54 pages • 1 hour read
Shelby Van PeltA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Although Marcellus’s captivity in the aquarium is a central device within the novel, each of the central characters struggles with captivity in their own way. At the opening of the novel, Marcellus informs the reader that he “was brought here as a juvenile. I shall die here, in this tank” (2). He has given himself over to the idea that he will never see his home again and uses the time he has left to help his new friends. By the end of the novel, he is surprised to be returned to the open sea and to the freedom he believed was out of reach forever. His personal story moves from the objective value of captivity to the objective value of freedom.
Tova also cycles through these values in her own way. At the beginning of the novel, she is as free as it is possible for an elderly woman to be; she is financially secure, in good health, and has no dependents for which she is responsible. This puts her in direct juxtaposition to Marcellus, who lives in a literal cage. Early on her freedom is also juxtaposed against the final years of her brother, who lived out his life in a closed and restricted retirement home. Tova initially expresses her distaste at his arrangement. However, she begins to see her freedom as being unsustainable.
There is a parallel here that presents captivity as being a well-meaning, if sometimes misguided, solution; Marcellus was taken into captivity after his attack by the wolf eels, and Tova is considering her own captivity as a solution to her increasing vulnerability. The backlash she receives from her friends in the Knit-Wits underline the idea that shutting away a living thing shouldn’t be anything more than a temporary solution—not a catch-all cure. By the end of the novel, she has re-embraced her freedom alongside Marcellus.
Cameron struggles with another type of captivity-freedom divide, and his comes from within. Marcellus observes that they have this in common; both are captives of their own limited circumstances. Although Cameron appears to be the epitome of freedom, not even bound to a single home address, his life has become suffocating. He holds himself in one figurative place, unable to grow as a person, because he’s held in stasis by his predetermined beliefs and resentments. These beliefs, which manifest as weaknesses, inhibit his ability to move forward—for example, when he fractures his relationship with Ethan. It’s only when he’s able to free himself from these internal constraints that he’s able to expand and embrace a newfound freedom of the self.
Grief is a constant underlying thread in the story, and many of the characters are grieving in their own ways. The grief most central to the novel is tied to the unresolved emotions and questions Tova has regarding the disappearance of her son. Without a body to mourn or a true understanding of the events that led to his death, Tova is unable to completely make her peace with the past. This leads her to lose herself in her work and her crossword puzzles, which she uses as a coping mechanism to focus her mind.
Once she learns that Erik was involved with a girl right before his death, her carefully constructed sense of self begins to crumble beneath her newfound uncertainty. Here her grief shifts from a tangible loss—that of her son—to the loss of something that never was—the extended family she could have had. She begins to process this new loss by imagining what her life could have been:
“If Erik hadn’t died that night, the girl might have been a daughter-in-law. Tova herself might have worn this apron when she taught her son’s wife how to make his favorite butter cookies, then passed the apron along to her when the time came.” (237)
Although these thoughts are painful, they represent the erosion of Tova’s manufactured defenses against her own grief.
When Cameron leaves Sowell Bay and Tova finally understands the full depth of their connection, she finds herself adrift as she processes this vast new knowledge: “It’s almost a new day. Her first day as a grandmother” (335). While Tova has now experienced yet another cataclysmic loss, her feeling is one of new understanding. Avery’s confession assembles the final pieces of Erik’s tragedy and allows Tova to make peace with her grief.
Cameron also struggles with unexamined grief for the family he’s lost, although he does so in a more aggressive and self-destructive way than Tova. He constantly insults his mother and unknown father so he doesn’t have to examine his own feelings of abandonment and lashes out at those around them. When Tova brings up the issue of his mother, Cameron reflects, “How often has he convinced himself she’s actually dead, because that hurts less than believing she could care about him so little?” (276). His unresolved grief for those who have left him causes him to turn his back on Sowell Bay, hoping to leave his loved ones behind before they have a chance to leave him first. However, in overcoming his fear and pride, and in facing his relationship with his grief, he’s able to learn the truth about his family legacy and find the acceptance he needs most.
Family dynamics are at the heart of the novel, and the plot explores various incarnations of what a family can be. While the story centers on a repaired blood family—the link between Cameron and Tova—it is by no means the only “true” sense of the word, nor is it infallible. This is illustrated in the way Tova’s relationship with Lars disintegrated over time; there was no cataclysmic rupture, but rather a slow erosion of familial connection. This teaches us that while the bonds of family are important to our well-being, they must be nurtured if they are to survive.
Before coming to Sowell Bay, Cameron had a distorted view of family relationships. His only known relative was his aunt, and while they both try to do their best by each other, they’ve never really seen eye to eye. Instead, he finds a sense of family with her friends Elizabeth and Brad—“the three musketeers” (35). However, their new marriage and their baby—the blood family that ties the two of them together—threatens what Cameron once had. Instead, he turns to what he believes to be a father figure, hoping for a payout that will solve all his problems. Here Cameron recognizes the potential for family but sees it as a financial opportunity rather than a place to belong; he equates the concept of blood family to opportunity, rather than love.
What he discovers instead is a new sense of family with his grandmother, Tova. However, one of the most important aspects of the novel is that their bond is forged before either of them are aware of their blood connection. In this way they become found family first and blood family second. At the climax of the novel, Cameron takes off without knowing the story of his heritage. However, he returns to do the right thing and do right by Tova even though he’s not aware of their blood connection. This means that his choice to return comes from his organic loyalty to the bond they’ve built together rather than a manufactured loyalty to a hereditary connection—the loyalty he was expecting from his false father Simon Brinks. In honoring his newfound family, Cameron becomes worthy of blood family as a reward.
Ethan also plays a role in this new family unit by taking Cameron in and building a new relationship with Tova. He provides a grounding influence to both characters as Cameron cycles through his own shortcomings, and Tova becomes caught up in her fear of aging and solitude. Even though Tova and Cameron share a connection in the novel, Ethan’s relationship with each of them forms independently of the other. Cameron’s sense of betrayal when Ethan recruits someone new for his grocery store shows how his perception of them as a family ran deeper than he wanted to admit. By overcoming his internal sense of entitlement and pride, he’s able to repair his relationship with Ethan, which in turn creates a stronger found family unit between the three of them.
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