55 pages • 1 hour read
Jonathan TropperA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussions of pregnancy loss and a nonconsensual sexual encounter.
The loss of a loved one is a significant theme throughout the novel and examined through the dimensions of family relationships, romantic attachment, and parenting.
Mort Foxman’s death represents an anticipated grief and the expected bereavement over the loss of a family member, as he suffered for months and received a terminal diagnosis. Still, it is a loss that takes the family time to process, and each character comes to terms in their own way. Hillary, who has had the most time to prepare, is already turning toward the future and her relationship with Linda. Wendy ruthlessly accepts reality. Paul, who has been handling the business, deals by addressing practical matters. Phillip, the most expressive of the siblings, reaches the funeral late, but openly sobs by his father’s grave.
Judd feels a more complicated grief, as his affection for his father is bound up with a sense of nostalgia, guilt, and disappointment. He suspects his father cared less for Judd than for athletic Paul or charming Phillip. He remembers his father pointing out to Jen that her children with Judd would not be Jewish. He rarely visited while his father was ill and regrets this lost time later. As evidenced by his dreams, Judd’s grief for the loss of relationship with his father—which began well before his father died—is tied up with his own sense of incompleteness. When Judd does at least recall a memory, after being electrocuted by the fuse box, it is an uncomplicated memory from his youth of a time when his father protected him, a memory that parallels Phillip’s recollection of his father standing up for him. This is the breakthrough that allows Judd to express his grief in the conventional way, through tears.
Judd is also dealing with other losses that present ongoing or remembered pain. The discovery that his wife was having an affair, which ended his belief that she loved and was devoted to him, is a huge grief for Judd. He feels sad and guilty about the stillbirth of his and Jen’s son, and he sees this loss as accelerating the distance that grew between them. Jen felt unsupported by Judd during her bereavement and turned to other sources for solace, including Wade.
In this and other episodes, the novel suggests that grief over an unanticipated loss, when not properly grieved or healed, can create an ongoing wound and change the course of a life. Paul grieved the loss of his baseball future by skipping college, living depressed at home, and then throwing himself into the family business—an attempt to make up the disappointment her perceives that he caused his father. Paul’s entire future changed with the dog attack that mangled his pitching arm, and Judd, too, feels grief for this. Judd also acutely feels the family’s grief for Horry, whose future changed abruptly by a different attack that left him with a brain injury that makes it hard for him to live independently. While Horry deals with this with his own brand of unsentimental reality, Judd pities Horry. He feels Horry has been robbed, much as Judd feels Wade robbed Judd of his wife’s affections, which left him angry, resentful, and self-pitying. His sense of victimization and unfairness has kept Judd from addressing his wounds in a healthy manner.
All the major characters carry some grief. Alice grieves because she has been unable to conceive a child. Wendy grieves the future she imagined she’d have with Horry. Penny has her own wounds, which she does not disclose, but Judd senses her sadness. While the action centers on the death of a family member and the rituals undertaken for mourners to come to terms with that loss, the novel delves into other ways that grief and loss shape people’s lives, and how mourning can either be a healthy process of resilience or a source of more pain.
The shock of betrayal is another conflict that the novel explores from several angles, and like the process of mourning and healing from bereavement, the novel considers how or if a relationship injured by betrayal can be repaired through forgiveness and reconciliation.
Infidelity is the chief lens through which betrayal is investigated. Several of the couples experience a variation of infidelity, which Judd observes. Phillip has sex with Tracy and then, presumably, with Chelsea. Wendy spends the night at Horry’s. Alice manipulates Judd because she wants his sperm. While Judd considers himself still married to Jen, he has sex with Penny. The siblings learn that their mother began a sexual relationship with Linda while their father was still alive, though he gave his blessing. All these activities question the strength of a character’s commitment to their partner and raise the question of what can be forgiven and forgotten, accepted, kept secret, or confronted.
Judd agrees to keep sex with Alice a secret from Paul—though their intercourse may result in a child—and does not consider love or sex with Penny as a betrayal of Jen, rather an alternative universe he is briefly inhabiting, much like Wendy says spending time with Horry is inhabiting a version of her life in which they ended up together. Judd does not admit or apologize to Tracy for Phillip’s sexual choices. It is not the infidelity itself that is the problem, but the emotion attached to it that allows Judd to justify the different variations he observes and participates in. Wendy has a prior attachment to Horry, one that predated Barry. Penny is not being unfaithful to Jen because Jen chose Wade. Phillip cannot be expected to be monogamous because he is Phillip. Because Judd’s reaction to Alice is purely physical, something he sees as out of his control, he does not consider that he willfully betrayed Paul, and he pushes Alice away when she seeks emotional connection with him.
