48 pages • 1 hour read
Jane SmileyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Perestroika, called Paras for short, is a racehorse who knows no life but racing. She wins races, returns to her stall, gets loaded onto a van, and moves to the next race ground. One night, her groomer, Rania, accidentally leaves the stable door unlocked, and it opens when Paras rubs against it. Cautiously but curiously, Paras ventures into the night, exploring the racetrack without needing to race; she tries the turf and then ventures beyond the park.
Frida is a dog who has lived alone on the Paris streets after her owner, Jacques, died. Jacques was living without a home, and Frida learned how to survive the streets by watching him. Across the street, she sees a horse eating grass in a field while standing near a leather purse. Frida tries to steal money out of the purse but is caught by the horse, who is Paras. Frida quickly realizes that Paras does not understand about money or the bag's contents, and she wonders if she can leave with the money and take a train to a better place.
Frida and Paras talk for a while, both taking time to learn about the other. Frida learns Paras knows nothing about the world, only about running races. She considers leaving the horse on her own but decides instead to help Paras hide both herself and the purse until after the lunch rush so no humans take them away.
Though none of the humans noticed Paras, a local raven, Raoul, did. Raoul is an old bird who prefers living in the city to the countryside. He and his partner amicably separated after having many children, and now he spends his days away from the gossip and chatter of the other ravens. Sitting in his tree, Raoul sees Frida begging at an outdoor restaurant while Paras sleeps behind the bushes.
When Paras wakes up, she is unsure where she is or how long she has been asleep. Frida informs her that it is dusk, and Raoul introduces himself. He realizes Paras is hungry and guides her and Frida to a field where Paras can eat. While Paras grazes, Raoul talks to Frida as he is curious about the purse she carries. She worries that he will fly away with the purse, so he assures her that birds are above material possessions since they build their homes from scraps of trash. When she tells him there’s a lot of money in the purse, he expresses knowledge of cash because he uses it regularly in his nest building. Meanwhile, Paras roams down the hill and finds a carousel; the false horses confuse her. After Frida and Raoul catch up with her and explain, she roams away from the carousel and ventures further into Paris. She is now far from the racetrack.
Delphine, Paras’s owner, spends the night and the next day searching for Paras. She comes close several times but does not see her because she is not looking for her in the right places—she assumes Paras is still in the park and would not wander farther.
Paras jumps a fence to drink from a pond near the Eiffel Tower with Frida and Raoul. The resident male duck, Sid, screams as they have invaded the territory he lives in with his wife Nancy. He eventually settles down and lets them sleep.
During the day, while Paras naps and Raoul ventures elsewhere, Frida catches a plastic bag and puts money in it from the purse, which she uses to buy food from the market. The vegetable stall owner treats her respectfully and allows her to make the purchases. She shares her purchases with the other animals and returns to the market the next day to buy more. This time, the grocer helps her buy some chicken and fruits which were requested by the others. She returns, and they each take the fruits and foods they prefer.
Pierre, a gardener, watches Paras and wonders whether he should call the authorities to report her. He decides against it because she adds to the atmosphere, and nobody seems to notice or care that she is there.
Paras spends much of her time talking to Nancy, who has opinions about many things. She mainly complains about Sid, who prefers to travel while she prefers to stay in Paris. One morning, Paras goes out for a run before too many humans appear. When she returns, Frida has also returned with groceries. Raoul notices a boy following Frida back to the pond as the gathered animals prepare to dig in. The boy tries to reach out to them, so Paras, Frida, and Raoul flee in one direction while Sid and Nancy go elsewhere.
Paras dreams about eating oats. When she wakes from the dream, she decides to explore the town while everything is quiet. She pokes her head into a bakery, where she meets Anais, who gives her oats and pets her. When Paras leaves, Anais wonders if she really saw a horse.
While wandering the Paris streets, Frida sees an older woman stumble. She walks up to the lady and presses against her to comfort her. Frida proceeds to follow the woman, Madame de Mornay, as she grocery shops with a young boy whom Frida recognizes as the one who previously approached the animals at the pond. He is called Etienne; he notices Frida and pets her. Frida refuses to enter Madame’s house because she does not want to be trapped behind the gate.
Madame de Mornay is almost 100 years old and has watched her family grow and die before her. Madame has lost her sight and hearing in her old age. Now, she lives alone with her great-grandchild, Etienne. Etienne rarely interacts with people. He learned to read, write, and do math alone in his great-grandmother’s house.
While Raoul keeps an eye on Frida, he chooses to stay distant from them for a while after the Etienne incident. He spends time convincing Sid to build a nest while supplementing his own for winter. He also observes the de Mornay residence and sees a grand room meant for many people. Curious, he taps on Etienne’s window to get the boy’s attention. The boy opens the window, and Raoul explores the boy’s room, investigating a book before he taps on the window again, a signal for Etienne to let him leave.
