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61 pages 2 hours read

Margaret Laurence

A Bird in the House

Fiction | Short Story Collection | Adult | Published in 1974

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“To Set Our House in Order”Chapter Summaries & Analyses

“To Set Our House in Order” Summary

Two weeks before her due date, Beth MacLeod is hospitalized. Overhearing her mother’s cries and her father Ewen’s phone conversation with Dr. Cates, Vanessa learns the baby is in a precarious position.

Ewen encounters his mother, Grandmother MacLeod, at the staircase. She criticizes him for not hiring additional help for Beth. Although frustrated, Ewen avoids an argument and welcomes Dr. Cates into their home. Beth reassures Vanessa that Grandmother MacLeod will manage the household despite the early arrival.

Vanessa keeps her fears about the house to herself, haunted by the presence of her deceased Uncle Roderick, the unborn sister, and her grandfather. She mistakes a portrait of the Duke of Wellington for her grandfather.

The family had moved into Grandmother MacLeod’s home during the economic downturn when she could no longer afford a maid. To Vanessa, the ornate Victorian house never feels like home; it is filled with forbidden rooms, including her grandmother’s bedroom, which is adorned with beauty products and photographs of Roderick.

In the living room, valuable items like a Chinese carpet with birds and waterlilies make Beth nervous about Vanessa being too close, which annoys Ewen.

One day, after Vanessa emerges from the attic with a dust smudge, Grandmother MacLeod scolds her for being unclean. She casually mentions that Ewen has updated her about Beth and the baby. Grandmother MacLeod dismisses the seriousness of the situation, claiming Vanessa is too young to understand such matters and warning that such knowledge might make her a “vulgar person.” She coldly informs Vanessa that the baby hasn't arrived yet, and Beth’s condition remains unchanged. Sensing Vanessa’s distress, she attempts to comfort her by sharing her own experience of grief when Roderick died.

Grandmother MacLeod reminisces about her early marriage days in Manawaka, where her husband promised to give her a refined lifestyle similar to what she was accustomed to. She dismisses modern austerity as laziness and contrasts it with Ewen’s explanation that economic hardships prevent such extravagances. She quizzes Vanessa about a book she gave her on the Clans of Scotland, and Vanessa accurately recites the MacInnes motto to her grandmother’s delight: “Pleasure Arises from Work” (47).

Grandmother MacLeod hires a maid without consulting Ewen, sparking a heated argument. Ewen insists on dismissing the maid, citing their financial constraints. Ewen, stressed about Beth possibly needing a C-section, suggests that Aunt Edna could assist.

Edna arrives to find Grandmother MacLeod browsing a catalog. Vanessa accidentally reveals her fears about her mother to Edna just as Grandmother MacLeod descends with an order for two dozen linen handkerchiefs.

Unable to sleep, Vanessa joins her father, Ewen, one evening. In a candid conversation, Ewen discusses Beth’s condition. Ewen shares insights about his father, dispelling the grand image painted by Grandmother MacLeod. He reveals that Grandfather MacLeod aspired to be a classical scholar, a dream unfulfilled, leaving him feeling isolated.

Ewen advises Vanessa to show compassion toward Grandmother MacLeod, who similarly harbored unmet aspirations of being a distinguished lady. Later, Grandmother MacLeod suggests naming the baby Roderick after Ewen’s late brother. Ewen’s attempt to humor the suggestion ends in a somber moment as he reflects on the nickname Roderick Dhu and the sadness it bore, prompting him to apologize.

During Beth’s extended bedrest when she returns home with the baby, Vanessa eavesdrops on a conversation between Beth and Edna. They discuss the tragic fate of Ewen’s brother, Roderick, whose death Ewen partially blames on himself. A childhood accident with Ewen’s air rifle had left Roderick partially blinded, yet he managed to pass the health checks for wartime service. Ewen recalls losing sight of Roderick during the Battle of the Somme and later finding him fatally wounded. He confesses that the formal letter he wrote to his mother about Roderick’s gallant death was a façade, expressing embarrassment that Beth had read this misleading portrayal.

Vanessa ponders death but can’t fully grasp the concept, aware that her feelings are unusual and confusing.

“To Set Our House in Order” Analysis

Seen through the innocence of child Vanessa’s eyes, Grandmother MacLeod’s house serves as a tool for the characterization of Grandmother MacLeod. The house, described as both ornate and decrepit with stained glass windows and “anaemic ferns,” reflects her past affluence and current detachment from modern struggles. This emphasizes appearances over warmth. For instance, when Ewen calls with news of Beth’s condition, Grandmother MacLeod prioritizes Vanessa’s appearance over the urgent matter at hand, highlighting her superficial concerns: “What sort of vulgar person you’ll grow up to be, I dare not think. No, it’s not born yet. Your mother’s just the same” (44). Additionally, the portrait of Duke Wellington further symbolizes Grandmother MacLeod’s character. The Duke, known for his military successes and conservative views, reflects Grandmother MacLeod’s resistance to change and preservation of traditional values. The choice of an English figure for the portrait adds irony; Grandmother MacLeod has an obsession with her Scottish ancestry, particularly her maiden clan MacInnes, who fought on the side of the Stuarts against the British at the Battle of Culloden. This highlights the distorted nostalgia she has for the “old country” and its values.

The Role of Trauma in Behavior and Relationships is evident in Grandmother MacLeod’s actions and attitudes. Her remark, “The Lord giveth, and the Lord taketh away” (44), speaks to the generational divide shaped by past losses, such as those experienced during the World Wars. It also reflects her reluctance to disclose information to Vanessa, which is driven not by a desire to protect the child’s innocence, but by an underlying need to maintain an image and instill old-school values of acceptance without complaint. However, there is irony in her stance, as she displays a lack of empathy for the struggles of the younger generation when she dismisses Vanessa’s use of slang, remarking, “If you mean hard up, why don’t you say so” (46), despite using similar slang herself just from another generation. This ironic juxtaposition underscores the widening gap between generations and their respective experiences and values.

The Journey from Childhood Innocence to Adult Awareness and Reconciliation through Past Memories converge as Grandmother MacLeod is humanized within the context of Vanessa’s adult understanding of her childhood memories. The reference to Roderick Dhu, which Grandmother MacLeod called her son Roderick, serves as both a symbol and an allusion to the Lady of the Lake. When Ewen laughs at the memory of the nickname, it takes on a somber tone: “As though he were a character out of a Sir Walter Scott, instead of an ordinary kid” (55). Through these memories, Vanessa subtly realizes that her Grandmother may have blamed Roderick's death on herself for always comparing him to romantic, knightly, heroic figures. This realization mirrors Ewen’s feelings of guilt for Roderick’s death, as he was partially blinded by Ewen’s air rifle.

Within the context of Vanessa’s recollections, she becomes acutely aware of her gradual loss of innocence. In saying, “I could not really comprehend these things, but I sensed their strangeness, their disarray” (59), Vanessa acknowledges the complexity surrounding her, marking her transition from innocence to understanding. Birds, recurring throughout the narrative, symbolize both ominousness and helplessness, mirroring the trapped circumstances of each character. For instance, when Vanessa feels helpless about her mother’s condition, she dreams of the image of a caught sparrow fluttering in the attic. This extends even to Grandmother MacLeod, whose carpet has “birds in eternal motionless flight” (43). While this latter image applies to Grandmother Macleod’s helplessness, it also suggests that, even though Grandmother Macleod is stuck in her ways, she can free herself from the constraints of her own mindset and generation, whether or not she chooses to do so.

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