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74 pages 2 hours read

Caroline B. Cooney

The Face on the Milk Carton

Fiction | Novel | YA | Published in 1990

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Themes

The Development of Identity

Janie’s questions about her identity form the backbone of the novel. Even before she suspects her kidnapping, Janie thinks about how her name shapes perceptions of her identity. Judging her given name “too dull” (2), she prefers “Jayyne Jonstone,” calling it “the name you would have if you designed sequined gowns for a living, or pointed to prizes on television quiz shows” (3). By changing the spelling of her name, Janie tries on new identities. When she finds out that she really has another identity, though, Janie longs for the simplicity of life as “Janie Johnson.”

Janie’s focus on identity only increases after she sees her photo on the milk carton. In the immediate aftermath of the discovery, she believes her identity has been fractured. Janie “learned that her body could function without her” as it goes through the motions of a normal school day (13). That split feeling intensifies as Janie begins to remember her childhood and reaches its apex when Janie prepares to speak with Mrs. Spring: “A split personality,” she thinks, “I am truly two people” (184). Because the novel ends without revealing the results of Janie’s conversation, readers cannot know whether the split in Janie’s sense of self resolves.

Although Janie’s struggles with identity shape the novel, Reeve, too, struggles to define himself in a way that he likes. “I’m sort of like a flag,” he tells Janie, “A big banner flapping in the wind. YOU’RE DUMB, says the flag” (17). Reeve’s example provides hope that Janie may attain a healthy self-definition. He once told Janie that “Grades are what Megan and Lizzie and Todd do, not me,” yet Reeve manages to become an academic achiever (73). Neither Reeve nor Janie has a fixed identity.

The theme of identity often appears in bildungsroman, or coming-of-age novels, though not usually with quite as many complications as Janie’s story. In the midst of finding out her true identity, she’s also trying to learn who she is in her physically maturing body as she navigates sexual interactions with Reeve. Likewise, her interest in becoming Jayyne at the beginning of the novel implies that she is searching for a new, self-made identity when her unknown history surfaces. The more natural search for identity that Janie should be experiencing at her age is complicated by the question of her birth parents. 

What Constitutes a Family

Once Janie suspects that Frank and Miranda are not her biological parents, she begins noticing evidence that supports her suspicion: “Nobody else in my family has red hair,” she thinks in Chapter 2; “I don’t laugh like Mother and Daddy. My fingernails aren’t shaped like theirs” (18). Janie’s initial observations are of physical difference, but she also catalogues differences in personality: “There’s nothing in me that’s like her […] Is it because I have none of her genes?” (33). As she notes ways in which she does not resemble Miranda and Frank, Janie remembers traits about the Springs that seem to match her own. Like Janie, for instance, the Springs are redheaded and disorganized.

Although Janie sees bits of herself in the Springs, she resents the similarities: “I don’t want to be their daughter” (106), she thinks, referring to the Springs. Instead, she wants “to be Mommy and Daddy’s daughter.” Janie wants to belong to the family who nurtured her but worries that biology will prove more important in defining her family. As Janie’s mental state deteriorates, her resentment grows even stronger. She silently begs the Springs: “Go away! Drop dead! Leave me alone!” after remembering the prayer Mr. Spring used to recite at dinner (139).

Janie plainly states her feelings about what makes a family in the letter she writes to the Springs. Acknowledging that she forgot they existed after she was kidnapped, Janie writes, “I haven’t decided yet whether I want to meet you. I know that sounds awful. But I have a family and I love them and I don’t know you” (142). Although Janie feels a responsibility to relieve the Springs’ worries, she rejects the notion that her biological relatives constitute her true family. Because of the novel’s open-ended conclusion, readers do not know if Janie maintains that stance after meeting the Springs. 

Guilt and Responsibility

Much of Janie’s anguish about her kidnapping comes from her sense that the kidnapping was her fault. Although Janie was only three years old when she was taken from the Spring family, she blames herself for being lured away from them. Janie calls herself “…the rotten daughter who didn’t care about the family she had left behind” (162) and says she “hate[s] that little girl” (166). Reeve points out the irrationality of feeling guilt over a toddler’s choice, but Janie needs a target for her frustration. She does not know who else should bear the guilt.

Because Janie feels guilt for her kidnapping, she also feels responsible for its impact on the Springs and the Johnsons. Janie believes it is her duty to let the Springs know that their child is alive and happy: “You can stop worrying,” she writes in her letter to them. “I am alright. I have always been alright” (142). This sense of duty conflicts with the responsibility she feels to shield Miranda and Frank from punishment or pain. Janie cannot be certain that the Johnsons were not involved with her kidnapping and worries that they will go to jail if she contacts the Springs. Janie’s dueling senses of responsibility cause her indecision about how to handle the news of her kidnapping. In one moment, “[s]he resolved to be Janie Johnson with all her heart, mind, and soul” (125). In another, she addresses and stamps the informative letter to the Springs.

Ultimately, Janie finds a path through her anguish when she relinquishes responsibility for deciding what to do about the Springs. She allows Reeve, Lizzie, and her parents to take matters out of her hands. Though a young, female character’s loss of agency often is a negative development, giving up control benefits Janie. With qualified support, Janie has a better chance of negotiating the “happily ever after” she desperately seeks for herself and both of her families (183).

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