshadows a connection between the unhappy spirit at work in the family house and trauma resulting from racism and classism when he mentions that the Maplewood neighborhood houses fell into disrepair after “the riots.” This opens the door for further connections and development of this theme. Furthermore, when Marigold cannot get a signal to investigate the riots her father mentioned, her questions about the riots increase the suspense.
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By Tiffany D. Jackson