Goodnight Mister Tom

The Restorative Power of Compassion and Human Connection is again explored through Tom, who is joyful and expressive in these chapters. Tom is a dynamic character who evolves significantly compared to the novel’s exposition when he is depicted as gruff and harsh. Becoming a parent to Will reconnects Tom to a younger, more joyful, and playful version of himself; this is illustrated when Tom takes Will and Zach to the seaside and they bike down the hill toward Salmouth: “‘Let’s go,’ cried Tom, and he gave the tandem a sharp push forward” (245). Even the adjective, “cried,” illustrates a vivacity and enthusiasm, totally unlike the previously reserved Tom. This is further illustrated when the group dances with joy when they see the sea, including Tom: “Tom was dancing too” (245). Furthermore, Tom’s newfound silliness and zest for life is illustrated at Will’s 10th birthday party when he chases the children around his house, pretending to be a monster.

Tom continues to embody all that a parent should be through his loving guidance of Will. He notices that Will is fearful of the sea and offers unobtrusive support for Will to start to splash and play in it with Zach: “‘Come on, Will,’ he said encouragingly. ‘Take some handfuls and splash some around you. You can git used to it then. I’ll catch you if you fall’” (254). Furthermore, when Zach dies, Tom intuitively senses that Will needs the regularity of his life to continue and that he is not ready to confront the enormity of his friend’s death: “Tom continued as normal, waiting for the moment when Will would finally accept and mourn his friend’s death” (283). This moment illustrates way how Tom intuitively knows what Will needs.

Tom and Will’s connection is illustrated in their mutual joy when Tom decides to adopt Will:

‘Your son!’ cried Will jumping off the stool. ‘You mean, you’ll be my father, like?’ Tom nodded. ‘I s’pose I will.’ In an instant it suddenly dawned on him that Will would be growing up with him. With a great yell of joy he leaped up from the armchair (273).

Their joyful dance conveys their love for one another. This depth of feeling is further established when Tom is overcome with emotion when Will calls him Dad for the first time: “‘He called me Dad,’ he whispered croakily into the darkness. ‘He called me Dad.’ And, although he felt overwhelmed with happiness, the tears ran silently down his face” (289). Once again, Tom’s emotion conveys his love for Will and his sense of joy that they are family. This anecdote also further illustrates the enormous change in Tom through his connection with Will; he is now an emotional and joyful character.

Through these chapters, Will must deal with the devastating loss of Zach, whose death connects to the theme of Wartime Britain: Community Involvement and Loss of Life. Zach’s death is foreshadowed by his mother’s strict insistence that he should only stay briefly in London to reduce the risk of him being caught in a bombing raid: “His mother had said that whatever happened he was to stay in London only for the weekend. She didn’t want him to be injured as well” (278). Zach’s mother’s efforts to mitigate the risk are not enough.

Initially, the idea of a life without Zach feels inconceivable and unbearably painful for Will. To deal with his pain, Will finds ways to pretend that Zach is still with him: “At school, finding it painful to sit next to an empty chair, he would scatter papers untidily over the two desks in an effort to hide Zach’s absence” (282). He puts Zach’s book and drawing for him in the back of the cupboard, unwilling to confront the reality of his death by being reminded of him. A turning point occurs when Geoffrey counsels Will that it’s “better to accept than pretend that he never existed” (287). Based on this advice, Will goes to Zach’s house and learns to ride Zach’s bike. Through this activity, Will celebrates Zach’s memory and feels reconnected to him by doing something that Zach loved to do: “He suddenly felt that Zach was no longer beside him, he was inside him and very much alive” (292). The fact that Will feels that Zach is with him, rather than lost to him, is illustrated when he starts to channel some of Zach’s tendencies, such as his characteristic expressions: “Yippee. Callooh! Callay!” (292). Eventually, Will is able to accept the tragic fact of Zach’s death, and to find happiness in spite of it: “I can live without Zach even though I still miss him” (295). This sentiment is a testament to Will’s developing maturity.

The novel ends on a hopeful note. A future romantic attachment is implied between Carrie and Will; Will notices Carrie’s developing body when she is getting changed and has to suppress an urge to reach out and touch her, illustrating his attraction to her: “He was surprised to see two tiny swollen lumps protruding gently outwards from underneath her undershirt. He wanted to reach out and touch her arms but stepped back quickly” (298-99). Furthermore, the two friends laugh together and bond over their shared love of books.

Will develops significantly through the course of the novel; in the postscript, he ably gardens, which can be contrasted with his fear of the expansive fields and the earthworms when he first arrives at Little Weirwold. Instead of being fearful and terrified, Will is extremely happy, as is illustrated in his question to Carrie: “Do you think you can die of happiness?” (303). Will’s progress and development from a terrified child into a confident young man is symbolized in his literal growth, demonstrated in the fact that his peg feels low: “‘I used to stretch up to that,’ he muttered to himself” (303-4). A happy future for Will in Little Weirwold is implied.