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54 pages 1 hour read

Ann Patchett

Tom Lake

Fiction | Novel | Adult | Published in 2023

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Themes

How Daughters Reflect and Refract Mothers

Ann Patchett explores motherhood through Lara’s relationship with her daughters, particularly the eldest, Emily. Lara and Emily’s troubles go back to Emily’s infatuation with Peter Duke, which began when she was 14 years old, and continued for several years. During that time, Emily became convinced that Duke, who had dated Lara one summer, was actually her father, and that Lara was keeping them from one another. Lara recognizes that what was really behind Emily’s obsession with Duke was the need to individuate: “She was telling me how sick she was of us, that she hated being a teenager, hated her body, didn’t want to be stuck on a cherry orchard, […] But she didn’t have words for any of that” (34). Emily’s trouble separating herself from her mother is symbolized by her name—named after the role that was Lara’s triumph in the theater and a character Lara associates deeply with herself, Emily struggled not to be a mirror of her mother’s youth.

Years since Emily’s obsession, the family still tiptoes around the topic of Duke. When Maisie and Lara discover the news about Duke’s death, they are afraid to tell Emily. Lara, in particular, feels that although her relationship with Emily had been repaired, “expertly, repeatedly, this lumpy seam remains between us” (101). Her belief that their relationship is still damaged reemerges when she finds out that Emily and Benny are engaged. She is hurt that Emily didn’t tell her, and attributes it to another old conflict—Emily refusing to tell her mother details of her life. Emily’s need for autonomy and privacy gives Lara “a very old prick of exclusion. […] Emily, who didn’t tell me when she started her period and didn’t tell me when she decided to go to Michigan State, didn’t think to tell me that she was marrying Benny” (100). However, as the novel continues, Lara begins to see a shift in Emily’s connection to her.

As Lara reveals her history with Duke, her daughters develop a new kinship with her, particularly Emily. When uncomfortable truths about Duke’s cheating and selfish thoughtlessness are revealed, Emily is outraged on her mother’s behalf. Lara first feels this when she describes injuring herself and Emily focuses not on Duke’s role, but on Lara: “‘Could you walk at all?’ Emily asks. Why does it matter so much, the way she’s looking at me this minute? Like I am on the tennis court curled on my side and she is there, her hand on my shoulder” (213). Lara fears disillusioning Emily about Duke, and yet whenever she does, Emily remains on her mother’s side. Lara realizes that she has held on to her memories of a teenage Emily, refusing to allow her to change. By making herself vulnerable, and sharing uncomfortable truths with Emily, she has created an intimacy in which she and Emily can forge a new, more adult, relationship.

How Storytelling Shapes Understanding

Lara turns her personal history into a story to entertain her daughters. Both Lara and her youngest daughter, Nell, understand the power of storytelling through their experience as actors. Lara uses this understanding of story to shape the history of the summer at Tom Lake, while Nell, following along, shows her understanding of story through her accurate predictions of Lara’s plotting.

Lara tells her personal history selectively—while she doesn’t lie, she admits to shaping the truth and keeping some secrets for herself, knowing that “the parts they’re waiting to hear are the parts I’m never going to tell them” (10). She remains constantly aware that her romance with Duke is more than just history—it relies on the tropes and structure of fiction, and also features the comfort of an oft-read bedtime story for her daughters, who cheer when Lara gets to the pieces of the story they already know: “The stories that are familiar will always be our favorites” (157).

However, Nell recognizes story structure, paying attention to her mother’s writerly craft. Nell often speaks up to predict what will happen next in the parts of the story she and her sisters have never heard before. When Uncle Wallace goes to the hospital, Nell breaks into the story to bring up his awful understudy, strategically positioned comic relief that lifts the mood: “I’ve been waiting for him to reemerge this entire time” (182). Nell also sees the end of Lara’s acting career before her sisters do. Nell speaks of Lara’s personal history as a play: When Lara rips her Achilles tendon, thus ushering in the era of Pallace, Nell points out that “[t]his is when everything changes. This is the beginning of the second act” (214). Lara recognizes Nell’s insight: “While her sisters stand and stare in utter bafflement, Nell the Mentalist has snapped all the pieces together. She knows I am finished” (214). Nell has become so good at predicting Lara’s narrative that they narrate the ending for Maisie and Emily together. Nell informs them that Lara “doesn’t get to finish her run of Our Town,” and Lara adds, “In fact, she never plays Emily again” (230). With this shift from first to third-person point-of-view, Lara removes herself from the story, taking the position of narrator. Between the two of them, Lara and Nell have shaped the story of Lara’s history.

Who Owns Personal History?

Although the story of Lara’s summer with Peter Duke is hers to tell, as she relates it, her daughters, Joe, and even Sebastian chime in to disagree or add new information. With this tactic, Patchett questions who has final authority over relaying personal history. Lara has always kept her memories of the summer to herself, but by telling them, she allows her family to claim some aspects of the narrative, which in turn becomes more complete with their contributions. In the end, the entire family takes ownership of the story, and that connection even expands to include Sebastian, Duke’s brother.

When the novel begins, Lara is deeply possessive of the story of her summer at Tom’s Lake. However, her daughters are quick to disagree with her retelling, even though none of them were present. When she tells them that she and Joe fell in love years after Tom Lake, they protest that this isn’t true—in their version, Joe and Lara have been together since Our Town, which Lara argues “may have been the story you told yourselves but it wasn’t the story we told you” (174). While Lara wonders at their assumptions, she also recognizes that since “[o]ver the years I told them their father and I met at Tom Lake,” in the absence of information, “they colored in with fat crayons any way they wanted” (174). Their daughters have always attempted to wrest ownership of the story, filling in the gaps in their knowledge.

The story also changes when Joe adds new information to Lara’s telling. His description of Duke doing handstands colors the intense actor slightly differently in his daughters’ eyes. Later, Joe’s admission that he went to the hospital to visit Lara shifts her understanding of his feelings toward her early in their friendship. In the same way, the revelation that he had gone to such great lengths to play the Stage Manager to spend more time with her changes her view of their story together.

In the end, even Sebastian impacts Lara’s personal history, offering more information and a fresh perspective on Duke. With his revelation that Duke had tried to buy the orchard several times, and finally purchased a plot in the family cemetery from Maisie and Ken, Sebastian rewrites the story yet again, painting Duke as a man longing for family, structure, connection, and legacy. By giving all of these characters ownership of the novel’s inset narrative, even those who weren’t directly involved, Patchett explores the changing nature of Lara’s story, and the question of who, in the end, owns it.

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