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Tove JanssonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
While sitting in a pasture full of wildflowers, Sophia asks about Heaven and God. Grandmother suggests Heaven might look like the pasture and says God has help keeping track of people and that nothing bad can happen between the time one prays and the time God hears their prayer. Grandmother asks if angels wear dresses to hide their sex, but Sophia thinks the question is “dumb” because someone could check by looking up their dresses.
Then, Sophia asks if angels can visit Hell, and Grandmother says yes because they might have friends there. Upset, Sophia cries out that Grandmother had said there was no Hell, and Grandmother says they are playing a game and Hell is not real. They bicker about the existence of Hell, and Grandmother stands too quickly and has a bout of dizziness. Steadying herself, she explains life is hard enough without the threat of Hell, but Sophia disagrees, saying life is easy and the Devil lives in Hell. Not wanting to be mean, Grandmother does not respond and turns to leave, but steps in a cow pie, which she then struggles to scrape off her shoe with her walking stick.
In an attempt to drop the subject, Grandmother tells Sophia she can have an orange from the store, but Sophia is still preoccupied with the conversation. Grandmother says that she cannot believe in the Devil and that Sophia can believe what she wants but that she must be tolerant of other people’s beliefs. Grandmother explains tolerance and says, “I’ll let you believe God damns people and you let me not” (35). Sophia accuses Grandmother of swearing. Grandmother teases that she knows a song Sophia does not know then sings a short song about cow pies which ends in the word “shit.” Sophia is shocked and says her father would never say such a thing. As they continue their walk home, Grandmother teaches the song to Sophia.
Sophia receives a postcard depicting a beautiful scene in Venice, and Grandmother explains that Venice is slowing sinking into the sea because of its location. Having been to Venice before, Grandmother describes it for Sophia, who enjoys hearing about the musty canals filled with golden dinner plate people had thrown out. They make up a family who lives in Venice, and the fictional Venice has sunk enough that homes are filled with water.
Sophia asks for Grandmother to call her “Dear Child” and Sophia will refer to Grandmother as “Mama.” Grandmother will not pretend to be Sophia’s mother, instead suggesting they pretend to build a new Venice, which they construct in the marsh. Again, Sophia refers to Grandmother as “Mama,” which concerns Grandmother.
Grandmother carves a building from driftwood and says there is a family living in it. They add it to Venice, and Grandmother carves more buildings. She is able to remember the details of the city, and she becomes engrossed in the work. That night, a storm blows in, and Grandmother wakes in the middle of the night and worries about Sophia and Venice. In the morning, she goes outside to walk down to the marsh, and Sophia comes running to her, screaming that Venice has sunk.
Grandmother sends Sophia back to bed and promises that she will find the palace the family lived in. She finds a piece of driftwood and carves a new rendering of Doge’s Palace, rubbing it with ash to make it look like the original version. Sophia listens for the family and says that they are tired and cleaning up the mess from the storm.
On a particularly calm day, Grandmother, Sophia, and Father take a small boat to the distant island of Cairn. They set out an air mattress for Grandmother to relax on, and Father goes to set out fishing nets while Sophia explores the island. Once they leave, Grandmother arranges clothes on the mattress so that it looks like she is resting, then walks to a canyon by the shore. She hides herself in the canyon, and Sophia finds her just as she is lighting a cigarette. They sit together in the canyon eating bread, and Sophia complains that she gets bored when things are calm.
As she speaks, Sophia repeatedly uses the word “bloody,” which reminds Grandmother of the time she found a dead pig and boiled it for a week so Father could take the skeleton to school when he was a child. Sophia is confused and says her father is big, and Grandmother changes the subject to her sneaking away from the mattress. Bored, Sophia wants to leave and says Grandmother can come with her if she will listen to Sophia; however, Sophia asks Grandmother if the spot she chooses to go swimming is okay with Grandmother.
