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Roald DahlA 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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Grandma is introduced as a character whose overarching personality trait is selfishness: “She didn’t seem to care about other people, only about herself” (2). Through Grandma’s physical transformation due to George’s medicine, two facets of Grandma’s selfishness are examined—jealousy and arrogance—as well as their results.
At the beginning of the story, Grandma is weak and relies on others for assistance. She takes medicine several times a day and doesn’t move around much at all. Grandma spends her time “complaining, grousing, grouching, grumbling, griping about something or other” (2). She is particularly critical of George, who she bosses around when George’s parents are not around. Grandma’s bitterness toward George stems from jealousy. As a young, growing child, George has energy and vitality that Grandma lacks. Though she claims to detest George’s youth and growth, she secretly wants them for herself, as her cry of “Hallelujah, here I come!” reveals when she grows after taking George’s medicine (38). In her initial state, Grandma’s jealousy sours her relationship with George and leaves her chronically unhappy.
In her taller, more energetic form after taking George’s medicine, Grandma’s selfishness shifts from jealousy of others to arrogance. Her mood changes for the better: She shouts “I feel terrific!” after her head breaks through the roof of the Kranky home (41). In addition to growing taller, the medicine gives Grandma youthful reserves of energy, making her “frisky as a ferret” (60). Despite gaining the qualities she envies in George, Grandma remains oblivious to anyone’s needs but her own. She finds new things to complain about, such as not remaining the center of attention when George and Mr. Kranky focus on recreating George’s medicine. She also expresses disdain for those who, due to their smaller size, she now views as inferior: “Out of my way! Clear the decks! Stand back all you miserable midgets or I’ll trample you to death!” she calls as she rides George’s enlarged pony (61). Grandma thus switches from envying others to thinking herself better than them. Though Grandma enjoys this second scenario more than her initial state, it also comes with at a price: Grandma’s unbridled selfishness and mistrust of others lead her to take and then drink a cupful of George’s medicine over George and Mrs. Kranky’s objections. This proves her downfall as she shrinks into nothingness, which is symbolic of her impact on the lives of her family members, from whose hearts she soon disappears metaphorically. The ironic message is clear: A life rooted in selfishness yields unhappiness and risks becoming self-destructive.
By situating the story on a farm that functions as both home and business, the stage is set for an exploration of the effects of consumerism and capitalism.
George’s search for ingredients to add to his medicine provides commentary on consumerism. George proceeds methodically from room to room, offering a panoramic view of popular products in the home. He starts in the bathroom since, as he thinks to himself, “There are always lots of funny things in a bathroom” (14). As George works, he reads product labels, many of which consist of silly names, such as “NEVERMORE PONGING DEODORANT SPRAY”; exaggerated marketing claims, including “SUPERWHITE FOR AUTOMATIC WASHING MACHINES. DIRT […] WILL DISAPPEAR LIKE MAGIC” (18); and bizarre warnings, such as a carton of flea powder warning that “THIS POWDER, IF EATEN, WILL MAKE THE DOG EXPLODE” (20). The lasting impression after George ranges through the house adding dozens of items to the mixture is one of excess: The Krankys live in a sea of products designed to make their lives pleasant and convenient. These products are presented not so much as bad or evil, as insignificant: Even their combined power in George’s medicine fails to produce any significant moral effect on Grandma. Modern products may make life easier, but they cannot build character or resolve life’s more complex issues.
The producer side of the capitalist equation is also considered in Mr. Kranky’s attempt to recreate and mass-produce George’s medicine. After Mr. Kranky suggests that they make “more and more and more” of George’s medicine (63), George asks, “But why do we need more, Dad?” (63). His childlike perception implies that Mr. Kranky should be satisfied with their already comfortable lives. Mr. Kranky, however, unveils his plan to sell the medicine all around the world, making them rich and famous—and, as an afterthought, reducing world hunger. As an entrepreneur, Mr. Kranky has developed an insatiable desire for money. As he struggles to recreate George’s medicine, questions about ingredients, quantities, and the mixing process prove impossible to overcome, leaving him and George with a batch of medicine that has the opposite effect to the one they intended: It causes things to shrink instead of grow. Mr. Kranky’s obsessive desire to produce more of George’s medicine reflects the powerful allure of the profit motive, while his failure to produce the medicine reflects the volatility, or even futility, of such schemes. George’s Marvelous Medicine highlights inherent absurdities and limitations within commercialism through George’s product discovery throughout his home and Mr. Kranky’s enthusiasm for expounding on his son’s creation.
Focusing on George’s experience as a lonely child surrounded by adults, children and childhood are presented as having intrinsic worth.
Early on, George and Grandma discuss childhood and growth. “Growing’s a nasty childish habit,” Grandma asserts (4), and goes on to list undesirable attributes associated with childhood, including “laziness and disobedience and greed and sloppiness and untidiness and stupidity” (4). Her insistence that children should grow down instead of up aligns with traditional views of children as second-class citizens to be seen but not heard. While some of the qualities she lists do apply somewhat to George—his scheme to create medicine by adding together household ingredients involves disobedience, and his boredom in the absence of playmates could be interpreted as laziness—Grandma’s view of children as purely deficient compared to adults is overly simplistic.
In fact, George is an insightful character not so much despite his youth, but because of it. While his parents adopt opposing views about how to deal with Grandma, with Mrs. Kranky favoring dutiful subservience and Mr. Kranky favoring dramatic intervention, George adopts a moderate view that synthesizes each of theirs. Like his mother, George believes that Grandma deserves their respect and best wishes, but like his father, George thinks that something dramatic may be necessary as a means of helping her. His nuanced view represents children’s ability to absorb knowledge from adults, then reshape it according to their own perspective. From there, only the uninhibited thinking of a child like George could come up with such an unusual approach to creating a new medicine for Grandma.
George’s experience with magic is also reminiscent of childlike wonder. Though Mr. Kranky tries to replicate George’s medicine later, he reduces it to a chemical process: “All you’ve got to do it put the same stuff into the pot as you did yesterday,” he tells George (65). George does as Mr. Kranky asks, but this time there is no mention of magical smells or strange incantations. But in the story’s closing paragraph, the theme of magic is reiterated. George’s sense of wonder at the thought that he “touched with the very tips of his fingers the edge of a magical world” becomes a metaphor for the broader sense of wonder enjoyed by children but lost in adulthood as realism overshadows imagination (89).
By Roald Dahl