75 pages • 2 hours read
Ruth OzekiA 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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The Book of Form and Emptiness follows the contrasting ways that Annabelle and Benny cope with the loss of Kenji. The intimate emotional landscape of a family and the repercussions of a sudden change are explored through both externalized and internalized grieving, with Annabelle and Benny embodying opposite strategies. Because Annabelle and Benny are struggling to maintain their relationship and their individual lives, these conflicting forms of grief become the main conflict of the novel. Only when Annabelle and Benny accept Kenji’s death through a ritual Zen Buddhist blessing do they are reconnect as a family.
For the first year after Kenji dies, Benny hears a single voice coming from the box that holds Kenji’s ashes. His later statement to Slavoj of having a “phantom father,” similar to phantom limb syndrome, reinforces that Benny continues to feel his father’s presence in his life. As Benny’s coping mechanisms become increasingly internalized through the overwhelming voices of objects that fight for his attention, Benny proceeds through the stages of grief while simultaneously self-isolating from his mother, school, and his support community. Only when Benny gains confidence in his creative abilities and recognizes his own agency can he quiet the voices and help Annabelle with her own grief. This shift in attitude signals Benny’s full acceptance of Kenji’s death. He continues to hear some low-level voices, which represents the fact that Benny will never fully forget his father. He is much calmer about his relationship to the voices and accepts his new family dynamic.
Annabelle’s grief manifests in external ways, primarily through hoarding. Because Benny is plagued by the voices of inanimate objects, Annabelle’s coping mechanisms causes a direct conflict with her son. She struggles to understand her role as a mother following Kenji’s passing. She must readjust to his absence and fill in the role that Benny expects her to fill, such as remembering to buy milk for Benny’s cereal, which had always been Kenji’s job (49). Her estrangement from Benny coincides with his developing maturity and transitioning from adolescence to adulthood, as well as his struggle with his own grief.
Despite the medical help that Benny receives at Pedipsy, and despite Annabelle’s attempts to clean up her home and help Benny, they remain in a stalemate, in which neither is moving past their grief or mending their relationship with one another. In fact, as the narrative progresses, each gets worse. They have to accept the help of other people in their lives to heal: Aikon provides the catalyst that reunites Benny and Annabelle through blessing Kenji’s ashes; Cory helps Annabelle return to the library, and Alice and Slavoj help Benny discover his creativity and maturity. The novel’s lesson is that, everyone deals with grief differently—there is no “right” way to grieve—but to get through it, people must accept the help of their loved ones and community.
The Book of Form and Emptiness through interacting is a lens through which Ozeki discusses social issues such as capitalism, racism, economics, and politics. She presents the Book and, by extension, the act of creating art, as integral to making sense of these social issues. Because of this, social issues appear in the novel as part of the plot and touch each character on a personal, emotional level.
The Book is an important conduit for this discussion in the novel. Because books share a collective identity, they have insight into the socio-emotional atmosphere that created them. This interconnectedness ties in with the novel’s discussion of capitalism. The Book asks: “What makes a person want so much? What gives things the power to enchant, and is there a limit to the desire for more?” (173). It then wonders if books themselves are responsible for perpetuating such ideologies as capitalism, as they cannot help but be conduits for the thoughts people have most often. As books are dependent on human experience to provide them with material for their plots, form, characters, and setting, humans are reliant on books to represent the socio-emotional issues that are most relevant to them.
The interdependency between books and humans threatens to be the end of books entirely. When the Book explains the hierarchical nature imposed on them in the scheme of Made and Unmade things, it notes that they are going through a “spiritual crisis.” Books have lost faith in humans because humans continue to exacerbate society’s most pressing issues, rather than healing them. The political protest around the election and racial justice are the clearest example of these tensions, especially when Benny joins the protests in downtown San Francisco. At the height of political turmoil, Benny spends the night in the library and interacts with the Book. By linking social destabilization with the beginning of a new creative work, Ozeki emphasizes how The Book of Form and Emptiness is an argument for the power of artworks that are mindful, emotionally aware, and accepting as a way to heal from societal distress.
The narrative form of The Book of Form and Emptiness is a conversation between an author and their creative work. Benny and the Book are collaborators on the novel, with the Interlude sections and the Book’s direct addresses to Benny in its chapters as a conversation on what should be included in a story, how it should be conveyed, and how conveying certain emotional topics can result in the creative work taking over for the author. This interaction suggests that the creative process of writing a novel is the act of extracting, containing, and shaping memory; Benny is discussing the Book’s events from a position in the future, after the Book’s events have already occurred. However, they are not fixed, but are recreated in the act of telling; thus, the act of writing and the interaction between narrative and memory are never really complete.
The novel begins with a conversation between Benny and the Book, in which Benny instructs the Book to begin differently than it does. Benny has power over the Book and its plot though he does not realize this until his character reaches the completion of its arc in Pedipsy (532). As both Benny and the Book are simultaneously characters, narrators, and collaborators, Benny’s own agency is often obscured by the fact that he is writing about his life experiences. The Book’s third-person limited point of view, as used in the majority of the Book’s chapters, is necessary to keep the Book from having any influence over the plot of the novel.
The collaboration between Benny and the Book calls to question the nature of memory. According to the rules of the novel’s world, the Book is part of a collective identity with access to the Unbound, or complete knowledge and awareness (454). If the Book didn’t have access to this world, the reader would need to rely on Benny’s incomplete memories of the story and would not have access to Annabelle, Aikon, Tidy Magic, Cory, and the other characters, or to the voices of the things that Benny hears. Because memory is unstable and prone to forgetting, Benny would be an unreliable narrator without the Book to present the complex truths of the novel’s world. By incorporating a discussion on the nature of artmaking, narrative form, and memory in the novel, Ozeki argues for importance of collaboration in the artistic process, particularly in those narratives that focus on the intimate details of a family’s emotional life.
By Ruth Ozeki