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52 pages 1 hour read

Katherine Paterson

Jacob Have I Loved

Fiction | Novel | Middle Grade | Published in 1980

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Literary Devices

Biblical Quotations and Allusions

An allusion is an indirect reference to a person, event, or text outside of the narrative itself, often without explanation, which allows authors to layer meaning and history from outside sources onto their own writing in a compressed form. Biblical allusions permeate Jacob Have I Loved, much in the same way that Methodism structures life on Rass Island. Some of this presence comes through direct quotation, such as the title itself, the reading from the Psalms during the hurricane, and Grandma’s gleeful recitation of Romans 9:13 when only Louise can hear it.

The Bible also structures Louise’s understanding of her life. In Chapter 6, she concludes that is “a murderer. Like Cain” (75) because she hates her sister. This is an allusion to the story of Cain's murder of his brother Abel in Genesis 4, a particularly extreme instance of sibling rivalry. Scriptural passages come into her mind unbidden, as when she goes to find the Captain during the storm:

And everyone that heareth these sayings of mine and doeth them not, shall be likened unto a foolish man, which built his house upon the sand: and the rain descended and the floods came, and the winds blew, and beat upon that house (119).

The source of the passage—Matthew 7:24-29—is not named in the text, but it is set off in italics. Its presence indicates that Louise, in spite of herself, is thinking about the Captain’s reputation as a so-called heathen, and hints at the coming destruction of his house during the storm.

Vivid Imagery

The narrative places the reader within the story and its setting on Rass Island through use of detailed and evocative imagery—descriptive language that focuses on sensory detail. Strong imagery evokes all the senses, not only sight but also sound, touch, and smell. For instance, Louise describes taking off her shoes to walk into the mud and grass: “standing waist deep in the cordgrass to feel the cool mud squish up between my toes [...]. In my nostrils, the faint hay smell of the grass mingled with that of the brackish water of the Bay, while the spring wind chilled the tips of my ears…” (3). This passage offers sensory details of sight, touch, and smell, bringing the marsh vividly to life. Similarly, Louise describes the day after the hurricane hits as “the bluest, clearest day of the summer. Every breath of air was delicious with just enough of a clean, salt edge to wake up all your senses” (126). Here again, the imagery includes sight and smell and evokes a sense of awe and joy.

The detailed imagery is not confined only to describing the island. As Louise becomes increasingly obsessed with hands—the Captain’s, her own, and others—the imagery used to describe them increases as well. Louise references a Pond’s lotion ad, featuring a woman’s beautiful white elegant hands and a man’s strong clean hands, to contrast with her own rough, cracked hands with broken nails. She describes the Captain’s nails with minute detail, saying: “His nails were large, rounded at the bottom and blunt and neat at the tips. He had the cleanest fingernails of any man I’d ever seen…” (132). Such meticulous imagery is also used to describe music in several places in the novel, such as the Christmas concert, to evoke Louise’s feelings of wonder and pride.

First-Person Point-of-View

The first-person narration foregrounds Louise’s inner life and her perception of the events of her early teenage years. Occasional reminders that she is narrating the story from an adult perspective, such as the comment at the end of the second chapter that “life begins to turn upside down at thirteen” (25) signal that not all of young Louise’s perceptions have turned out to be correct or even helpful. However, the focus on her inner monologue limits the scope of the reader’s knowledge, which keeps the focus squarely on Louise’s feelings and reactions. By showing the limits of Louise’s ability to understand other people, however, the narrative draws attention to the fact that those around her must also have rich inner lives, even if they remain inaccessible.

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