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66 pages 2 hours read

Sharon Creech

Walk Two Moons

Fiction | Novel | Middle Grade | Published in 1994

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Chapters 16-20Chapter Summaries & Analyses

Chapter 16 Summary: “The Singing Tree”

Sal spends the night in the waiting room worrying Gram will die. In the morning, however, Gram is feeling better and insists on leaving. The boy who helped bring her to the hospital gives Sal his address and name: Tom Fleet. As they leave the hospital, Sal hears a “familiar warble” that makes her think of an aspen in Bybanks (97); Sal often heard singing coming from the tree but could never see a bird, and eventually concluded the tree itself was making the noise. On the day Sal learned her mother wouldn’t be returning, the tree remained silent. Gram takes the singing tree at the hospital as a hopeful sign, but as the family gets back on the road, Sal senses a change: “[T]he whispers no longer said, hurry, hurry or rush, rush. They now said, slow down, slow down” (98). 

Chapter 17 Summary: “In the Course of a Lifetime”

Walking home from school one day, Phoebe presses Sal to warn her father about Mrs. Cadaver. When they arrive at Phoebe’s house, Mrs. Winterbottom offers Phoebe a brownie, but Phoebe complains that she’s already “too fat” before storming off (100). Sal accepts, thinking about how she had snapped at her own mother when she asked her to go for a walk just one day before she left. Prudence comes home complaining about the first day of cheerleading tryouts. Mrs. Winterbottom offers to come support her the next day, but Prudence retorts that that would make things worse. Phoebe then reappears with a new message: “In the course of a lifetime, what does it matter?” (102). Prudence continue to fret until Phoebe pointedly asks whether cheerleading is something that “matters.” As the girls bicker, Mrs. Winterbottom seems to come to some sort of realization. Sal returns home thinking about how a mother leaving is one of the things that truly does matter in life.

Chapter 18 Summary: “The Good Man”

Sal explains that her father is Gram and Gramps’ sole surviving son. He’s an outdoorsy and unpretentious man who found the transition to office work difficult. He’s also, as his wife said, a naturally selfless and generous man who would often bring home surprises for Sugar and Sal: “They were small things—a cotton scarf, a book, a glass paperweight—but whatever he brought, it was exactly what you would have picked out for yourself” (106).

Sugar sometimes found her husband’s unwavering kindness difficult to bear, telling him it made her feel like a bad person; she went to Idaho in part because she felt she needed to learn more about who she truly was. When she didn’t return, John inscribed her name above the newly uncovered fireplace and decided to sell the farm. At Sal’s insistence, he agreed to rent it instead, but insisted on moving somewhere less reminiscent of his wife. By that point, he was in regular contact with Margaret Cadaver, but Sal wouldn’t allow him to explain how he met her. Sal admits that she too sometimes wishes her father were less good, so that she could hold him responsible for her mother’s departure.

Chapter 19 Summary: “Fish in the Air”

Sal approaches her father about Mrs. Cadaver, explaining that she and Phoebe find Margaret suspicious, and that she thinks they should stop seeing her. Her father responds that Sal is “trying to catch fish in the air” (111)—making up fanciful stories to avoid dealing with the reality of her mother’s absence. In school, Sal observes Mr. Birkway and remains skeptical of Phoebe’s theory that he’s Mrs. Cadaver’s accomplice. In fact, he reminds her of her mother, who shared his interest in stories and often told her daughter Native American legends: “She knew about thunder gods, earth-makers, wise crows, sly coyotes, and shadow souls” (112). After class, Mr. Birkway asks Sal to write a mini journal. As Sal, Phoebe, Mary Lou, and Ben walk home that day, the “lunatic” appears and tries to talk to Phoebe. She and Sal race home, but find the door locked. When Mrs. Winterbottom finally lets them in, Phoebe says they should call the police, but her mother—though alarmed—simply relocks the house’s doors.

Chapter 20 Summary: “The Blackberry Kiss”

In her journal, Sal writes about a day when she saw her then pregnant mother strolling through the fields picking blackberries. When she drew close to a maple tree, she stopped and kissed its trunk. Sal inspected the tree later and even tried kissing it herself. She writes that since then, she has “kissed all different kinds of trees” (117), and that all taste slightly of blackberries. Sal hands in her journal the following day. After school, Ben approaches Sal and offers to read her palm. She nervously agrees, but after Ben has held her hand for several minutes, he admits that he can’t read palms; he informs her, however that she didn’t flinch the entire time they were touching. Sal refuses to speak to him afterwards, but he walks with her to Phoebe’s house regardless, kissing her ear as he says goodbye.

Phoebe ushers Sal inside and shows her several letters Mrs. Winterbottom left for her husband and daughters: She has apparently gone somewhere for a few days. Once Phoebe’s father and sister arrive home, the family discusses what to do. Phoebe thinks her mother has been kidnapped and wants to call the police, but her father points out that she wouldn’t have left notes if that were the case. Back at home that night, Sal tells her father tells that Phoebe’s mother has disappeared, and he reassures her, “People usually come back” (123). Sal takes this as confirmation that there’s a chance her own mother might return.

Chapters 16-20 Analysis

The natural world is a major presence in the novel: Sal and her parents enjoy the closeness to the land that comes of life on a farm, Gram and Gramps take time off the road to visit lakes and hills, etc. In these chapters, however, two motifs associated with nature take on prominence: trees and blackberries. Sal associates both with her mother, but they serve different narrative roles. Blackberries, for instance, often appear as symbols of the spontaneous joys that nature (or, more broadly, life) offers. An example of this is Sal’s account of blackberry picking with her mother: “The ones at the bottom were for the rabbits, my mother said, and the ones at the top were for the birds. The ones at people-height were for people” (31-32). The passage frames blackberries as a kind of gift that people should appreciate as such. Then, in Chapter 20, Sal describes her mother impulsively kissing a tree after eating a blackberry, apparently overwhelmed by her love and gratitude for nature.

The tree motif is more complex. Both Sal and her mother have names that reference trees: “Chanhassen” means “maple sugar” and Sal’s middle name is simply “Tree.” In addition, when Sal draws her “soul” later in the novel, she instinctively depicts it as a maple leaf. In this sense, trees (particularly maples) illustrate the depth of the bond between Sal and Sugar Hiddle; in some ways, the mother and daughter seem to share a single identity, and learning that they are in fact separate people whose thoughts and feelings don’t always align is part of Sal’s emotional journey over the course of the novel. Sal and Sugar’s affinity to trees also suggests that when Sugar kisses the maple tree, or when Sal prays to passing trees, it’s an expression of self-love or self-sufficiency.

Lastly, there are the “singing trees” Sal first describes in Chapter 16. The full significance of these trees becomes clear in the novel’s final chapters, but Sal’s description of the legends her mother told her contains a possible clue: “Her favorite stories were those about people who came back, after death, as a bird or a river or a horse” (112). Given Sugar’s affection for trees, Creech seems to be foreshadowing that she will return in that form. In that sense, it might seem counterintuitive that Sal describes the singing tree in Bybanks as going silent after her mother’s death. However, this may have more to do with Sal’s attitude than it does with the presence of Sugar’s spirit; in the immediate aftermath of her mother’s death, Sal simply isn’t open to seeing any good or happiness in the world around her. By contrast, once Sal has come to terms with her loss, she consciously chooses to believe her mother’s spirit remains close to her, and the singing recommences. 

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