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Elizabeth StroutA 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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Christopher Kitteridge, who is now “the local podiatrist, a middle-aged man” (61), has just married a woman named Suzanne. Throughout the small ceremony at the house, Olive Kitteridge “has been fighting the sensation of moving underwater” (61). Now ready for everyone to go home, she sneaks away and lays down on the bed in the bridal suite, taking care not to wrinkle her dress, “a gauzy green muslin with big reddish-pink geraniums printed all over it” (61), as she likes the outfit. Outside the room, people move about, and the smells of perfume and cigarettes drift in. Olive imagines the venue collapsing, overrun with people. Olive and her husband, Henry Kitteridge, designed the house as a gift for their son; it is a few miles away from their own house.
A little girl enters, and Olive attempts to greet her. The child doesn’t speak until finally telling Olive, “[Y]ou look dead” (64). Olive, a bit stung, is indeed amazed that she survived the day, having “pictured herself having another heart attack on the day of her son’s wedding” (64). As Olive lays back on the bed, the child pesters Olive about the “hair coming out of one of those things on your face” (63). Olive snaps that her moles are “[c]rumbs […] [f]rom the little girls I’ve eaten up” (65). The child runs off, and Olive is alone again.
She hears the voice of Janice Bernstein, Suzanne’s mother, searching for the bathroom. Henry enters to check on her, and Olive tells him that she wants to leave. They agree that Chris has married a nice woman. When Henry exits, Olive reflects on the ceremony. She did not cry, as she doesn’t “see any reason to cry” (67) at weddings; rather, she felt fear, both at the thought that she might die and become a spectacle and at the bride’s apparent certainty that she truly knows Christopher, despite their relationship being so new. In Olive’s view, the couple’s belief that “they’re finished with loneliness” (67) is naive. Big events like marriage are “intimacies that keep you afloat” (67), but they also “hold dangerous, unseen currents” (67).
Clear voices reach Olive from outside the room; it’s Suzanne approaching the smokers. A female voice asks about Suzanne’s new in-laws. Suzanne responds that “Henry’s a doll” (68), but shortly after mocks Olive’s dress. Stung, Olive strains to hear more. Suzanne mentions that Chris’s being an only child led to him having a “hard time” (69). Olive, looking over the bedroom she built her son, keeps listening as “something stunned and fat and black moves through her” (70).
It grows quiet outside; Olive worries about having to walk back out into the wedding and having to kiss Suzanne on the cheek. She remembers how Chris came to her the previous year and revealed that he had considered suicide. This revelation deeply affected Olive—especially in light of her own father’s suicide.
Olive digs into Suzanne’s closet and dresser. Finding a marker, she feels a sudden urge to use the pen on everything. With the marker in hand, she marks a sweater and then steals a single shoe from a pair she knows Suzanne often wears. Henry arrives, and Olive knows that she will never tell him what she has done. Olive takes comfort, however, in knowing that there will be moments in the future when Suzanne doubts herself—when she cannot find a shoe or her bra and wonders what happened to her sweater. Maybe, Olive thinks, she will take more of Suzanne’s things to “keep the self-doubt alive” (74).
Harmon (no surname given) watches a young couple—Tim Burnham and Nina White—walking along Main Street. Sitting beside them in the marina, he overhears them discussing marijuana. His wife, Bonnie, disapproves of “potheads” but the couple’s ease excites and intrigues Harmon. He thinks about his sons when they were young: “[E]ach of his sons had been his favorite child” (78).
Daisy Foster lives alone in a small cottage near the marina. Her husband has been dead for three years, but last night, he came to her in her dreams. As Tim and Nina drive away, Daisy sees Harmon arrive—the two talk about Harmon’s sons and Daisy’s dreams as well as about Tim and Nina. They then embrace and go together to the bedroom.
Harmon arrives home and talks with Bonnie, who is making a wool rug. He thinks about how both of their bodies have changed with age. Since their children left home, Bonnie has gained energy for her hobbies, but at the same time, she has ended their sex life: she was “just done with that stuff” (82). Harmon considers his Sunday trysts with Daisy to be more of a “shared interest” (83) than an affair. He reads his magazine.
Tim and Nina enter Harmon’s hardware store; as Harmon sweeps, he listens in on their conversation. The couple leaves, and Harmon is struck by an uneasy feeling, believing that “the boy had shoplifted something” (85). The next day, Harmon calls his son Kevin. After a brief chat, Harmon asks Kevin if he is “smoking pot” and then about the term “fuck buddies” (85). Kevin laughs, and they discuss the young couple. Kevin assures his father that he is not “an old fart” (86). The next morning, Harmon and Daisy meet again, sharing anecdotes from their lives.
