60 pages • 2 hours read
Clare VanderpoolNavigating Early
Fiction | Novel | Middle Grade | Published in 2013A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Themes
Parallels and Connections With Pi’s Story
The story of Pi, which Early derives from the digits in the number, is a recurring motif throughout the story. The number is first discussed in the boys’ math class, where their teacher calls it the holy grail of mathematics. This introduction sets up several things. Firstly, it introduces the idea of a quest, which lies at the heart of the book’s narrative; secondly, it hints at magical or fantastical elements present in the story, as pi is termed a “magical” number; and finally, it offers a glimpse into Early’s character, who storms out when Mr. Blane mentions pi ending.
The very first time Jack and Early interact, Early begins narrating the story of Pi to explain why the number does not end. The story holds several parallels between events in the main narrative. Some obvious ones are fantastical in nature: Pi sets off in a boat on the quest and has many adventures along the way, such as getting caught in a swarm of insects; getting picked up by pirates; narrowly escaping a volcano; getting lost in a maze and meeting the “Ancient One”; and eventually finding his way into the catacombs.
The boys experience a version of these events, some with almost direct parallels and others more of a stretch. For instance, Early perceives the trail of fire down the mountain, caused by gunpowder exploding, to be a volcano. Similarly, the boys only stumble upon the stone caverns with Martin’s body because Early looks for their version of Pi’s “catacombs.” These parallels are brought about by Early’s efforts and point to a related theme of Engendering Empathy Through Alternative Perspectives, which explores how the world in the book is one of Early’s construction.
There are also, however, less obvious but important connections and parallels between other characters and different parts of the story. For instance, Jack begins to see connections between Pi’s story and their lives, especially in the loss and heartache Pi experiences, pointing to another related theme of Navigating Grief and Loss. Once Fisher is discovered alive, Jack understands that, like Pi, Fisher is grieving the loss of loved ones and feels regret over being unable to do more. Jack can see these parallels because, like Pi, Jack, too, feels alone and adrift after his mother’s death.
Jack’s grief prevents him from seeing how his father is in the same place, and Early, in turn, is the one to point out the connection. By the end of Pi’s story, father and son are reunited in the catacombs, a place both are drawn to by their grief which neither realized the other was experiencing. Jack and John, too, share a similar reconciliation at the end of the main narrative.
There are connections between Pi’s story and the side characters, too. Gunnar, who saves Jack, mirrors the white whale in Pi’s story but takes on more significance when he tells them his backstory. He offers important insight that helps them later understand MacScott’s motivations. MacScott first appears as a parallel to Darius, the pirate captain; however, he then turns antagonist when he begins hunting the boys. MacScott also resembles one of the souls that wander the catacombs, burdened with regrets from life. The catacombs are, to MacScott, the place where he has buried his “darkest secrets” (Martin’s death) and found “accidental treasure” (Martin’s gun).
MacScott’s presence is what draws out the big bear that the boys had been tracking. The bear parallels the Great Bear constellation Pi was looking to for guidance. Pi’s mother tells him the constellation represents a mother’s fierce love, which will protect him; inadvertently, the bear does provide the boys protection as it attacks MacScott, thus saving the boys’ lives. Eustasia parallels the Ancient One and later becomes a way for Jack to find closure about his mother’s death. The resolution Jack finds with Eustasia is further symbolized by how her manner of death mirrors Elaine’s.
In this manner, Pi’s story becomes more than a plot device—it becomes a way to explore the other central themes of the book, including elements of fantasy, and underline one of the book’s recurring ideas: that life can often throw up unexpected and unforeseen connections.
Engendering Empathy Through Alternative Perspectives
Although Jack is the narrator and protagonist of the story, the book is titled Navigating Early. The title comes from how Jack is learning to navigate a new world and reality created and represented by his friend, Early.
Although not mentioned explicitly in the book, Vanderpool states in the Author’s Note that she drew inspiration from the experiences of individuals with autism to sketch out Early’s character (297-98). However, she refrains from mentioning a specific diagnosis for the sake of historical accuracy and because less important than Early’s condition is the world he creates, which offers a different way to view the world. Early’s unique perspective is most evident in his ability to read a story in the digits of the number pi. This story forms an alternative narrative in the book, and the parallels that emerge between these and the main story are explored in Pi’s story.