As the weather turns colder, Paras reflects on her previous life as a racehorse. She recognizes that she was not unhappy racing but prefers the freedom she finds in her new home by the pond with her friends. Because the weather gets colder, her coat gets longer naturally, and she stays warm without the blankets she would need standing in the stalls. While Paras sleeps one day, Frida follows her snowy footprints to see where she roams. She tracks these to the bakery Paras visits but gets no answers because it seems empty. She returns, and Paras stretches her legs to keep them from seizing up. She wants to run but recognizes that she should not.
Meanwhile, back at the stable, Paras’s owner and trainers have given up hope of finding her and presume that she has died. Her stable is now rented to another horse and the other horses now only vaguely remember her.
The opening section of Perestroika in Paris establishes the novel in the magical realism genre but is intentionally vague at the beginning about the nature and extent of the magic found in the novel’s world. This ambiguity creates a sense of strangeness and newness which mirrors the narrative’s treatment of Paras’s unfamiliarity with the wider world, key to the theme of The Universal Longing for Freedom and Belonging.
The first chapter establishes the nature of Paras’s habitual life as context for the adventure she is about to embark on and also the nature of communication between humans and animals in a fictional world where animals think and communicate in a human way. The opening introduces Paras’s thoughts about how “Rania, her groomer, had [...] gone to the bathroom, and why not in the stall, thought Paras, but she could never get an answer to this question” (3-4). Smiley later demonstrates that the animals of her world cannot speak the way humans can, and all communication happens through body language and gestures. This means that animals communicate more effectively between species than with humans, highlighting the theme of Animals as a Vehicle for Commentary on Human Life, especially the value of animals’ heightened intuitiveness. Though Frida can communicate with humans effectively due to her life experiences helping Jacques and living on the Paris streets, she cannot speak words. She asks Jerome for what she wants from his store when she “stood on her hind legs and looked into every bin. The man, Frida thought, was actually rather intelligent. If she paused at a bin, he put something from the bin into the bag” (38). Though Frida does not speak, Jerome understands and can satisfy her desires. Because the narrative focuses on Frida’s point of view, it emphasizes that the communication barrier between animals and humans is a human limitation of understanding, largely overcome by Frida’s communicative resourcefulness.
Although the story contains no magic in the form of spells or impossible happenings, it does play self-consciously with the boundaries of realism and magic. This interest is established in the first section through the relationships which start to form between humans and animals. The interaction between Jerome and Frida serves two primary purposes in the story: first, to build a foundation for the theme of The Bond Between Humans and Animals; second, to introduce the literary device of personification—assigning human-like characteristics to non-human characters. One of the primary examples Smiley uses is the above example. Frida regularly travels to the market and uses money to buy vegetables, meats, and even toys for herself and her friends. Not only does Frida do so, but she understands the exchange of money for goods and services, even if she does not understand how much each bill is worth.
The story’s first chapters also introduce the themes of The Universal Longing for Freedom and Belonging and The Bond Between Humans and Animals. Smiley attributes the longing for freedom to curiosity. Paras, the primary vehicle for the theme of longing and belonging, is frequently described as “a very curious filly” (4). “Filly” is a term for a young female horse, so the author creates a space where youth and curiosity overlap to encourage exploration. She also reveals from the start that Paras is naturally curious and naturally seeks something she does not currently have. While Paras explored the park when she first left her stall, she
had no idea of making a getaway. Not only did she like racing, and Delphine, and Rania, and her ‘owner’ Madeline, and several of the other horses, as well as her nice clean stall up there in Maisons-Laffitte, she really didn’t know much else (4-5).
Paras enjoys her safe and familiar life, but she feels pulled to explore and find something more from life, leading her away from security and into the unknown to look for, as she will discover, freedom to choose her own life. When she leaves to explore, she does not look for a place to belong, because she already has that.
The author uses another character, Raoul, to convey the need for belonging in this first section. In these first chapters, he acts as a commentary on the theme of belonging. When Frida asks him if he owns something, he responds, “What is ownership these days? [...] I oversee it, that is my only claim” (25). In discussing ownership, Raoul and Frida also discuss what “belongs” to someone else. While this observation addresses the human need to “own” things—people (in specific ways, such as relationships), places (such as houses), and material things—ownership and belonging carry a double meaning. Raoul does not understand what it means to belong; he has a place where he stays that he can quickly lose in the hierarchy of birds, his friends and spouse leave him, and the only objects he “owns” are the pieces of trash that make up his nest. Part of Raoul’s character arc is finding a sense of belonging that is entirely his own. Though he will not own anything more than he does in these initial chapters, he will come to belong with his friends and choose to remain with them when he previously would come and go as he so chose. Suppose Paras is the vehicle for freedom in The Universal Longing for Freedom and Belonging. In that case, Raoul represents the other side and becomes the vehicle through which Smiley explores the need to find a sense of belonging.