69 pages • 2 hours read
Maureen JohnsonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
13 Little Blue Envelopes is a travelogue and a coming-of-age novel. Maureen Johnson merges the two genres to explore the theme of travel as a form of self-discovery. In the novel, travel requires Ginny to solve problems in unfamiliar environments and exposes her to new people and new things. Aunt Peg puts Ginny through this experience across Europe not only for her to understand Peg’s final moments but also to give her niece a unique space for growth. Through these experiences, Ginny learns to trust herself and develops a deeper understanding of her own skills as well as her desires.
Ginny’s first solo experience on her travels demonstrates her lack of confidence at the opening of the novel. After arriving in London, she spends an hour wandering Harrods while Richard works. As soon as Ginny walks in, she is surrounded by crowds: “Massive, scary throngs of people pouring in through the doors […] She stepped tentatively into the crowd as was immediately absorbed into the flow of humanity” (33). This encounter does not end well for Ginny. She becomes so overwhelmed with the strangeness and busyness of Harrods that she nearly passes out and is forced to call Richard to rescue her. In her moment of panic, she fantasizes about lying down and disappearing. This is Ginny at her most anxious and uncomfortable moment in the novel. Her sense of self is engulfed by the strangeness of this new experience. Here, travel serves to highlight the areas where she needs to grow, emphasizing her youthful lack of independence.
As Ginny has more experiences of her own, she becomes more confident and more capable. After spending time in London, Edinburgh, and Rome, she goes to Paris. By this point, she has had to navigate more challenges on her own and is showing more faith in her own instincts. Her improved independence is on display at her hostel in Paris, where there are no towels or soap provided:
She dug around in her bag for something she could use as a towel, finally coming up with her fleece. […] She waited in line with the others, slumped against the wall. She noticed that everyone seemed to be staring at her in the mirror. Their eyes flicked back and forth between her towel-fleece and the drawing on her shoulder. For the first time in her life, Ginny felt a little more dangerous than the people around her. It was an interesting feeling, but she figured she would probably have enjoyed it more if it were true (173-74).
Here, Ginny improvises with some success, and other people perceive that she is an independent and experienced traveler. She has grown. Still, her thoughts reveal that she has not reached the end of her growth process; she still doubts herself and feels like an imposter. Ginny is, in fact, leading an interesting or “dangerous” life; she is traveling by herself around Europe, meeting artists and exploring corners of the cities that many tourists don’t see. It is her insecurity and her youthful self-doubt that make her think that these things aren’t true; she still credits Aunt Peg, rather than herself, with being the author of her adventure.
Ginny’s process of self-discovery is most apparent toward the end of her trip, when she starts to act on the lessons that her travels have taught her. Upon arriving in Copenhagen, she reflects that “at least she [i]s prepared this time” (241), having learned from her mishaps in Amsterdam. This time around, Ginny researches hostels ahead of time so that she can stay the night somewhere she feels comfortable and safe. This is a sign of self-discovery and maturation because Ginny is embracing her own natural instincts as a cautious person; it is her instinct to plan ahead, but she had been fighting this instinct because of Peg’s travel game. Here, toward the end of her trip, Ginny is learning that she can experience Peg’s travel adventures while also taking care to honor her own boundaries and sense of self. The combination leads her to have more fun in Copenhagen than in the other cities and also leads her to make friends with the four Australian travelers. Through exposing her to new and unexpected situations, travel leads Ginny to discover and embrace qualities about herself that she had previously hidden or rejected.
Grief is one of the main emotions explored in 13 Little Blue Envelopes. Ginny and Richard both experience grief, and each character responds to their grief in different ways. Through these varied manifestations of grief, the novel asserts that grief is deeply personal. The novel concludes by reinforcing the importance of community or support during the grieving process, thus underscoring not only the personal nature of grief but also the value of expressing grief to loved ones.
For much of the novel, Ginny’s grief over Aunt Peg’s death manifests as denial. Ginny doesn’t mention to Peg’s friends—like the owner of 4th Noodle in New York and the owner of Les Petits Chiens in Paris—that Peg has died unless they already know. Ginny supposes that “there [i]s no reason to tell […] she c[an] barely believe it herself” (10). Instead, Ginny prefers to imagine that Peg is “out there in the wild somewhere” (284), thriving and living an adventurous life. This approach allows Ginny to postpone the grieving process, waiting to confront the full reality of Peg’s death until she is ready to do so. Ginny’s approach underscores the personal nature of grief, as her denial aligns with her immaturity at the novel’s beginning. It also aligns with her cautious tendencies; it is in Ginny’s nature to wait to confront a problem until she has thought it through and feels fully prepared. However, Ginny is forced to face her grief when she loses Peg’s final letter and when Richard announces that he and Peg were married. These two events solidify the truth of Peg’s death in a way that nothing else has. Unable to put it off any longer, Ginny is overcome with grief. She seeks comfort from both Keith and Richard. Their company, advice, and empathy help her to process her grief. Her new relationship with grief manifests itself in the final pages of the novel in her letter to Peg. Here, she expresses her anger, love, and forgiveness to Peg and exhibits a confident, forward-looking attitude. Through Ginny’s grief journey, the author demonstrates the personal, complex nature of grief and also underscores the importance of loving support when dealing with grief.
