51 pages • 1 hour read
Emily HenryA 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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Editing is an important motif in the novel, occurring on a literal level in Charlie and Nora’s edits of Dusty’s book and on a metaphorical level as Nora edits her personality and relationships and continually revises her happy ending.
From the outset, the novel makes clear that “the right editor” can bring out the potential in every book, and Nora initially hopes that Charlie will do this for Once in a Lifetime (9). Charlie’s outright refusal to see potential in Dusty’s book due to its Sunshine Falls setting is important, as it causes the initial misunderstanding between the protagonists, which is also charged with chemistry.
The phase in which Charlie and Nora edit Dusty’s book is an important one in bringing them closer, as it allows them to share personal matters, such as Charlie’s being a misfit kid who was addicted to seeing how things work and the fact that editing, rather than agenting, was Nora’s dream career. Charlie grants Nora the opportunity to have another shot at her dream when he resigns his own editing position at Loggia and recommends her for it. As Nora edits her relationship with Libby and releases herself from the obligation to look out for her sister, she becomes able to accept Charlie’s offer and create a more relevant version of her life.
However, when Nora must balance her desire for Charlie, who is set on living in Sunshine Falls, with her wish to return to New York, the couple go through several edits of the situation before reaching a happy ending. Examining various possibilities of how to have both her relationship and career, Nora discards them all, feeling that “there is no happy ending for a woman who wants it all” (314). She accepts that she must endure a bittersweet ending of having known perfect love and giving it up. Still, the final edit comes from Libby and Charlie’s family, who insist that Nora and Charlie are soulmates who belong together in New York. The two professional editors’ acceptance of the intervention of amateurs in their lives indicates the triumph of love over control.
Summer is an important motif across Henry’s novels, both as the period when most of the action takes place and a season where North Americans are typically able to relax their sense of duty and change up their routines. All three novels involve travel, which forces the protagonists into new horizons where they meet new versions of themselves and fall in love. Interestingly, the stereotypes associated with Nora’s archetype, “ice queen” and Dusty’s caricature of her with the last name Winters, both refer to the coldest season (2). Thus, in the popular imagination, women like Nora are directly opposed to summer and the warmth and relinquishment of control that it entails.
Merely entering the month of August, when the publishing industry slows down, is a discomfort for workaholic Nora. Moreover, Nora, unlike her sister, does not thrive in summer, as Nora feels “like a glazed donut that’s been left out in the heat for four days,” while “Libby looks like the star of a shampoo commercial” (15). The glazed donut image signals Nora’s exhaustion and frustration at not being able to go as fast as she can in other seasons. When Libby insists that they take advantage of the season and relax in the heat on vacation, Nora struggles with staying away from work, seeking air-conditioned Wi-Fi spaces where she can keep up with the work that ties her to her comfort zone of a busy city life.
While falling in love during summer transforms Nora, her lover is no summer boyfriend, but someone who complements the person she is year-round. This nurtures the theme that Nora is acceptable as she is and does not need to change into someone more “summery” to find love. The idea of a summer love that functions for who the heroine is the rest of the year, rather than a mere exotic change, also occurs in Henry’s previous novel People We Meet on Vacation. She shows that summer is not an escape from oneself but an opportunity to update oneself and find a better version of happiness to carry into the rest of the year.
Sunshine Falls is a fictional North Carolina small town near the real city of Asheville. It is a consistent motif of the story from the prologue to the epilogue, beginning with Charlie’s disparagement of Dusty’s latest book, Once in a Lifetime, because it gives a “completely unrealistic,” sentimental picture of Sunshine Falls (10). He also argues that Dusty has never been to the town, and the residents seem like caricatures rather than real people. Given that one of Dusty’s characters is called Old Man Whittaker, Charlie seems to have a point. Charlie, who has never fit in in Sunshine Falls, is annoyed that an outsider stereotypes what she has never experienced firsthand. While Dusty is fleetingly attracted to the place due to its potential for a story, Charlie feels resentful toward it because he has unhappy memories of its conservativism and prejudice. Moreover, he is bound there against his will by his sense of familial duty. His objection to spending 400 pages in Sunshine Falls causes his conflict and misunderstanding with Nora.
When Nora approaches Sunshine Falls, she sees that while Dusty described the outside of buildings well, her perception of their insides was overly sentimentalized, and rather than “barrels of old-fashioned candy,” there are grimy window displays, “flickering TVs and neon beer signs” (38). The place is not a city person’s vision of an old-timey rural idyll but a neglected spot diminished by inadequate investments and failing businesses. However, this is not entirely an accurate perception either, as there are pockets of potential within the town, such as the good looks and intelligence of Shepherd and Amaya, Sally’s artistic talent, and the way people pitch in to help their neighbors revive the Italian restaurant Giacomo’s. Moreover, the town has a sense of humor, evidenced in the on-the-nose or vulgar names such as The Goode Bookshop and Mug and Shot or Poppa Squat’s. While these seem provincial to New Yorkers, they imbue the town with a cozy sense of familiarity and unpretentiousness.
Nora’s ability to see multiple sides of Sunshine Falls meshes with her character development, as she rejects simplistic views of life for more complex ones. By getting to know Sunshine Falls, she gains an appreciation of Charlie’s character, both in terms of what shaped him and the sacrifices he is willing to make. She further appreciates that others, such as Sally and Libby, have different priorities than hers when it comes to where they live. However, ultimately, Henry shows Nora’s unsuitability to staying in Sunshine Falls, given her reliance on city noise as a soundtrack for sleep and her devotion to memories of her mother in New York. The heroine’s ability to choose where she lives opposes the self-sacrificing nature of romantic heroines typical to the genre.
By Emily Henry