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50 pages 1 hour read

Jodi Picoult

Wish You Were Here

Fiction | Novel | Adult | Published in 2021

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Themes

Isolation, Adaptation, and Evolution

The story of Wish You Were Here revolves around the idea of survival, of “the resilience of human spirit in a moment of crisis.” In keeping with this, the book explores the question of what drives this survival, and a key theme that emerges is how, at the heart of surviving a crisis, lies an inextricably interwoven trio of elements—isolation, adaptation, and evolution.

The element of isolation is emphasized at the very outset, with the story set in the time of the coronavirus pandemic. Irrespective of location, the characters in the book are affected by the pandemic-driven isolation—Finn in hyperconnected, over-populated New York City, as well as Diana on the remote island of Isabela. Despite being in a familiar environment, Finn is dealing with unprecedented circumstances; Diana, in turn, is stranded in an unfamiliar environment with no support or resources. However, even when Diana wakes up from her ventilator-induced psychosis and is reunited with Finn, and eventually her home, she still feels disconnected and lonely. Thus, isolation within the context of the book is not merely a physical circumstance. The title of the book, Wish You Were Here, posits an isolation of the psychological kind as well, one characterized by loneliness and longing for connection.

Diana writes to Finn, telling him how the isolation she is experiencing is forcing her to introspect and reflect (77), which helps her adapt. That adaptation is crucial to survival is posited even before the story begins, as the epigraph outlines how the survival of a species depends most on its ability to “adapt and adjust to [a] changing environment” (Megginson, Leon C. “Lessons from Europe for American Business.” Southwestern Social Science Quarterly, vol. 44, no. 1, 1963, p. 4). Diana is faced with a need for both in the Galapagos, as well as back in New York. While this need on Isabela is obvious, she faces a different kind of crisis as she awakens. Along with needing to relearn how to use her body again, she is also reeling from the experience of having lived a whole other reality.

This last challenge that Diana faces points to the nature of evolution—the change that is wrought in a fight to survive is a permanent one. Just as birds evolved to grow wings, the Diana who wakes up in the hospital is a different Diana than the one who first entered it. Her time on Isabela has permanently altered her—and although one can argue that the experience was an imagined one, the impact that it has on Diana and her life is very real. Diana reconnects with her mother, drastically changes career paths, and ends her relationship with Finn.

This last change also speaks to how the journey of evolution is, ultimately, a personal one. Finn and Diana both technically undergo the same set of circumstances; nevertheless, this same situation yields different individual experiences, and so they adapt in different ways, leading to their evolution unfolding differently. That the individual experiences are so different that they become incomparable is important, for it isolates the experiencing individual from everyone else—and thus, an indisputable link is established between isolation, adaptation, and evolution. Within the context of the book, the three work together to bolster resilience in crisis and ensure a triumphant survival.

Co-existing Realities: Subjective, Imagined, and Alternate

Wish You Were Here is divided into two parts, each set in a different geographical location. These locations, in addition to several other literary techniques employed throughout the book, serve to indicate a key theme that Picoult is looking to explore: How differing, but equally valid experiences of reality, can co-exist simultaneously.

At the end of Part 1, we learn that Diana has spent the entire time she thought she was in the Galapagos, in a hospital in New York. Her experiences on Isabela were created by a state of psychosis induced by low oxygenation and sedation. Irrespective of this fact, however, the emphasis continues to be on how real Isabela felt to her. Rodney thinks is important to tell Finn about Gabriel, because “if it was real…even just to you […] you’re going to have to tell him.” (221) When she does do so, despite it having been an imagined experience, it unsettles Finn; he reacts equally warily when he comes across Diana’s painting on the back of the dresser.

Along with plot points, stylistic devices also highlight the idea that there is validity to an individual’s experience of reality. The chapters in which Diana drowns in the Galapagos are mirrored in length and structure by the ones in which she mourns her mother. The situation in each set of chapters is an inversion of the other—in the first, a physical experience is set in a fictional world; in the second, an emotional experience is set in the real world. The magnitude and impact of each of these situations is undeniable, and it rises above the kind of experience or circumstance that it is set in.

