logo

64 pages 2 hours read

Helen Oyeyemi

Boy, Snow, Bird

Fiction | Novel | Adult | Published in 2013

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.

Part 1, Chapters 1-3Chapter Summaries & Analyses

Part 1, Chapter 1 Summary

Chapter 1 opens with one of the titular characters, Boy, describing her youth, beginning with her fascination with mirrors, which she “believed […] to be trustworthy” (3), and in which she would pretend to be other people, but also examine herself for her own emotions and moods. She was an apathetic but intelligent student who was more concerned with the reaction of the boys in school; most boys were uninterested in her, but the ones who were “tended to lose [their] balance” and send her “tormented” love notes (4). Her sense of character, she claims, developed in the mirrors without her interference (5).

Boy is born on the Lower East Side of Manhattan in the 1930s. Her father is a rat-catcher and an old-fashioned man; her mother is absent and never discussed. Her father’s method of rat control is to starve rats in the basement of their building, blind them, then let them loose at the job site, where they frantically destroy all the other rats. He is also abusive, both to Boy and to his own girlfriend, who leaves when Boy is fifteen.

Boy believes that people can “smile and still be villains” (6). She also believes that character is, in part, defined by whether or not one can kill in order to solve a problem, which is the “kind of bottom line [that] is either in your character or it isn’t, and […] it develops early” (7). She tells her teachers she doesn’t intend to apply to college because she can’t afford it, but in fact is scared to ask her father, who hits her for a myriad of reasons and is unpredictable in his violence. Boy believes that her father is not crazy but is instead trying to train her for something (8); however, she never finds out what because she runs away from home when she is twenty.

The night she runs away, her father has not hit her, but she “watched him and [she] woke up” (8) and decides to run away. She packs light, including a flag that had been given to her by her boyfriend that she wouldn’t let her father take, even though it took up a lot of space. She quietly leaves, then frantically races to Port Authority, where people are trying to make the last bus of the night, while she imagines her father chasing her the whole way. She buys a ticket to the last stop of a bus—Flax Hill, in New England—and manages to get one of the last two seats on the bus. 

Part 1, Chapter 2 Summary

When Boy arrives in Flax Hill, it’s snowing enough to make it difficult to see. Not knowing anything about the town, she chooses to follow two women, whom she has overheard speaking about their landlady. She arrives at a women’s home run by a Mrs. Lennox, who seems more than happy to take her in.

Boy describes her early relationship with Flax Hill as “shaky” because of her temporary status, thinking of the town as “collapsing when [she] went to sleep and reassembling in the morning in a slapdash manner” (15). She mainly keeps to herself at the women’s home, as the other women around her try to guess her story. Her reflection, meanwhile, keeps her company. She discovers that there are three things about her that people dislike: that she’s from Manhattan, that her name is Boy, and that, as Flax Hill “is a town of specialists,” she has no skills to contribute (16-17).

Boy begins going on double dates with another woman from the home, Veronica Webster, “one of those women who are corpselike until a man walks into the room, after which point they become irresistibly vivacious” (17). Veronica has steady dates with Ted Murray, through whom Boy meets Arturo Whitman, a former history professor and current business partner of Ted’s.

Arturo is clumsy and a bit wild; his wife passed away shortly after giving birth to their daughter, Snow, six years prior, and Boy generally feels as if Arturo is not particularly interested in the dates. He is kind to Boy until he sees Boy smiling at her own reflection in a picture frame; she smiles because of someone else’s comments, but believes Arturo now perceives her to be vain.

The pair go on double dates together several times per week, which Boy appreciates more for the free meals than the company. While talking about it with Arturo one evening, he tells her she should go back to New York, believing she is there just for a free ride, as he says people in Flax Hill are “interested in the process, not the end product” (23). Boy bristles at his attempt to judge her as a dressmaker from the big city; New York is not “a big city to [her],” as it “was no bigger than a Novak rat cage” (23).

Boy stops going on double dates with Veronica. She takes long walks around Flax Hill, to which she is growing more accustomed. During one of these walks, while passing a house toward the back of town, Snow comes out of the house and says “Hi” to Boy. Although she’s never met Snow, Boy says “Hi, Snow,” and continues on her way. 

Part 1, Chapter 3 Summary

Boy spends most of her time in various locations combing the Help Wanted section of the local paper, looking for work. One day, she comes across an ad for blonde women to act as hostesses for a Valentine’s Day cruise party to Drake Island. She and “about a hundred blondes” show up for the party, whose host confuses Boy by describing both the party and their brand as being “accessible, yet exclusive” (28). The women are assigned jobs; she is assigned to the coat check along with a woman named Mia Cabrini, who, like her, is more cynical about the whole endeavor. She notices that Mia is taking notes throughout the night, but Boy doesn’t ask why.