That October, Harmon reads about a drug bust in the local newspaper; he sees Tim and Nina’s names. That night, Bonnie returns from her book club, which Tim’s aunt also attends. Harmon is eager to hear what happened. The charges, Bonnie reports, will likely be dropped. Nina is sick, Bonnie adds; the young woman has anorexia, which has caused damage to her heart. Tim met her while following Phish around the country, which Bonnie compares with some disdain to those who followed the Grateful Dead.
Some time later, Harmon and Daisy sit together and talk about old relationships. Harmon returns home, and Bonnie instructs him to fix the gutters. He sits down and shares his regret that none of his boys wish to take over his store. Bonnie says that Harmon’s negativity is “driving [her] nuts” (91).
By November, Harmon begins to perk up. One Sunday, he visits Daisy, who tells him that Nina is staying at her house after a fight with Tim. Nina comes downstairs and greets Daisy and Harmon. She appears sick and begins to cry, afraid of returning to the hospital. She admits that Tim stole from the hardware store. As Harmon and Daisy try to get her to eat, Olive Kitteridge arrives, there to collect money for the Red Cross. Harmon makes conversation with Olive, who takes a doughnut, only to begin to cry, saying that Nina is “breaking [her] heart” (96). Along with Daisy and Harmon, Olive resolves to help Nina; they call Nina’s mother and, after many promises that she will not be taken to the hospital, Nina agrees to go with her. Harmon returns home and does not tell Bonnie what happened.
Harmon is affected by the incident; now, “the sight of Bonnie made him feel cold” (98). While conversation with Bonnie is stilted, he talks easily and frequently with Daisy, who speaks often with Nina. Harmon begins to feel as though Nina is their child. When Daisy sends Nina a card at Christmas, she signs it from her, Harmon, and Olive. After a lackluster visit from their sons, Harmon confesses to Bonnie that the holidays have left him “kind of blue” (100).
When Daisy next asks Harmon to come by, he realizes on arriving that something is wrong. Olive’s car is already there. Inside, Daisy is crying, and Olive is complaining about her daughter-in-law’s callous assessment of Nina’s situation. Nina has died of a heart attack after relapsing. Harmon arrives home late and struggles to eat his dinner.
Harmon receives a call from his son, Kevin, a few days later, making sure that “everything’s okay” (101). Harmon tells him not to worry. As he works, Harmon feels as though everything has become “close, and frightening” (102). After reflecting on the specter of loneliness, he confesses to Daisy that he has fallen in love with her. Though he had been expecting a “tender refusal” (102), she embraces him. Harmon is uncertain whether he will summon the courage to leave Bonnie or wait until she kicks him out; “he didn’t know which of the two would happen, but it would” (103).
In another story told via memory, Olive recalls one night in June, when an “awful thing” (104) happened to her and her husband in their late sixties. The event changes them both. The memory is triggered as Cynthia Bibber suggests crisis counseling, which Olive refuses. The event took place because Olive needed to go to the bathroom while driving home after dinner with friends.
Per Olive’s recollection, with no other options within 15 minutes, Henry stops at the hospital so Olive can use the bathroom. She runs into the emergency entrance, and a nurse points her toward the bathroom. When Olive is finished, the nurse insists that Olive should see the doctor, as only last night they lost a patient due to a reaction to the crabmeat she had eaten for dinner.
Reluctantly, Olive agrees to an examination. The strikingly young doctor seems polite and patient, but as she lays on the examination table, everything becomes a blur. Olive hears shouting, and someone tells her to get down. She sees “a tall man holding a rifle” (113), wearing a Halloween pig mask. She is marched to the bathroom at gunpoint and made to sit in her hospital gown next to Henry, the nurse, and the doctor. While one man goes to rob the hospital, looking for drugs, he instructs the pig-masked man to watch the hostages.
Henry proves unable to stay quiet. He criticizes the man’s foul language, and the armed man pushes the gun into Henry’s face. As the man grows nervous, though, he sits on the toilet and takes off his mask. Olive is stunned at how young he is, enough to almost be one of her students. Olive’s hospital gown slips open, and Henry pesters the man for something to cover his wife; the gunman shouts at him before looking at Olive and saying “Jesus.” This reaction infuriates Olive, but the gunman stands and reties her robe before sitting back down.