Forgiveness of Jen is more difficult for Judd because there is so much shock, anger, and hurt over her involvement with Wade. Once Wade is out of the picture, Judd contemplates forgiving Jen, but he imagines it will be a complicated process. Judd’s other reconciliations are likewise cautious. He takes his father’s watch as a way to honor and remember his father. He reaches a truce with Paul after they both voice their disappointment in each other and attempts to reconcile Paul and Phillip by asking Paul to give Phillip a job at the sporting goods store. He doesn’t accuse Wendy of cheating on Barry. He even comes to a kind of understanding with Wade. Finally, he apologizes to Penny for not being completely honest with her, Judd’s first attempt at acknowledging his own methods of emotional avoidance. Penny’s response illustrates that forgiveness can come easily, rewarding Judd’s openness with a release of his guilt.
While betrayal causes another kind of grief, events in the novel suggest that betrayal, including infidelity, can likewise be healed with the appropriate steps, or left to fester.
Running alongside and entwined with the novel’s themes of grief and betrayal are impulses toward attraction and love that provide a counterpoint to and recovery from death and loss. Psychologist Sigmund Freud theorized that an instinct toward life and a drive toward death, now referred to as eros (sex and love) and thanatos (death), are two compelling instincts that lie in the human psyche, a reflection of the twin forces of life and death that exist in the natural world. The novel borrows from this model in showing how the drives of attraction and love exist in the shadow of death as the Foxman family mourns the passing of their husband and father.
The urge for life, growth, and connection manifests as an urge toward sex, which for Judd is bound up with love, as evidenced in the way his fantasies about women he passes include both sexual satisfaction and emotional connection. The fantasy presents an alternative to the reality he experienced in his marriage, where passion waned, sex became routine, infatuation wore off, and annoyances grew. Sex proves a preoccupation for other characters as well, often motivated from the same desire for emotional connection. Just as Judd’s attraction toward random women is rooted in a core need to be loved, accepted, validated, and nourished, Jen’s seeking sex from Wade seems to be rooted in similar needs. For Hillary, her attraction to Linda reassures her that her sex life did not die with her husband. For Wendy, Horry’s tenderness and attention supply what is lacking in her marriage. A Freudian interpretation would suggest the characters are indulging their sex drive to counter grief over their father’s death and confrontation with their own mortality (the name Mort suggests the English word “mortal”—that is, able to die—as well as the French word for death, mort).
The desire for romantic love is similarly a natural human impulse that causes characters to seek connection. Judd is drawn to Penny not merely for sex but because he enjoys her company. Wade says he loves Jen, which upsets Judd more than if the attraction were merely sex. Sex, as Hillary describes it, is an itch, a physical response, as Judd finds in his encounter with Alice—but love invites commitment. The lack of romantic love, but rather calculation, behind Phillip’s motives for being with Tracy dooms that relationship in Judd’s eyes. He likewise feels pity when Wendy confesses her unsentimental approach to her marriage. However, Judd respects his mother’s unrestrained devotion to Judd’s father, then to Linda; Hillary’s commitment to these relationships resonates with Judd’s own romantic wishes. For this reason, he speaks from experience as he advises Alice to treasure her marriage, as mutual devotion and care is difficult to achieve and preserve. Judd’s pact with Penny, reaffirmed even after he hurt her, holds the promise of offering companionship if other avenues fail, showing how the wish for love and companionship is a deep need for most if not all of the characters—including Horry, whom Judd perceives as even less likely to find a fulfilling relationship than Judd himself is.
Judd acknowledges at the end of the novel that he “want[s] very badly to be in love again,” (338) but he refers not to the difficult kind of marital love he negotiated with Jen, but that pure rush of early infatuation when everything is new and exciting—the giddy experience he has been fantasizing about. Judd comes to understand that, sexual attraction aside, romantic love requires giving, which should come from a place of wholeness that he hasn’t yet achieved. Thus he concludes, “I’m in no position to look for [love...] But I hope I’ll know when it comes” (338). The optimistic note resonates with the possibilities for recovery and forgiveness that the themes of grief, loss, and death have explored.
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