A similar inversion or mirroring is seen in the two anecdotes Diana recalls when she first faces her mother’s death on Isabela. These childhood anecdotes resurface when her mother dies in New York but are shown in completely different light. The incident of the pediatrician visit initially represents her mother’s self-absorption and negligence; in its revisiting, however, we learn that it was an experience that made Hannah question her ability as a mother, which drove her decision to stay away from Diana for the child’s safety. Similarly, the incident of the photograph is a singular happy memory that Diana has of her mother, a fleeting moment of joy. When Diana finds it being used as a bookmark, however, she realizes that her impact on Hannah’s life has been, in fact, long-lasting and profound. Through contrasting the subjective experiences of the two same incidents, they are shown to have held different but equally valid meanings to Diana and Hannah respectively, at different points in time.

The idea that multiple experiences of reality can co-exist simultaneously is conclusively underlined in the way the story ends. In Diana’s conversation with Rayanne, there is a suggestion of the mystic, of the possibility of an explanation beyond the rational. While this is not delved into in any greater depth, the book ends in an eerie imitation of Diana’s first encounter with Gabriel, though the man is not revealed. This note of mystery that Picoult leaves the reader on serves to neatly reinforce and tie up a major theme that the book addresses: The possibility of a co-existence of multiple realities—subjective, imagined, and even alternate.

Passion and Obligation in Love

The role of passion and obligation in the experience of love is a theme that is explored in Wish You Were Here. While love in the context of romance is unpacked over the course of the narrative, its place in other kinds of dynamics—particularly parent-child relationships—is also addressed.

Very early on in the story, the reader is privy to the fact that Diana, the protagonist, is in a secure and stable relationship with her boyfriend, Finn; the stability of this relationship is largely derived from the fact that Finn and Diana agree on the blueprint of their joint future. This emphasis on common ground is reiterated as Diana wonders how her own parents made their marriage work, as they seemingly wanted such different things from life—“I am all for love,” she says, “[but] there is no passion so consuming that it can bridge a gap like that” (16). However, through the relationships that Diana forges on Isabela with Gabriel and Beatriz, the conception of love built on the foundation of a shared plan begins to crumble.

Gabriel is someone Diana is drawn to, despite the fact that there is no possibility of any future for them as a couple, not to mention the fact that Diana is already in a committed relationship with Finn. Nevertheless, the attraction grows, and they end up acting on it. Beatriz, in turn, is in love with a girl—something she believes she must be ashamed of and hide from her family. When Gabriel discovers Beatriz’s secret, he tells her that one truly cannot choose whom one loves—in hearing this, as well as in having experienced an undeniable connection with Gabriel, Diana is faced with the truth of this assertion.

Diana’s encounters with Gabriel and Beatriz also contribute to her changing perception of the relationship between love and obligation. A pre-Isabela Diana recollects how she had her mother committed to a memory care facility. She does so because she believes that love is a quid pro quo and that she is not obligated to care for her mother since her mother did not do so for her. Caregiving in love is something Diana initially sees as obligatory, something that must be returned in kind.

However, Diana’s experiences on Isabela catalyze a change in this outlook as well—for, in addition to an unplanned connection with Gabriel, Diana also watches her mother die. Both of these lead to her waking up in New York with a sense of disconnect from Finn, but also a desire to reconnect with her mother.

Through the process of the latter, Diana resolves her issues with her mother, discovering a different side to the story that she believed about her mother and her childhood growing up. It also leads Diana to realize that love is not a quid pro quo after all—someone’s lack of care in the past does not earn them neglect in their future. It also leads Diana to realize that the converse of this is also true—someone’s care in the past does not obligate them to a continued commitment in the future. “Obligation isn’t love” (294), she muses, when faced with the changing nature of her relationship with Finn. Eventually, upon her mother’s passing, Diana has reconciled enough that she grieves freely and deeply. She also concludes her relationship with Finn. As the story ends, Diana has realized that passion plays a great role in the experience of love, while obligation should perhaps play none at all.

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