As tensions escalate, the nurse begins to recite her Hail Mary. Olive tells her to be quiet but is stunned when Henry sides with the nurse; this moment in particular sticks with Olive. She remembers saying “some things about [Henry’s] mother then” (121). Olive accuses Henry of causing Christopher to leave because he married a Jewish woman and “knew his father would be judgmental” (121). Henry, wounded, retorts that their son in fact left because Olive took over his life. The young gunman stands; Henry wets himself.
They hear police sirens. A telephone rings; police negotiators are on the line. The other gunman enters the bathroom and excoriates his accomplice for taking off his mask. Olive, on hearing the young man’s voice, worries that she will die. The gunman begins to weep, and just as Olive fears he may be planning to shoot himself, the police burst in.
At home, back in the present, Olive and Henry talk about the incident. Henry mentions that, in all their years of marriage, he cannot remember Olive ever apologizing. Olive is flustered. Henry tells her that they were both scared that night and that both said things they will eventually get over. However, Olive knows that “they would never get over that night” because “they had said things that altered how they saw each other” (124).
In this section of chapters, Olive Kitteridge’s voice emerges for the first time, and the facets of her personality revealed through others begin to crystalize into her complex character. In the 13 chapters of the novel, Olive Kitteridge is only the primary focus in six, the first of which is the fourth chapter, “A Little Burst.” Thomas, in her New York Times article, makes note of how Strout incorporates characters’ voices: “Strout’s prose is quickened by her use of the ‘free indirect’ style, in which a third-person narrator adopts the words or tone a particular character might use” (Thomas, Louisa. “The Locals.” New York Times, 20 Apr. 2008). The use of this technique augments the development of Olive’s character in the fourth chapter as she reacts to overhearing the criticism of her son’s new wife.
This section of chapters is again interested in How Perspective Shapes Reality. The fourth chapter marks not only the first story featuring Olive but also the first time Olive finds her perspective challenged, even if mildly. The motif of the sea emerges early on, with Olive already feeling underwater as she lies down to rest after the wedding. As her eavesdropping proceeds, Olive submerges further, feeling as if “these women are sitting in a rowboat above her while she sinks into the murky water” (70). When Suzanne indicates that Christopher has had “a hard time,” on top of insulting a dress for which Olive’s “heart really opened” (70), Olive rejects the threat to her own reality with startling force. In turn, in the sixth chapter, “A Different Road,” what makes the hostage event at the hospital so indelible and impactful is not necessarily the event itself, but what was said. The reason why Olive is certain things will never be fully the same is because she and Henry “had said things that altered how they saw each other” (124).
Part of Olive’s character is the compromise she seems to have made for her own survival: Olive has developed the capacity to keep going, despite the “dangerous, unseen currents” (68) of “big burst” events, but the cost is that she cannot self-reflect. There is no room for questioning her perception: “A person can only move forward, she thinks. A person should only move forward” (70). The Trials of Grief and Mental Illness are evident in Olive’s approach to life. Olive is aware, at some level, of the importance of talking. She knows that her father did not talk, and she recognizes her son’s reticence to talk as a warning sign. Yet her own survival depends so heavily on never examining her own perception that Olive is unable to do that kind of talking herself.
The inflexibility of Olive’s perception overlaps with her mental health struggles to fuel Olive’s frustration with Suzanne. Olive’s perception, founded on her life experience, is that life is unstable, unpredictable, and full of risk. Thomas’s New York Times article also makes the following observation of Olive as a character:
[T]he main thing we learn about her is that she has a remarkable capacity for empathy, and it’s an empathy without sentimentality. She understands that life is lonely and unfair, that only the greatest luck will bring blessings like a long marriage and a quick death. She knows she’s been rotten; she has regrets. She understands people’s failings and, ultimately, their frail hopes (Thomas, Louisa. “The Locals.” New York Times, 20 Apr. 2008).
This section of chapters captures this feature of Olive, who best connects not with the average child at the wedding, but with Nina White, a young woman navigating her own mental health, and with the gun-wielding young man who holds her hostage. Olive resists The Necessity of Human Connection for herself, but she certainly has the capacity for it. This part of Olive’s character, however, means that what irks Olive most is not Suzanne’s insults, but what Olive perceives as the woman’s hubris: her “know-it-all face” (71), the fact that Suzanne “thinks she knows everything” (74). That is not how life works. In Olive’s mind, Suzanne’s confidence is an assault on Olive’s lived experience, especially given Suzanne’s comparatively easy life, by Olive’s standards: “Nobody knows everything—they shouldn’t think they do” (74).
By Elizabeth Strout