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64 pages 2 hours read

Helen Oyeyemi

Boy, Snow, Bird

Fiction | Novel | Adult | Published in 2013

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Part 2, Chapters 5-6Chapter Summaries & Analyses

Part 2, Chapter 5 Summary

Bird is excited for Thanksgiving, and she is not alone, as “Everyone who remembered Snow seemed glad to hear she’d be back” (248). Boy grows tired of Olivia’s gloating and, as a result, stops attending her coffee hours. Bird, likewise, feels angry, but her anger is “about the things people were saying, the way they were making Snow sound like some kind of ornament […] being passed around” (250).

In September, Bird attends a joint birthday picnic for Louis and another classmate; Boy lends her a “blanket-sized U.S. flag in exchange for [her] promise that [she’d] guard it with [her] life” (249). The blanket is likely the one Charlie gave her, but Bird is unaware of its significance. After eating—and having a food fight—everyone falls asleep, Louis resting on Bird’s stomach. Bird doesn’t sleep, only rests, and pays attention as everyone leaves. When Louis leaves, she looks around and is alone. She sits up, and the flag is wrapped around her by someone unseen, even though she looks right at this person. She feels the person’s arms around her, and the person kisses her. She is unsure what to make of the situation, later, and she doubts “those kisses were even meant for [her]. They must belong to [Boy]. You know when you put on someone else’s coat and old train tickets fall out of the pockets […] maybe it was like that” (252).

The following week, a man with “an un-American accent” calls the house asking for Boy Novak, but Bird assumes it’s a prank call and tells the man there aren’t any Novaks there. The next day, Bird is playing with her family outside and finds herself up a tree with a hula hoop; once everyone leaves, a strange man sees Bird and tries to pull her down, asking her who she is. He has a syringe with clear liquid and forces Bird to stay quiet until other people leave, then asks her again who she is. She tells the man that she’s Bird, Boy’s daughter, which seems to make the man sick to his stomach; he then reveals that he is Bird’s grandfather, Frank.

Frank and Bird go to a diner, for lunch; Bird only agrees to go after Frank promises to tell her how to catch rats and about what Boy was like, as a child. Bird takes notes during the conversation. She doesn’t see her mother in Frank at all, which she finds strange because she finds Frank to be a forceful man. He denies having a syringe; Bird notes that she went back to the spot a few days later and wasn’t able to find it. Frank claims that a rat bit him on the face as a boy, which Boy had never heard. Frank believes that Boy is evil, but not the “powers of darkness or something you can protect yourself from with crosses and holy water”; rather, Boy is a kind of evil that “studies the ordinary and imitates it” (261).

Arturo shows up at the diner, worried sick about Bird. When Frank is forced to introduce himself, Arturo grabs him by the arm and throws him out, telling him not to look back. Frank wonders why he would want to. As it turns out, the waitress, who had previously been Bird’s babysitter, had called Arturo.

Bird overhears Boy talking to Charlie on the phone. Boy had called Charlie believing that he had told Frank where to find them (he had not). They spent some time catching up with one another. Charlie is happily married with kids. Bird hears Boy tell Charlie she loves him, to which he asks why, which Bird believes to be “the worst thing that can happen when you tell someone you love them” (266). She notes that Boy wears sunglasses for several days following that.

Shortly thereafter, Bird calls Mia to try to get her to come over to make her mother feel better, as Mia hasn’t been around lately. She tells Mia about her encounter with her grandfather, and that Frank had said Boy is evil. Mia asks Bird to put Boy on the phone, but Boy is sleeping. Boy and Arturo fight about her relationship with Mia and whether or not Mia is being a good friend. Bird mails her notes from the diner to Mia; when she doesn’t acknowledge them, she believes they got lost in the mail. 

Part 2, Chapter 6 Summary

Snow arrives early, a few days before Thanksgiving. Bird finds her playing the piano and immediately finds her “out of the ordinary” (271). They look at each other in the mirror; at first, Bird doesn’t see the resemblance, but Snow reminds her of wanting technically impossible things to be true, and then Bird sees their reflections embracing one another.

Bird and Snow spend the afternoon together. Bird tells Snow about Frank; Snow tells her that Frank is wrong about her mother. “You know that’s not true,” she says. “I don’t know what she is, but evil isn’t it” (273). From the room they can hear people coming to visit but leaving them be and leaving their “offerings” on the kitchen table. Later, when they go to the kitchen, Bird is amazed to see that there is so much food that there isn’t any space left. She tells Snow that she’s never seen anything like it; Snow agrees, but Bird sees that it isn’t genuine, and that Snow is bored by it. She briefly hates Snow, but reconsiders, deciding that this isn’t something she does to people, but “something we do to her” (274).

Part 2, Chapters 5-6 Analysis

Boy, Snow, Bird is magical realism, and scenes like the picnic scene make this readily apparent. The tricky part about the genre, however, is that it’s often difficult to tell what we should take at face value and what is mistaken perception. Back in Part 1, when Boy imagines a bloodied version of herself drawing her into the woods on Ivory down, should we take what she sees at face value or as an apparition and, perhaps, portent? Or is she hallucinating because she hasn’t eaten anything yet? Further, does it truly matter?

It’s the same sort of thing with characters’ difficulty with mirrors: do Boy and Bird believe what they do about mirrors as a coping mechanism, or is it really happening? Is Snow playing along with Bird, or does something similar really happen to her? This chapter includes, arguably, the strangest of these supernatural elements, as Bird is embraced through a flag and kissed by a male figure who is not there, even when she looks directly at him. This is, of course, what Charlie did for Boy two decades prior, with the very same flag, and Bird seems to recognize that what was happening wasn’t meant for her, but it’s less clear why it is happening. Inanimate objects in this world have life: Flax Hill is a town of craftsmanship and process, and while the flag was not made in Flax Hill, perhaps Boy has held onto it—and her love for Charlie, as we discover—for so long that the memory has been imbued onto the flag, giving it a kind of life. Or, perhaps Bird fell asleep and dreamt the whole thing.

Frank’s appearance is surprising, given how much time has passed without him discovering where Boy is, and even more so in the way he introduces himself. He is unhinged, and we never discover what was in the syringe, as it was never recovered. It is interesting to note, though, that Frank’s understanding of evil mirrors several other aspects of the novel. For one, evil is banal; it imitates the ordinary. This could be read as a comment on passing, but not in the same way as Snow or Effie. Frank recoils from Bird; it’s clear that he is prejudiced against his granddaughter—and, likely, Arturo—so it would be more accurate to interpret this as that people like Frank believe that people of color who try to pass and become “ordinary” are evil. Secondly, it could be viewed as another commentary on Snow, who is frequently accused of imitation, notably by Boy (who would likely be horrified to discover another parallel between her treatment of Snow and Frank’s treatment of her). That said, the novel has spent a lot of time connecting Boy to evil tropes while simultaneously undermining them. Here, Frank makes several claims about Boy’s evil that are unfamiliar to the reader and are therefore difficult to verify. It’s hard to see how Boy tries to imitate the ordinary, though, except in that she seems to want an ordinary life. Given what we discover about Frank in the next section, perhaps this is why she is evil: she is symbolic of that which robbed Frank of his own normalcy, yet simultaneously desires her own. 

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