30 pages • 1 hour read
Raymond CarverA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Falling into a dry well is a formative childhood memory for J.P.—in fact, when telling the narrator his life story, it is the only childhood anecdote that he shares. He “suffered all kinds of terror” (210) in the well, yet it is also a place where “nothing fell on him and nothing closed off that little circle of blue” (210). The well symbolizes the terrifying parts of the real world that he cannot escape and that can descend upon him at any moment. He is completely powerless against these elements, and while hope remains alive for him in the circle of sky visible from the bottom of the well, that circle of sky is out of reach.
The well also symbolizes the rehabilitation facility. Neither the narrator nor J.P. are trapped at Frank Martin’s, but they are expected to stay for a certain duration and will be stripped of some of their agency. Like the young J.P. at the bottom of the well, depending on someone else to come and rescue him, the adult J.P. and the narrator cannot succeed in recovery without others’ help—and they can only sit and hope that the treatment will work and that they will survive.
Chimneys symbolize purpose in characters’ lives. For J.P., meeting Roxy and witnessing her work gives purpose to his previously directionless life: “He wanted to do what she did. He wanted to be a chimney sweep. But he didn’t tell her that then” (211). In some ways, chimney sweeping allows J.P. to recreate his experience at the bottom of the well by putting him in an enclosed space with a view of the sky above him (“Sherman Alexie Reads Raymond Carver.” The New Yorker: Fiction from The New Yorker, 2022). In this instance, though, he has much more agency than he did in the well.
Like a chimney and the fireplace below it, a purpose in life can create warmth, comfort, and security. However, the very existence of the chimney sweeping profession attests to how a chimney must be cleaned and cared for. Similarly, a purpose must be nurtured, and the story reveals a danger in neglecting that purpose or taking it for granted.
As the primary setting where J.P. tells his stories, the porch symbolizes connection. It is where the narrator and J.P. have the freedom to connect as friends, but it is also a liminal space that connects the facility’s residents to the rest of the world. From the vantage point of the porch, the narrator and J.P. can observe the weather and “the hills and clouds” (212). These two characters’ affinity for the porch (even when it’s cold and overcast) reflects their desire to feel connected to the world outside Frank Martin’s and to remember that their lives extend beyond the rehabilitation facility. However, a connection to the outside world is not the same as living there. On the porch, the narrator and J.P. are still subject to interruptions by Frank Martin, who makes J.P. “feel like a bug” (215). As much as the porch reminds characters of a bigger world, it also ties them to their current, limited one.
The motif of eating connects to the theme of The Complexity of Addiction and Recovery. For many characters, the ability to eat and the presence of desirable food represents recovery, while the refusal or inability to eat is tied to delayed recovery. Tiny, for example, seemed to be doing well before his unexpected seizure, and he planned to go home and “drink hot chocolate and eat cookies” (208). Once he returned to Frank Martin’s after the seizure, he missed breakfast and only got toast, “but Tiny didn’t eat it. He just sat with his coffee and looked into his cup” (209). The aversion to food indicates a significant setback in his recovery. Similarly, J.P. “began missing some dinners” (212) when his drinking worsened, and when the narrator and his girlfriend drove to Frank Martin’s, “[t]here was that fried chicken, but we didn’t eat any” (216). Significantly, as the story nears its end and a glimmer of hope emerges, the narrator eats a piece of cake on New Year’s Eve and even “wrap[s] another piece in a napkin, thinking of later” (218), suggesting some improvement.
By Raymond Carver
Addiction
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American Literature
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Books on U.S. History
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Friendship
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Guilt
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Memory
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Pulitzer Prize Fiction Awardees &...
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School Book List Titles
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Valentine's Day Reads: The Theme of Love
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