Early’s ability to see things differently alienates him from the other boys. Even Jack is puzzled by Early’s rigid way of doing things and steadfast beliefs that, when challenged, deeply upset Early. Some of the conclusions Early draws also appear absurd, such as Jack’s observation that Early is tracking the big bear because it symbolizes the Great Beat constellation in Pi’s story. Over time, however, all of Early’s conclusions are proven right: Fisher is alive, and pi is not ending. The search for the black bear is not symbolic but literal and significant, as Fisher appears in a newspaper article about the bear. Early is even right about Martin’s death being an accident and the presence of venomous snakes in Maine, as Jack is apparently bitten by one.
These instances highlight how the world in the book belongs entirely to Early. Over time, with more information that explains and contextualizes his world, Early also becomes more relatable. Rather than delusional or fanciful, he emerges as an intelligent, albeit misunderstood young boy searching for the only family he has left alive. When Fisher refuses to return home, Early is understandably reduced to tears, even flinging Fisher’s dog tags into the river in frustration.
Over time, as Jack grows to understand how Early’s mind works, he also develops similar deductive skills. He can accurately deduce how MacScott is connected to Martin and later that Miss B., the school librarian, is Gunnar’s Emmaline. Along with these skills, Jack also develops more empathy and sensitivity. He can understand why Eustasia needed the resolution she did, unrealistic as it may have been; he can also understand Fisher’s grief and see that he needs someone to speak to him in the familiar language of a soldier.
Early’s character and the world he creates offer the idea that there is always a place for alternative perspectives and different ways of viewing the world. It underlines the book’s recurring message that connections exist in unexpected and unimagined places. It also engenders empathy for different ways of thinking and being. The book fittingly ends on a hopeful note, as Early is slowly welcomed by the other boys at school, and his friendship with Jack remains stronger than ever.
Navigating Grief and Loss
The very first chapter of the book contextualizes Jack’s move to Maine, which comes after his mother’s death a month prior, and his father wanting him to be close to his naval posting. When Jack arrives at Morton Hill Academy, his new school, he still deeply grieves his mother. Ideas of loneliness and uprootedness pervade the book, with Jack constantly reflecting on these feelings. He relates to Pi’s grief and lack of direction throughout Early’s narration; subsequently, he is the one to recognize that Fisher, too, feels heartbroken and lost. However, Jack is not the only character dealing with grief and loss; throughout the book, each of the other characters is seen to be dealing with heartache of some kind.
Although Jack initially believes his father is cold and distant, John also deeply mourning his wife’s death. John’s way of dealing with grief is more internal and stoic, and in some ways, parallels Early’s way of coping. John admits to Jack, for instance, that he thought sorting and putting Elaine’s things in order may be helpful, which is similar to how Early sorts jellybeans when upset. Perhaps because of this, Early can recognize John’s love for Jack, despite the latter thinking otherwise: John is the one who taught Jack to read the stars; he helped Jack finish the soapbox car; and when Jack arrives at Morton Hill, John helps Jack unpack and put things away. Early himself does similar things for Jack: coaching him on rowing, helping build a boat, and giving him ointment for his sore body.
Like John, Early, too, is dealing with loss and responds to this with action. Early has lost his entire family—his mother in childbirth, his father of a heart attack a while ago, and his brother in the war. Rather than dwell on these losses, Early begins investigating whether Fisher may still be alive, and once concluding that he is, he embarks on a quest to find him. Early is at his most vulnerable when Fisher refuses to return, and he finally breaks down. At this point, it is Jack’s turn to explain that Fisher’s reaction is not from lack of love but from the depths of grief. Jack recognizes this because Fisher and he share similarities in how they respond to loss. After the deaths of loved ones, both are set adrift and withdraw from the world. Their grief is also tinged with regret: Fisher at not having been able to save his squad and Jack at not having been by his mother’s side when she passed away in her sleep.
Other characters also deal with grief and loss of some kind. Eustasia cannot accept that her son will not return and hopes for some resolution, even as she loses touch with reality. Gunnar and MacScott are both running from their past; however, Gunnar’s self-awareness and willingness to try and change allow him a chance at redemption. Thus, Jack eventually tracks down Emmaline and delivers Gunnar’s letter to her. MacScott, on the other hand, is literally and symbolically dragged to his death by his life’s regret: As Early deduces, he misses shooting the bear on purpose, contrasted with how he accidentally shot and killed Martin years ago. Subsequently, following the bear attack, Martin’s gun is what Early theorizes dragged MacScott to his death into the river.
Ultimately, the book’s ending serves up poetic justice for each character in neat and tidy resolutions. MacScott, the book’s antagonist, meets his just end while everyone else finds peace and hope in their lives. The specific endings, however, are less important than the journey each of the characters’ stories presents, as the book centers the idea of a quest at its heart. In keeping with this, Navigating Early is not just about adventure and exploration but also about navigating grief and loss.
