logo

106 pages 3 hours read

Delia Owens

Where the Crawdads Sing

Fiction | Novel | Adult | Published in 2018

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Themes

Coming of Age and Womanhood

In Where the Crawdads Sing, Delia Owens tells the life story of Kya from girlhood to the end of her life. Owens structures the story of Kya’s life using several conventionally important rites of passage in female coming of age narratives. In the novel, significant traumas deform these events, leading to Kya’s unusual adulthood.

Traditionally, rites of passage for female characters include falling in love, making love for the first time, getting her first period, establishing friendships with other women, and establishing an adult identity while coping with gendered expectations. Kya achieves some of these milestones but generally in ways that emphasize her difference and isolation from other women.

Kya falls in love with Tate Walker, but has no guidance about this experience. Her mother’s abandonment of the family after a violent attack from Kya’s father, the central traumatic event of her life, has left Kya to understand love on her own. She draws conclusions about it by watching animal life in the marsh, reading her mother’s old books and, later, biology textbooks.

Kya’s understanding of sexual intercourse also comes from watching animals mate, so she has a limited idea of sex as an important physical act associated with romantic love. She splits physical desire from emotional connection: She has a deep emotional connection with Tate but does not have sex with him, and conversely, she has an entirely physical connection with Chase that results in unpleasant, emotionally unsatisfying sex.

Another key rite of passage is the first menstrual period. Cultural messages about this biological marker of adulthood reinforce notions of gender identity that are prevalent in the culture. Kya has her own expectations about her menses. She wants to learn about it from an adult woman, but when her period comes, she has to turn to men—Tate and then Jumpin’—to understand what is happening to her body and to secure basic hygiene information. She eventually talks with Mabel, a surrogate mother figure, but still feels a deep sense of shame because she lacks a mother who can shepherd her through this rite.

Establishing significant friendships with other girls and women is another important rite of passage in coming of age novels with young female protagonists. Kya’s mother has told her about the importance of female friendships, which trump friendships with men and are essential to the wellbeing of women. However, Kya’s isolation in the marsh and the absence of her mother has left her with no models for how one forges such friendships.

Kya tries to learn this important social skill by observing the town girls socializing with Chase Andrews in much the same way she observes animals interacting in the wild. When she interacts with other girls and women, their prejudice against her forecloses any chance to establish lasting social connections.

As a result, Kya’s socialization occurs in concert with men and boys, so when she does come of age, her identity has little in common with traditional notions of femininity. Kya’s solitary life makes her a physically strong, capable, and self-reliant woman. Her knowledge of the marsh allows her to avoid the economic pressures that frequently force girls and women to depend upon men for survival. Her scientific acumen and talent as an artist eventually allow her to secure financial security on her own terms with some assistance from Tate.

Kya’s non-adherence to gendered norms for women is dangerous because it serves as a powerful challenge to male characters, generally written as patriarchal products of their time. Both Chase and the legal system are intent on putting Kya in her place because she violates gender codes; the consequences very nearly include her death.

Kya grows into her identity a remarkable woman—Catherine Danielle Clark, artist and scientist, with the books to prove it. She has an egalitarian marriage to Tate, as shown in the arrangement of their home which features dedicated workspaces for both partners since the work of each person is equally valued and important. 

Belonging and Exclusion

Kya grows up othered by neighboring townspeople, who define themselves as civilized in contrast to the people who live on the marsh, and who exclude her from participation in their society based on perceived difference. Differences highlighted by the town’s bigotry include the refusal/inability to abide by gender norms (discussed in detail above), geography, class, and race.

The novel depicts a conflict between the values of the town and the marsh. At the top of Barkley Cove’s social hierarchy are storeowners like the Andrews family, who provide middle-class financial stability for their children. Slightly lower are shrimpers and fishermen like Scupper Walker, who make their living from the resources of the surrounding land but are incorporated into the hierarchy of the town because they live in town, produce economically, and aspire to be like the Andrews.

On the other hand, the culture of the people who live on the marsh grows from the land on which it flourishes. The material abundance of the marsh—the fish, mussels, birds, other wildlife, and soil that is fertile with little cultivation—enables a lifestyle that short-circuits the American work ethic. In the novel, early inhabitants of the marshes were pirates, runaway slaves, and those who were incapable of integrating into the civilization. Instead of participating in the economy by producing and consuming, marsh people live by subsistence, and own very little. The town’s class-based bias labels them “swamp trash” (18), carriers of disease, and “dirty” (58).

Owens represents explicit racism when boys attack Jumpin’ and call him racial slurs, and again when Jumpin’ and Mabel rebel against the racial boundaries of the courtroom and are threatened with ejection. Although Kya is not African-American, her adjacency to African-Americans like Jumpin’ and Mabel during the era of segregation marks her as marginalized.

Kya experiences a brand of exclusion that is specifically tailored to her. Kids nickname her “Marsh Girl” in school, and the dismissive moniker sticks: Boys from town tag her porch with the “Marsh Girl” name while taunting her, and during legal proceedings townspeople must be reminded to call her by her legal name. Calling Kya “Marsh Girl” dehumanizes her so much that townspeople are shocked to see her perform the most basic human behaviors—speaking, thinking, learning, riding a bus. 

Humans and Nature

The novel’s rich descriptions of the sea, the marsh, and the swamp raise questions about the extent to which humans are a part of the natural world, and the relationship between nature and human mores.

Kya’s quasi-scientific observations reveal connections between human experience and nature. Kya’s unusual childhood of largely being left to her own devices in the marsh puts her as close to a Rousseau-like state of nature as the setting allows. Kya sees the marsh as a source of subsistence, healing, companionship, and nurture, treating it as her family, “her mother” (34), and a lover when she experiences her sexual awakening in Chapter 22.

As Kya matures and learns about how the instinct to survive and reproduce drives animal behavior, she sees nature as beyond human notions of “right and wrong” (142). Often, she reads confusing human behavior—abandonment, exploitation, attempts to dominate sexually or through the imposition of the will of groups—as a close analog to what she has seen in nature. She also realizes that her drive for connection with others—the social instinct—distinguishes her from the animals she observes.

As an adult, Kya’s all-consuming study of marsh life is the impetus for her transformation into a scientist and an artist—a mature relationship with nature. Kya records and collects, adding to the store of knowledge with a systematic and rational approach to classifying what she finds; but her appreciation is also aesthetic. Both she and Tate Walker, a fellow scientist, also never stop seeing the marsh as a place of wonder. Kya translates this experience into her paints, publishing it as books that live halfway between art and science.

For others, nature is either utile, hindering, or dangerous. For Chase, it’s a means to an end, “a thing to be used, to boat and fish, or drain for farming” (162); for developers, it’s empty land that needs to be drained to build hotels; and for other townspeople, it is an uncivilized wilderness that threatens because it is outside human control. Kya’s emulation of female praying mantises and fireflies in killing Chase implies that they may well be right. However, in her will, Kya’s places her property in a conservation easement to protect it from developers—for her, it is nature that needs protection from humans.

 

 

blurred text
blurred text
blurred text
blurred text