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Elin HilderbrandA 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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Food serves as an important symbol in the novel, particularly for female characters. Preparing, eating, and enjoying food is generally associated with characters’ (most notably Mallory’s) ability—or lack thereof—to enjoy and nourish themselves. It also introduces an element of sensuality to female characters since food is often described in sensory terms such as sight, smell, texture, taste, etc. It is telling, then, that Ursula diets, picks at her food, and “now looked severely malnourished—passing supermodel stage, heading for famine victim” (61).
Mallory, conversely, loves food and Jake is attracted to her enthusiasm for it: “She loaded a pancake with moo shu pork until it was dripping and messy and took a lusty bite. Jake was so stunned by the vision of a woman enjoying her food rather than battling it that he wondered if he might be falling in love with her” (58). She is culinarily adventurous, preparing the Middle Eastern dish baba ghanouj. Again, her enthusiasm for food is apparent: “The result is so delicious, Mallory can’t scoop it into her mouth fast enough” (106). Continuing the food imagery, one of the two characters’ rituals is Jake preparing an omelet for Mallory, who eagerly devours it. Her highly symbolic attitude toward food is summarized at the end of the novel when the narrator states that Mallory is “not afraid of food” (402).
There are also various types of food that appear in the novel. Leland prefers fashionable food and chic menu items, in keeping with her urbane, sophisticated nature (352). Mallory’s offerings of foods to her houseguests tend to be gendered—Jake, Cooper, and other male guests are offered burgers. However, when Leland and Fifi come to visit, Mallory serves light, dainty foods: “a layered fruit salad and […] orange-rosemary muffins, which she’ll serve for breakfast with homemade honey butter” and a “bowl of peaches, plums, nectarines, and apricots” (131). She makes fish rather than burgers and serves a salad (132). The association of men with heartier, less “healthy” food is continued when Mallory flees from the cottage and flirts with Bayer in Chapter 6. She orders a burger and fries, which impresses him (141). Men seem to be attracted to Mallory’s interest and enjoyment in food, which again suggests that the acts of cooking and eating represent enjoyment, nourishment, and a lack of inhibition
Nantucket becomes a highly symbolic place in the novel both because of Mallory’s emotional attachment to it and because her and Jake’s relationship is based on the island. Jake himself alludes to this idea in Chapter 20, when he says, “This is the home of our relationship” (301). Hilderbrand’s real-life devotion to the island, where she has lived since 1993, is a well-known trademark of her books, almost all of which take place on the island. 28 Summers is no exception, with numerous descriptions of the idyllic lifestyle Mallory leads—swimming, beachgoing, sailing, attending soirees at various historic venues on the island, etc. Mallory’s childhood memories of visiting her aunt and uncle on the island, the feeling of being “chosen” by Nantucket (21), and the fact that she launches her adult identity there once she inherits Greta’s cottage are all emotional forces that converge and make the island highly meaningful for her. Once Nantucket becomes the site of Mallory and Jake’s annual rendezvous, the island takes on even more symbolic meaning. It is physically isolated and set apart from the mainland, a visible sign of its emotional identity for the two lovers as an “Eden” or refuge away from the larger world. This aspect of the island is especially potent for Jake, who spends the rest of the year away from Nantucket and returns only to see Mallory. He views it as a magical place that reflects the magical relationship he shares with Mallory, but it is nonetheless familiar and comforting to him. When he drives up to the cottage in Chapter 20, he reflects that “[i]t feels like coming home” (298). This mixture of enchantment and security mirrors Mallory and Jake’s feelings for each other. Without the emotional apathy that could come from spending every day together and yet the profound emotional connection that Hilderbrand portrays between them, they inhabit an emotional space that is made up of both feelings.
Baseball becomes a highly symbolic pastime for Mallory once Link takes up the sport. From Link’s first encounter with a ball and bat in Chapter 10, the sport is associated with Mallory’s own parents, who bought Link the toys (217-18). Mallory’s father, in particular, is ecstatic at his grandson’s attempts at hitting the ball. Later, when Link takes up the sport in early high school, watching him play helps take her mind off her parents’ recent death, and during the game in which he hits three home runs, Mallory again pictures her parents “up in the sky, sitting in some heavenly version of lawn chairs […] cheering Link on” (330). Mallory attributes her son’s success at the plate to his grandparents: “[S]he is sure that her parents are here in Cooperstown somewhere—either that or she and Link are carrying Senior and Kitty around inside of them, because they made this happen. She knows they made this happen” (331). Link’s baseball serves as a way for Mallory to experience healing over her parents’ death and a sense that they are “blessing” (a symbolic word, given the fact that Mallory and her parents’ last name is Blessing) her son. As Link wraps up his baseball career, Mallory mourns the loss of her role as his supporter and again thinks of her parents, especially her father (393). The sport has served as an emotional thread uniting the three generations of characters, reflected Mallory’s status as an “all-American,” “girl-next-door” personality, and allowed her to heal emotionally, making it an important part of the novel.
By Elin Hilderbrand