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66 pages 2 hours read

Sharon Creech

Walk Two Moons

Fiction | Novel | Middle Grade | Published in 1994

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Chapters 26-30Chapter Summaries & Analyses

Chapter 26 Summary: “Sacrifices”

When Phoebe arrives Saturday morning, she immediately complains that Sal’s room will be too crowded for both of them. Sal tries to be patient with her, but when Phoebe explains that her mother says hosts are supposed to “sacrifice” for their guests, Sal retorts, “I suppose your mother made a great sacrifice when she took off” (158). Phoebe insists that her mother was kidnapped before beginning to complain again, this time about her worries that she has a brain tumor. The girls stop by Mary Lou’s house after dinner, but find their friend out on a date. Ben is there, however, and commiserates with Sal about Phoebe’s behavior; while they talk, Sal suppresses the urge to touch his face. That night, Sal’s father knocks on the girls’ bedroom door, having heard Phoebe crying. Phoebe, however, insists that she’s fine.

Chapter 27 Summary: “Pandora’s Box”

Sal walks Phoebe home on Sunday, and Phoebe learns from her father that her mother spoke to Mrs. Cadaver on the phone. Phoebe insists that Mrs. Cadaver is lying (and in fact murdered Mrs. Winterbottom), and after an argument, Mr. Winterbottom agrees to alert the police if his wife doesn’t call home soon. In private, Phoebe tells Sal that she plans to contact the police herself. In English class the next day, Phoebe gives a presentation on the Greek myth of Pandora, and Sal finds herself thinking about the story throughout the rest of the day. She wonders whether there was a second box full of good things: “[W]as there one bad thing down there in the bottom of the good box? Maybe it was Worry” (168). Sal reflects that the Winterbottom family, unlike her own, seemed troubled even before Mrs. Winterbottom’s departure. She doesn’t think that departure had anything to do with Phoebe, however, and says this aloud to her grandparents. Gram and Gramps exchange a look, and Sal realizes that her own mother’s departure wasn’t a rejection of her.

Chapter 28 Summary: “The Black Hills”

Sal and her grandparents reach the Black Hills two days before Sugar’s birthday. Gramps insists on visiting, but promises they’ll be quick. He jokes that he might even let Sal drive—something he taught her to do on his farm. Sal remembers how excited her mother was to see the Black Hills, as well as the stories she told Sal about the Sioux’s struggle to regain control of the region. They drive to Mt. Rushmore next, and Sal reflects, “[T]he Sioux would be mighty sad to have those white faces carved into their sacred hill. I bet my mother was upset” (172). From there they move on quickly, passing into Wyoming, where Sal is dismayed to learn her grandparents intend to stop at Yellowstone.

Chapter 29 Summary: “The Tide Rises”

In English class, Mr. Birkway reads a Longfellow poem that Sal finds disturbing: “The waves, with their ‘soft, white hands’ grab the traveler. They drown him. They kill him. He’s gone” (175). Ben suggests that the man might simply have died, but Sal says it’s never “normal” to die, but “terrible” (175). Ben then suggests death could be both. After school, Phoebe collects her “evidence” and goes with Sal to the police station. The policewoman they initially speak to is skeptical of Phoebe’s kidnapping theory, but eventually allows the girls to speak with Sergeant Bickle. Phoebe repeats her story, presenting Bickle with the anonymous messages and several strands of hair. When Bickle excuses himself, the policewoman questions Phoebe about school and her home life. Bickle returns with Mr. Winterbottom, who takes the girls home and then goes to see Mrs. Cadaver. All he learns, however, is that Mrs. Winterbottom promised to phone again soon. Phoebe again insists that Mrs. Cadaver played some role in her mother’s disappearance, and Mr. Winterbottom begins crying.

Chapter 30 Summary: “Breaking in”

Later that night, Phoebe calls Sal and tells her to come over: Mrs. Cadaver has gone out, so her house is empty. The girls find the door unlocked and enter, only to hear someone call Sal’s name. It’s Mrs. Partridge, who explains she could tell who had entered based on sound and smell. Sal and Phoebe look around the room, which is full of old books, rugs with “dark, swirly patterns of wild beasts in forests” (185), stuffed animals, a decorative sword, etc. Before the girls leave, Mrs. Partridge confuses Phoebe by saying she thinks she recently met her brother. Before Sal returns home, she tries to persuade Phoebe—who wants to return to the police with additional “evidence"—that Mrs. Winterbottom might have left on purpose. She also upsets Phoebe by telling her mother might not return.

Back in her own bed, Sal remembers Phoebe showing her several household items she associates with her mother. Sal still has many of her own mother’s gifts, which she revisits methodically from time to time: “I would […] try to remember exactly the day she had given them to me […] If I did not have these things and remember these occasions, then she might disappear forever” (188-89). She also thinks of Ben, wondering what happened to his mother and remembering his remarks about the Longfellow poem. After a sleepless night, Sal calls Phoebe and tells her they must find Mrs. Winterbottom.

Chapters 26-30 Analysis

Given that the novel centers on an act of storytelling—Sal recounting Phoebe’s adventures to her grandparents—the importance of narrative and language is implicit throughout the novel. However, one subset of storytelling that Creech singles out for special attention is mythology, which (as Gramps will later note) often explicitly seeks to explain some aspect of human existence. One example of this is the story Sal recalls in Chapter 23, which uses the figure of Nap to explain how humans came to be mortal. Similarly, Chapter 27 discusses the origins of evil and suffering via what is perhaps the most important myth in the novel: the story of Pandora’s box.

As Sal’s extreme reaction to the Longfellow poem demonstrates, suffering in general and death are issues that Sal is struggling to accept. Given that, it isn’t surprising that the image of Pandora’s box resonates with her, and she extrapolates from the original legend. Sal’s idea of a box containing all the good things in the world, and her conclusion that the one bad thing in the box would likely be worry, reflect the novel’s ideas about happiness as a choice one must consciously make. Meanwhile, Sal’s addition to the myth is a reminder that it isn’t simply stories themselves, but rather the practice of storytelling, that gives narrative its power to explain: Sal takes the story of Pandora and then reshapes it in such a way that it helps her better understand her particular concerns.

Of course, not all storytelling helps the narrator arrive at a more accurate understanding of the world around them. Phoebe’s ongoing insistence that her mother was kidnapped or murdered is a good example, because it only serves to obscure more plausible and distressing explanations for her departure (e.g. that she’s unhappy in her role as a wife and mother). It also colors her understanding of every text she encounters, as she projects her own preoccupations onto works like “The Tide Rises, The Tide Falls,” which she says describes “a murder” (175). Ultimately, however, Creech suggests that even these kinds of stories can be necessary steps in a person’s development. As Sal says, “Phoebe’s tales were like my fishing in the air: for a while I needed to believe that my mother was not dead and that she would come back” (273). In other words, stories that seem to simply deny reality can sometimes pave the way for a person’s eventual acceptance of that reality. 

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