Richard also grapples with the grief of losing Peg. Unlike Ginny, however, he is not in denial about her loss. Instead, Richard keeps Peg’s room exactly as she left it, and he even attempts (and fails) to keep her plants healthy on his front stoop. Peg’s room and her plants serve as a constant reminder of her absence. Richard seems stuck in his grief, the rest of his home dark and messy, with only Peg’s room displaying any bright colors. Richard works a lot, and the reader does not see him doing anything else; he doesn’t socialize or spend time with friends. It takes Ginny’s arrival to shake him out of his grief; her need for him seems to wake him up. Ginny soothes Richard’s loneliness when she tells him that Peg did truly love him. He responds to this news with a smile and a hug, expressing his joy at being Ginny’s uncle. Additionally, selling Peg’s artwork serves as a metaphorical “letting go” for both characters, as Richard even comments that the art depicting her final days isn’t a reminder that either of them should dwell on any longer. As the novel closes, Ginny plans to gift half of Peg’s money to Richard in an indication that the two of them will maintain a relationship in the future. Although Richard’s grief looks different than Ginny’s, it is the community that they offer each other that brings him out of it.
In the novel, Ginny has three main relationships: with Aunt Peg, with Richard, and with Keith. Ginny’s relationship with Peg was a long-term, deeply loving relationship in which Ginny trusted Peg implicitly. Peg knew this and relied on Ginny’s trust, as her travel “game” with the envelopes is essentially a trust exercise; she asks Ginny to take uncharacteristic risks and to travel without knowing where she’ll end up. With Richard and Keith, Ginny is forming new relationships, and trust must be earned. In both cases, Johnson establishes trust as the foundation of strong relationships by exploring how trust is formed, what it looks like when it is broken, and how trust must run both ways.
The premise of 13 Little Blue Envelopes relies on trust. Aunt Peg asks Ginny to leave home without money, without a way to contact her family in the States, and without knowing when she’ll be home. This facilitates an exciting adventure for Ginny but requires that Ginny trust Peg’s discretion and her planning. Ginny does. This is evidence of her strong relationship with Peg. Peg is someone who Ginny has looked up to and loves deeply. Ginny’s blind trust in Peg is also evidence of Ginny’s youth. It isn’t until she’s encountered a few sticky situations that she starts to wonder if “Aunt Peg had screwed this one up” (226). Later, in speaking with Richard, Ginny opens up more about Peg’s sometimes untrustworthiness, saying, “She always promised me she would be there […] For high school, college. She would promise things and then just not do them. And just leave without telling anyone” (302). Ginny’s grief over Peg is complicated by the feelings of betrayal and abandonment that Peg caused by violating Ginny’s trust. Johnson explores the nuances of trusting relationships by centering the novel on a relationship where the trust is not perfect. Despite these missteps, Ginny trusts Peg because she knows that Peg loved her and had her best interests in mind. She also chooses to keep trusting Peg because she likes the people and things that Peg has brought into her life. The novel asserts that trust is essential for strong relationships and that it can be renewed or restored where there is love and good faith.
The author also explores the process of forming trust from the ground up in new relationships by depicting Ginny’s growing relationships with Richard and Keith. In both cases, the fragile new trust is broken. Keith breaks Ginny’s trust when he steals from Mari. Richard breaks Ginny’s trust when he uncaringly blurts out that he and Peg were married after having kept the information secret. In turn, Ginny breaks his trust by running away. These examples underscore the difficulty of establishing trust in new relationships and also emphasize now necessary trust is for those relationships to move forward. In each case, the characters re-establish trust through honest conversation, a necessary step before their relationships can progress. In these new relationships as well as Ginny’s long-term relationship with her aunt, Johnson investigates what trust looks like in different contexts and what happens when it is broken.
In addition to being a travelogue, 13 Little Blue Envelopes is a testament to the power of art to fulfill, connect, and inspire. Aunt Peg’s art and her belief in the power of art are some of the main instigators for the plot events. The power of artistic expression is reinforced when, quite literally, a painting holds the key to Peg’s secrets. Furthermore, characters like Keith, Mari, and Knud reinforce the way that art can build community and inspire fulfilling lifestyles.
The novel offers a literal interpretation of the power of art when, in Chapter 34, Ginny finds Aunt Peg’s hidden key behind the green slippers in Peg’s print of the painting A Bar at the Folies-Bergere by Manet. Ginny notes that Peg loved the painting because it provoked questions about perspective, about actively participating in one’s surroundings, and about noticing small details. All these thoughts manifest in the form of the key that Peg has stashed behind the painting. This conclusion to Peg’s big travel “game” for Ginny reinforces the power of art to make us see the world in different ways; in this case, a piece of art actually opens a door for Ginny to access the gifts that Peg has left for her.
The gifts that Aunt Peg left are more pieces of art; she left behind the collection of paintings that she made while she was sick. The paintings are “a record of her illness” (307), telling a profound story about Peg’s joy of living and the fractured reality that her illness brought about. Her paintings are a powerful form of expression, helping Ginny and Richard to understand her illness better. Peg’s paintings also allow her to communicate her love for Ginny and Richard in the form of the money they generate, which she intentionally left behind for them. Through her treasure-hunt-style game with Ginny and her valuable collection of paintings, Peg’s storyline underscores the power of artistic expression to say the impossible and to forge connections.
The motif of art and artists is present throughout the novel, as Ginny meets Keith, then Mari, and then Knud, all of whom are practicing artists. Although the work and approach of each of the artists are distinct, all three provide examples to Ginny of what confident and unique individuals can accomplish. Ginny admires each in their own way for their specific style and their self-assuredness. About Keith, she notes that, although he isn’t a great singer, he is “belting away” on stage, and he “prowl[s] through the audience” (61). Ginny is “totally engrossed” by his confident performance (60). Like Keith, all three of these artists exemplify the type of self-discovery that is possible through artistic expression.
By Maureen Johnson