49 pages • 1 hour read
Ellen Marie WisemanA 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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Content Warning: This section contains references to kidnapping.
Many of the mothers in this novel struggle to care for their children due to poverty, the epidemic, or both. Mrs. Lange dies before she can raise her children, leaving her 13-year-old daughter and four-month-old breastfeeding twins to fend for themselves. Bernice is unable to heal her infant son or get him help; she ultimately blames herself for his death. Mrs. Hudson struggles with the loss of her son, Leo, and replaces him with Cooper—the child Bernice stole from Rebecca.
Because of the women’s differing class positions, the motherhood motif develops the theme of Socioeconomic Differences and Access to Critical Care. It also raises the question of what makes someone a mother, especially during a time when parents are losing children and children are losing parents; Pia, for example, cares for many children maternally despite being a child herself. Breastfeeding is associated with motherhood, as many characters in the novel believe “a mother should suckle her children” (283). However, this physical connection between mother and child does not necessarily indicate blood relation, as both Bernice and Mrs. Hudson nurse infants who aren’t their own. The two scenes also highlight the difference in the women’s characters. Bernice nurses the twins to console herself about Wallis’s death: “Tears spilled down her cheek and she closed her eyes, fresh grief threatening to swallow her whole. Every ounce of her body ached for Wallis, for his small mouth at her nipple, his soft hand in hers as he nursed” (88). In comparison, Mrs. Hudson nurses Cooper for his own sake, saying, “I have to help this poor, hungry boy. Please, please forgive me. I promise, my sweet baby, I’ll love you with all my heart until the day I die” (284).
For Pia, human touch is exhausting. For as long as she can remember, she has hated the touch of others because early on “she’d started to notice other sensations when she touched someone’s bare skin” (4). For a while, she thought this was how all shy people felt, but she quickly learned that was not the case: She could actually intuit people’s sicknesses just by touching them. Scared others would think she was imagining things, she never told anyone.
Pia’s sixth sense is an integral part of her character and a source of great shame. She is determined not to let anyone know her secret, though she must eventually share her ability in order to survive. For the Hudson family, her gift is useful, and they do not shame her for it. In fact, Dr. Hudson even begins to ask Pia for help when he encounters a difficult diagnosis. Nevertheless, Pia’s sensitivity comes with an emotional toll: “After a while it seemed as though the patients’ suffering had become part of who she was, like an invisible, heavy burden carried in her soul and body” (334). This sixth sense symbolizes Pia’s broader empathy.
After Pia reunites with Finn, she learns that physical touch can be pleasant. This is an important development for her character, who can finally be healed herself.
Nurse Wallis’s ledger represents her guilt, and for most of the novel, it provides the only potential clue to the whereabouts of Pia’s brothers. The ledger is the only honest account of what Nurse Wallis has done: It shows how much money she has earned from the sale of the children and where she has placed them. The ledger is also the only document that bridges her identities as Bernice and Nurse Wallis; because so many women have become nurses and so many orphanages have proliferated during the epidemic, Dr. Hudson has no way of discovering Nurse Wallis’s true identity. Bernice uses her identity as a white American woman in a nurse’s uniform to hide in plain sight. Bernice throwing the ledger into the fire after Pia discovers it symbolizes Bernice’s inability to confront reality.
By Ellen Marie Wiseman