After three hours, Mia and Boy are asked to trade places with two other women and mingle with the guests; Mia mingles, but Boy goes to the top deck to smoke instead. Food and drinks are passed around, but no one offers Boy either. She is fascinated by the transactional nature of the relationships between the wealthy men and their partners, noticing that “[s]ome couples seemed pleased with their negotiations and others were in the despair” (30).

Mia finds Boy and dances with her; being on an empty stomach, at the end of the dance, Boy falls into the lap of Arturo Whitman. It turns out that Mia was a student of Arturo’s, and the two disappear to catch up. Boy watches them and finds herself somewhat jealous.

Back working in the coat check, Mia addresses the elephant in the room, telling Boy that she and Arturo are just friends. However, she also tells him that they “were almost something more once,” then suggests that Arturo once reacted very poorly to a sore subject (33-34). Boy claims confusion, but Mia says that she’s telling her this because Arturo and Boy say they can’t stand each other, which means they probably like one another.

When they arrive at Drake Island, the women are all asked to work coat check, then Boy is asked to be one of the women who stays behind to entertain guests who do not want to go ashore; however, Boy treats the guests coldly until, no one but Arturo will talk to her. Boy confronts Arturo about his presumptions, then asks why he quit teaching. He claims that, first, he got too close to the details of his area of expertise and began to believe that no one individual actually means anything, and second, that he had run into a jeweler who made simple baubles yet seemed to be much happier than Arturo was.

When they return at seven in the morning, Boy discovers that Mia isn’t actually a blonde, but an aspiring journalist trying to write an investigative piece about the world of blondes. They say goodbye to Arturo, and Mia drives Boy back to the home.

Back in her room, Boy writes a note to her old boyfriend, Charlie, in order to give him her new address, asking him to keep it a secret. With the rest of the women gone, she goes to the bathroom, undresses, and kisses herself in the mirror.

Part 1, Chapters 1-3 Analysis

The first few chapters of Boy, Snow, Bird are a whirlwind of exposition that mimic the upheaval of Boy’s life. In the space of forty pages, we go from Boy’s high school days, to the abuse of her father, to her dashing escape to Flax Hill, through dates, party cruises, and the oddness of her relationship with Arturo (with just a hint of Charlie, whom we have not yet actually met, but who seems to tie her, however, subtly, to New York). Though the novel will remain in Flax Hill, at this point, the fact that we are still in Flax Hill appears to be as much a matter of circumstance as anything else; Boy’s relationship with the town wavers, as it continually appears to be new to her, and she can’t seem to decide if she likes it or not. She seems to attach her understanding of her environment to the people who inhabit it; for example, after Arturo begins treating her coldly, her affinity for Flax Hill weakens, and her view of New York City is akin to that of a small town because of her father’s oppression. It isn’t that Boy herself lacks character or personality, however; rather, it’s more as if she uses people to gain a better understanding of the environment, and the most dominant personalities of a place are also the most inextricable.

The town of Flax Hill is more than just a setting in the novel; it is itself a kind of character with its own personality. This is a town that is concerned, as Arturo claims, with craftsmanship, with the process of development. Process here literally means how things like Arturo’s jewelry are made: Arturo doesn’t care as much about the end product, for example, as he does about being able to make it; in fact, he passes the business end of it to Ted Murray, who implicitly profits off of Arturo’s work (it is likely no coincidence that Ted is described as cheap). However, process also means that the people of Flax Hill—and, in particular, it seems, Arturo—care just as much about who a person is as they do about how that person became who they are and what they can contribute to society. This is a tension that will come to function as the core of the novel.

The tone of the book sometimes feels at odds with the setting. Boy as a narrator feels anachronistic, her phrasing and diction modern, and only the details of setting as provided by Boy tell us that the novel is set in the past. Even there, though, we find much ambiguity: Boy was born not in a particular year, but simply at one point in the decade of the 1930s. The usual historical events that might serve as markers of setting are not mentioned, at least not yet; even her father’s occupation and preferred method of eliminating rats is forgiven its dated feeling by the fact that her father is described as being old-fashioned. This is a novel that straddles time and place, both literally and figuratively, forcing us to reckon with the familiarity of a story that takes place more than sixty years in the past. 

blurred text
blurred text
blurred text
blurred text