Putting her feet into the water, Grandmother talks about her husband and how he only went fishing during storms. Sophia asks who Grandmother is talking about and is astonished that Grandmother is married. Grandmother suggests Sophia ask Father about “generations,” but Sophia says she is too busy.
Sophia climbs the channel marker, but Grandmother does not notice until Sophia is almost to the top. She suppresses her own fears and encourages Sophia so that she does not startle her. Once Sophia makes it to the top, Grandmother calls for her to come back down and help get her walking stick, which she has dropped into a pool of water. Grandmother is frustrated with Sophia but understands that she climbed the channel marker because she was bored. When Sophia reaches the ground, Grandmother calls Sophia brave and asks if she should tell Father. Sophia says not now but that Grandmother should tell Father while on her death bed, “so it doesn’t go to waste” (51).
Sophia takes in a young gray kitten—Moppy—and nurses it until it grows up, flees from Sophia’s aggressive affection, and starts sleeping under Grandmother’s bed in a box of dirty dishes. Sophia notes that the more you love someone, the less that they like you, but she says that you must keep loving them. She keeps trying to win his affection by spending time with him and giving him interesting things to do, and she thinks she is starting to hate Moppy.
Sophia starts having nightmares, and Moppy starts hunting and brings back a dead bird, after which Sophia does not talk to him for three days. He continues bringing dead animals, and Grandmother throws them out. Eventually, he gives up, and Grandmother finds skeletons under the veranda. Sophia refuses to forgive Moppy and says she wishes that she—Sophia—had never been born. Moppy, who has turned feral, spends most of his time outside and away from the house.
Family friends, the Övergårds, visit and bring with them a sweet white cat, Fluff, to exchange for Moppy, who they want to use as a mouser. Fluff loves affection, and she is quiet and lazy. When Fluff tries to lay in a patch of sun, Sophia yells at her because it was Moppy’s spot. The summer is calm, and Sophia complains that nice weather is boring.
A storm rolls in one night, and Sophia wakes up Fluff, but Fluff wants to keep sleeping. Angry, Sophia throws the cat outside into the storm and yells at her to hunt. Sophia runs crying to Grandmother and asks for Moppy back because she loves him, and they trade cats with the Övergårds again.
On a nearby island is a dense patch of forest that meets the thick grass growing closer to the beach. Using shears, Sophia cuts a path through the trees and around a large rugosa rose bush. The bush periodically dies from sea water, but its shoots survive to form new bushes. Further into the jungle is a small cave: “The cave is narrow and smells of rot, the walls are black and damp, and at the far end, there is a natural altar covered with green moss as fine and dense as plush” (59). Sophia takes Grandmother to the island, and they crawl along Sophia’s path. On their way back to the cave, Grandmother vomits, and Sophia asks if she took her Lupatro. They nap, then crawl the rest of the way to the cave.
Grandmother cannot fit in the cave, so Sophia describes it to her and says that God lives in a box at the back of the cave. Peeking inside the cave, Grandmother sees edible mushrooms and has Sophia pick them. Grandmother gives her empty Lupatro box to Sophia to place on the altar, then they return to the rose bush and dig up a shoot to plant at home.
While walking back to the boat, they find a cap and use it, instead of Grandmother’s hat, to carry the mushrooms. Sophia remarks that everything turns out fine and asks Grandmother what else she would like. Grandmother wants something to drink, and Sophia finds an unopened bottle of lemonade that has washed up on the beach. Sophia offers to find Grandmother a new watering can, but Grandmother likes the one she has and does not want to “press their luck” with things turning out in their favor (62).
Each vignette focuses on an aspect of Grandparent-Grandchild Relationships through the dynamic between Sophia and Grandmother. Often, Grandmother aims to guide Sophia or teach her life lessons. In “The Pasture,” Grandmother explains the concept of tolerance to Sophia during their conversation about religion. As a young child, Sophia is self-centered and does not yet recognize that each person has a unique perspective or that people, even those closest to her, may hold different beliefs.
