Clementine

Fiction | Novel | Middle Grade | Published in 2006

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Summary

Chapter Summaries & Analyses

Chapters 1-2

Chapters 3-4

Chapters 5-7

Chapters 8-10

Character Analysis

Themes

Symbols & Motifs

Important Quotes

Essay Topics

Tools

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Discussion Questions

Symbols & Motifs

Drawings

Drawings function on multiple levels in the text. Marla Frazee, the illustrator, has created two different styles of drawings; these appear almost equally throughout the novel at key points. One style, which is more childlike, show Clementine’s representations of the world, often with the phrase “Here is a picture of that” (94, 112). The other kind of drawing, which are likely closer to Frazee’s personal style, are adult drawings of specific scenes, like Clementine trying to confront Margaret’s mother or Clementine’s father cleaning the front of the building. While many children’s books have illustrations, in Clementine the drawings are both decorative and functional. In other words, they both illustrate the plot as well as propel it and reveal Clementine’s character.

The illustrations that represent Clementine’s drawings usually show something important or interesting to her: “a picture of the lentils on her toothbrush” or “bologna glasses!” (42, 112). By including these illustrations, Frazee and Pennypacker bring Clementine’s imagination and creativity to life, as well as show how Clementine is always making art.

In many ways, the more adult illustrations serve a similar function: Drawings reveal emotional points in the novel, both positive and negative. They drive home the larger point of the narrative, which is that being creative and artistic is beneficial for both an individual and society.

Names

The subject of names and naming comes up repeatedly in Clementine. Clementine wonders about how names are chosen and why adults have different names for things than children. Her own name, Clementine, reflects her unconventional nature. Her brother’s name is never revealed, despite multiple attempts at redirection from Clementine’s parents like, “your brother’s name isn’t Zucchini” (95).

Clementine’s clever renaming of her younger sibling is part of how she interacts in the world and thinks about relationships; even though she sometimes expresses discontent about having a younger brother, she senses that his name—rather than his existence—isn’t “fair.” Through giving her brother multiple fake names, Clementine demonstrates her agency. Clementine also does this with cats and kittens. When she gets a new kitten, her first step is to take “him into the bathroom to get him a name” (131). Her names for cats are based on words she likes in the bathroom, like “Mascara,” and she derives pleasure in getting to choose them.

Clementine interprets the ways that adults use names and titles. Not every adult is directly named in the text, but when they are, Clementine makes sure to explain to the reader what these names mean. For example, when Clementine’s father greets Susan, Clementine explains that this “is Margaret’s mother’s name” (25). Later, Clementine also explains who Alan is, describing how he “is Margaret’s mother’s ‘special friend,’ which is the grown-ups’ word for boyfriend” (57). Clementine’s ability to understand and describe how adults use names is important to her. Pennypacker homes in on Clementine’s eight-year-old perspective to show the unique way children perceive relationships.

Pigeons

The pigeons in Clementine serve several functions, both as symbols and as plot devices. Their presence drives the climax of the plot and is a way that we see Clementine’s relationship with her father.

In general, pigeons are considered an undesirable bird; they flock in hundreds and create a big mess, especially in cities. Clementine is the only person in the book who ever describes them as beautiful: When “a million pigeons take off at the same time right above you, you can feel their wing beats exploding inside you, like fireworks” (75). Clementine has a special connection to pigeons; they represent her own status as a child whose behaviors are often undesirable to adults yet beautiful in their own way.

Clementine solves the pigeon problem by finding a better space for them to roost in the alleyway. This mirrors her own journey: She figures out how to maintain her individuality without constantly experiencing negative consequences from adult figures in her life.