61 pages • 2 hours read
Margaret LaurenceA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Vanessa reminisces about the day her family moved into Grandfather Connor’s home. As they settle in, Grandfather Connor, despite mild weather, sternly instructs the movers while clad in his bear coat. He scrutinizes every action, particularly concerned with preventing damage to household items.
During the unpacking, when Beth starts setting up the MacLeod china, Grandfather Connor dismissively tells her to put it in the basement, suggesting it is of no use to him. This interaction leads to a conversation between Beth and Edna, reflecting on the irony of maintaining expensive silverware during financial hardship.
Seeking solitude, Vanessa sneaks into the old stable to sit in the MacLaughlin-Buick, a car Grandfather Connor owns but hasn’t driven in years. She is struck by a memory of her driving with him as a child, looking up at him lovingly. There, she immerses herself in writing a historical fiction story about a girl named Marie in early Quebec. However, Vanessa grows disillusioned with her story’s plausibility, realizing Marie’s escape from her circumstances is unlikely.
Wes Grigg, the new CNR stationmaster, comes to visit and shows interest in Edna. His visit stirs up mixed emotions and leads to an awkward dinner where Grandfather Connor, confused, initially refuses Wes’s company. Wes invites Edna to Winnipeg, but she is hesitant. Beth and Edna discuss Wes’s suitability, revealing Edna’s apprehensions about his intentions and her reluctance to leave, fearing something bad might happen.
The pipes catch fire due to exposure, an issue Grandfather Connor has stubbornly refused to address despite previous warnings. Despite Grandfather Connor’s protests, Wes intervenes using black powder to calm the pipes.
Wes and Edna are married in the spring and honeymoon in Montreal. Vanessa misses her but is happy for her and wonders how long she will have to wait to get married.
During the Second World War, Vanessa attends dances organized for the local airmen from a newly established training camp outside Manawaka. At one of these dances, she meets Michael, a 23-year-old airman from British Columbia, who shares stories of his family’s lumber camps and the beautiful forests there. They form a connection, sharing kisses and seeing each other whenever Michael is in town, though their relationship remains physically cautious due to Vanessa’s fears.
Despite their shared interest in poetry and writing, Vanessa becomes disillusioned with romantic notions of war. The casualty lists from Dieppe, including names of boys she grew up with, bring the reality of war closer to home. Conversations with Michael reinforce her growing belief that there are no true heroes in war, just individuals caught in circumstances beyond their control.
Grandfather Connor’s disdain complicates Michael’s presence at the Brick House when Grandfather Connor accuses Michael of freeloading and questions his character in front of Vanessa. This tension leftover from the argument that ensues contributes to Michael's absence during his next leave, and Vanessa’s heartbreak is compounded when her friend Mavis reveals that she saw Michael at a dance with his wife. This betrayal underscores Vanessa’s sense of loss and distrust.
Frustrated with life in Manawaka and hoping to escape, Vanessa attempts to join the air force but is advised to continue her education, which she initially believes she cannot afford. However, her mother, Beth, reveals they can afford it by selling family heirlooms and receiving support from relatives, despite Vanessa’s reluctance to accept help from Grandfather Connor. This opportunity allows Vanessa to move to Winnipeg for school.
Two years later, upon learning of Grandfather Connor’s stroke, Vanessa returns to Manawaka, but her grandfather passes away before she arrives. His funeral marks her first, and recounting his life as a pioneering settler resonates deeply with her, challenging her feelings toward him.
After Grandfather Connor’s funeral, Beth and Edna reflect on their relationship with him, acknowledging that while they were often unfair to him, he was equally harsh in return. Vanessa visits the old stable to see the rusted and neglected MacLaughlin-Buick. Contemplating the significance of the car to Grandfather Connor, a boy who had walked to Manitoba, she recalls a memory of him driving her when she was younger, a moment when he seemed like a hero to her.
Vanessa returns to Manawaka 20 years later, feeling it might be her last visit. Her life has evolved significantly, as she now has a 14-year-old child and a family. After Grandfather Connor’s death, Beth sold the house and moved to Vancouver. Roddie has grown up, married, and moved away, while Edna and her husband Wes have relocated to Nova Scotia. The death of Beth, who is buried alongside Ewen and Grandfather Connor, affects Vanessa profoundly. During a visit to the cemetery, she reflects on her own life, realizing she is now the same age Ewen was at his death. She goes to the Brick House to find out that the new owners are not maintaining it properly, and she resists the urge to chastise them for it. She looks at her grandfather’s monument and then drives away.
The story concludes with a representation of two key themes: The Journey from Childhood Innocence to Adult Awareness and Reconciliation with the Past Through Memory. Vanessa has completed her character arc and has made peace with her past, accepting life as it is.
The title “Jericho’s Brick Battlements” alludes to the biblical story of Jericho, where the walls of the city fell only through divine intervention after the Israelites marched around them, blew horns, and shouted. This suggests that some barriers cannot be overcome despite human efforts without greater force or the right timing. In the context of the story, Grandfather Connor’s brick house symbolizes his impenetrable, guarded nature, much like the walls of Jericho: “It’s like batting your head against a brick wall” (176). Vanessa’s understanding of her grandfather parallels the biblical narrative: Just as the Israelites could not breach Jericho’s walls through force alone, Vanessa could not break through her grandfather’s emotional defenses. It is only with the passage of time, akin to the Israelites’ long wait to claim their promised land, and the eventual natural decline of Grandfather Connor’s health and his house’s physical state that these walls begin to crumble. This allows Vanessa, at a point in her life where she can comprehend and process these complexities, to reconcile her memories and truly understand her grandfather’s vulnerabilities.
Her dialogue with Michael shows Vanessa’s evolving understanding of heroism as they reflect on a poem that idealizes soldiers’ sacrifices. She recites:
The names of those in their lives fought for life,
Who wore at their hearts the fire’s center.
Born of the sun they traveled a short while towards the sun,
And left the vivid air signed with their honour (196).
This romantic portrayal is contrasted by Michael’s disillusionment with traditional hero narratives, akin to Roderick Dhu, “And they weren’t truly great, either. They just happened to be there... There aren’t any heroes any more” (197). His perspective challenges the conventional glorification of war heroes, shifting Vanessa’s understanding toward a more nuanced view of heroism as not inherently noble or grand, but often circumstantial and humanized by flaws and coincidence.
This concept is further explored as Vanessa confronts the harsh realities of war, illustrated by her reaction to the casualty list of local boys who died in World War II: “It meant only people without choice in the matter were broken and spilled, and nothing could ever take the place of them” (196). This realization highlights the randomness and inevitability of death in war, which contrasts with the glorified images of heroism she grew up with. This reflects a broader commentary on the often sanitized narratives of war and heroism that fail to acknowledge the personal tragedies and forced sacrifices.
Vanessa learns that processing grief and The Tyranny of Life is a complex, non-linear experience, as captured in her reflection: “[A]fter a while it did not hurt so much. And yet twenty years later it was still with me to some extent” (202). This admission acknowledges the enduring impact of loss, suggesting that grief is not something that one fully overcomes, but rather learns to live with over time. Her journey through understanding and acceptance illustrates her overall transition from childhood innocence to a more mature, nuanced awareness of the complexities of human emotions and relationships.
By Margaret Laurence