54 pages • 1 hour read
Ann PatchettA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Emily, the protagonist of Our Town, is a symbol of youth and innocence, especially to Lara. When she was cast as Emily in her first role, Lara started down a path that ended at Tom Lake. In high school, Lara identified with the character of Emily, who “asked questions, told the truth, and knew her mind” (13). Over the course of the next several years, she continued to identify with Emily, coming to know the play so well that she never needed a script.
However, when Lara arrived at Tom Lake for her first table read, she realized that at some point, she would not be able to play Emily anymore. When they read Emily’s funeral scene, Lara realized that she was the same age as Emily when Emily died, and that she “would age out of the part in time because time was unavoidable. […] No one gets to go on playing Emily forever” (89). Another actress, who played Mrs. Gibbs, confirmed this when she confessed that “she’d been Emily once. ‘Probably before [Lara was] born’” (90).
Lara thus links Emily with the unceasing passage of time; thinking back over that summer, Lara sees how “Uncle Wallace didn’t go onstage thinking it would be his last night. When my last night came I didn’t know it either, my last time to play Emily, my last swim in the lake” (182). Trying to hold on to that period of her life, Lara named her first daughter after the character with whom she had seen herself so vividly, only to have that daughter rebel in an attempt to individuate away from her mother’s history and persona.
Although the novel only references the Chekov’s The Cherry Orchard (see Background) directly on a few occasions, by setting Tom Lake in a cherry orchard, Ann Patchett draws a connection to the famous play and its themes.
Duke brought up The Cherry Orchard when he and Lara visited the Nelson farm. In response to the sight of their orchard, Duke recited some of the lines spoken by Lopakhin, an upstart merchant scheming to buy the estate at the heart of the play from its aristocratic owners: “‘As you know,’ he said in a voice both animated and conspiratorial, ‘your cherry orchard is to be sold for your debts; the auction is set for August twenty-second, but don’t you worry, my dear, you just sleep in peace, there’s a way out of it. Here’s my plan. Please listen to me’” (167). Lara sees Lopakhin as an interloper “looking to install himself in Lyubov Andreevna’s cherry orchard, in her family—new money legitimized by shabby aristocracy” (168). This observation foreshadows Duke’s insistence on claiming a piece of the farm for himself.
Much later, when Duke visited the farm when Joe and Lara lived there with their young daughters, he again recited the same lines to Emily—a fitting bookend to his many attempts to buy the orchard from Maisie and Ken, and his eventual settling for a plot in the family cemetery.
When Lara and Joe finally learn about Duke’s obsession with the farm in the novel’s present, Duke’s preoccupation with Lopakhin rings differently. Duke seemingly recognized that his desire to own the orchard sprang from the same place as Lopakhin’s: the wish to own what cannot be bought.
Patchett uses the nature of fruit farming, the orchards, and even the cherries themselves, as a motif that explores the nature of life. The vast number of cherries is representative of how many choices life offers: “you can look only at the tree you’re on, and if you have any sense, you’ll just look at the branch you have your hands in. […] If we opened our minds to all the cherries waiting to be picked, we’d go home and back to bed” (66). This meditation on how to pick cherries is a metaphor for how to handle the potentially overwhelming number of decisions life has in store.
The farm grows two types of cherries: sweets and tarts. Tarts are shaken from the trees later in the season and frozen, while sweets are picked by hand earlier and sold fresh. This distinction is important to the novel, because Lara’s storytelling takes place while she and her daughters are picking the sweets. The handpicking allows for quiet time, conversation, and intimacy while Lara shares her story. Harvesting tarts coincides with the end of Lara’s story: “There is no talking over all the noise, no extra moment in which to remember the past or examine how we feel about anything” (303). By contrasting the two types of cherries, Patchett layers the respective harvests with deeper meaning, and the story begins to move into thoughts of the future, leaving the past behind.
By Ann Patchett
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