The depth of their relationship is also depicted through their conversations, such as their conversation about religion in “The Pasture.” Grandmother discusses complex topics with Sophia to help the child make sense of the world, but she does not force beliefs upon Sophia. Instead, she shares her own perspective, then allows Sophia room to develop her own view of the world. They also share lighthearted experiences, depicted by their bonding over the inappropriate song about cow pies.
Their grandparent-grandchild relationship is also developed through play in “Playing Venice.” Grandmother uses the opportunity of building a pretend Venice to help Sophia process difficult emotions stemming from the loss of her mother, reflecting the theme of Healing From Loss. When Sophia starts calling Grandmother “Mama,” Grandmother worries that Sophia is starting to view Grandmother as a mother figure, so Grandmother gently enforces a boundary by calmly suggesting they play something else and by reminding Sophia that she is Father’s mother. Grandmother is not trying to push Sophia away; she is reinforcing the grandparent-grandchild nature of the relationship and helping Sophia confront her loss instead of repressing it.
To help Sophia process her feelings, Grandmother turns her attention to a pretend family living inside of a piece of driftwood. The family comes to represent the life Sophia could have had if her mother was still alive, which is why she is devastated when the storm destroys Venice. Sophia’s emotional reaction is so strong that Grandmother secretly remakes the driftwood palace and lies by saying it is the original palace. Similar to the events in “The Magic Forest,” Sophia has an intense flash of grief, as often occurs while healing from loss, and Grandmother does what she can to ease Sophia’s pain.
“Dead Calm” centers on the theme of The Difficulties of Age-Related Limitations. Father expects Grandmother to stay on the mattress while he fishes and while Sophia explores, and Grandmother must make it look as if she is sleeping on the bed to avoid Father reprimanding her or coming to find her. Grandmother resents Father’s overprotectiveness and her own physical limitations—primarily her difficulty walking and her condition which causes dizziness. Sophia, as a small child, also has physical limitations, but by working together, both she and Grandmother are able to overcome their difficulties: They help each other get out of the canyon, Grandmother offers support when Sophia climbs the channel marker, and Sophia conquers her fear and descends the marker to help get Grandmother’s walking stick that fell out of her reach. Their loving gestures for one another show how such personal relationships between old and young can help with age-related limitations and bring emotional support to both as well.
Sophia’s age-related selfishness is also depicted in “Dead Calm” as well as in “The Cat.” When Grandmother shares stories about Father and about Sophia’s grandfather, Sophia gets confused. She does not yet understand that each person lives a unique life or that her family members had lives before she was born. Sophia’s mind is rooted in the present moment, and she is not yet interested in learning about her family members’ past. “The Cat” demonstrates further self-centeredness in that Sophia uses force to manipulate Moppy and Fluff into behaving as she wants them to. She smothers Moppy with affection, although Moppy does not enjoy human attention. Ironically, she is annoyed with Fluff’s laziness and love of attention, which were the traits she wanted Moppy to exhibit. Although she resents Moppy’s wild nature, Sophia loves her original cat. Where she attempts to coerce Moppy into loving her in the beginning of the story, Sophia, the author implies, will allow Moppy to be himself moving forward, demonstrating some growth and maturity in Sophia.
“The Cave” returns to a focus on The Difficulties of Age-Related Limitations, as Grandmother experiences a bout of dizziness. She is so dizzy that she is happy to crawl instead of walk, and she vomits and must lie down to rest. Despite her illness, she perseveres and continues on to Sophia’s cave. Grandmother’s Lupatro becomes a symbol of both her illness and her resilience (See: Symbols & Motifs). She is grateful for her medication, and she thinks of it as a “little sacred box” and gives it to Sophia to place on the altar for God to live in. “The Cave” is also rich with imagery and sensory language. These devices help establish the setting, which is unique to this story. It is intended to help the reader envision the sights and smells on the island, to create an immersive experience.