54 pages • 1 hour read
Grady HendrixA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Throughout the book, the women are constantly questioned about what they present as truth. The eyewitness testimony of women is not enough, so in response to being doubted, they present photographic evidence.
When Patricia and Kitty visit Mrs. Greene in Six Mile for the first time, Kitty is hesitant to believe Mrs. Greene about the two boys’ deaths and Francine going missing because she “hasn’t read anything in the newspaper” (146). When Patricia reports seeing James Harris physically assaulting Destiny Taylor, her husband dismisses her account as the fantasy of a bored housewife.
Three years later, Patricia and Mrs. Greene take a new tack: proving their words with photograph of Hoyt Pickens (now James Harris) from Miss Mary and a folder full of newspaper clippings about missing and dead children. The novel mixes the mystique of supernatural horror with the cut and dry fact-gathering of detective stories: Miss Mary appears as a ghost to give Patricia information about James Harris’s crimes and lead her to the photographic evidence.
Miss Mary first heard the hoot owl, a symbol for danger, when she was a girl, on the night of Leon Simms’s lynching. In the novel, the owl appears when something sinister is lurking, and is particularly associated with James Harris. Unlike the photographs, which prove criminality with facts, the owl is a supernatural warning that most characters would rather ignore—it would mean acknowledging things aren’t as pleasant as they seem. In Chapter 4, when Miss Mary claims to see an owl and Patricia dismisses her alarm, Miss Mary cryptically cautions: “Whether you like it or not […] you’ve got owls” (50). In the novel, actively choose not to pay attention to the undesirable leads to tragedy—the characters must learn to hear the owl when it hoots.
Blue’s obsession with the Holocaust—the German WWII attempt to commit genocide by killing the entire population of European Jews, and their successful murder of over six million Jewish and Roma people and members of the LBGTQ+ community—is a prevalent motif in the novel. Patricia’s son Blue becomes obsessed with the Nazi regime, but his interest is only mildly alarming to a community deeply entrenched in white supremacist culture. Blue’s parents mostly don’t confront their son, even when he brings up topics like “medical experiments in the camps” in conversation (182), leaving James Harris, who speaks “fluent Nazi” (125) to engage with Blue on this topic. Fascism comes easily to James, who kills with ruthless abandon and believes his prey are people who “wouldn’t missed anymore” (280). His dehumanization of his victims, starting with the lynching of Leon Simms, has echoes of Nazi propaganda about their victims.
The women in the book vacuum clean as psychological and emotional distraction. Grace, one of the characters most given to avoiding confrontation, advises Patricia to “Vacuum your curtains” to “make you feel better” (156). Grace wants Patricia to follow her lead and get lost in the nonessential housekeeping tasks to preserve the order of the world she knows. When Blue acts out, Patricia feels helpless—she “ached to hold a vacuum cleaner, to have its roar blot out everyone’s voices, to make it all go away” (254). Other forms of cleaning also allow characters to ignore the horrific reality around them. After Patricia witnesses James Harris attacking Destiny Taylor, Patricia “couldn’t bring herself to vacuum her curtains, so she did laundry. She ironed shirts and slacks. She ironed socks” (179). Cleaning is a physically demanding but mindless and never-ending activity—it can be an infinitely long distraction from what really matters.
By Grady Hendrix
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