47 pages • 1 hour read
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Carol comes to from her fainting spell. She’s disoriented. Her family helps her toward the car. She suddenly feels overwhelmed and grief-stricken about leaving the ranch and the fact that it has sold. She tells her father about the seed in the closet that she planted and that she’s been seeing bees all summer. Serge gently coaxes Carol into the car, offering to tell her the end of the story.
The villagers continued to die, some in the Great War, others in their sleep; the tree’s magic was gone. Raúl grew up quickly. The land where the tree (now just a shriveled stump) used to grow got drier. Rosa and Sergio argued; Sergio angrily said that they shouldn’t have destroyed the tree. Rosa suggested that doing so allowed them to live more fully, but Sergio pointed out that it would kill them too. A swarm a bees arrived beside the family; Sergio protected Rosa, but Raúl was stung all over his face and body. The bees took the lake away, drop by drop, until the family was left in a dry desert. Drought had begun.
Carol finds the city stifling and overwhelming; she misses the ranch. She receives a text from Gabby asking if she’ll come to a pool party with lots of their school friends, but Carol responds that she’s too tired. The next day, she goes shopping with friends; they buy matching messenger bags for school.
The family visits Serge in The Seville. Carol is distressed by the center’s prison-like security and by the fact that Serge is sleepy and disoriented: He has been given sedatives. Outside his room, Carol asks Raúl what happened between him and Serge. Raúl agrees to tell her, beginning with, “Once upon a time, there was a tree stump” (256).
A police officer dropped Raúl back at the ranch. It was a familiar routine. Serge grounded his son, but Raúl angrily packed his bags and left. Rosa returned. Serge told her that Raúl was gone. Calmly, she said that he’d be back one day. Suddenly, Rosa collapsed; she was sick.
Raúl explains to Carol that his mother had cancer, but Serge wouldn’t let her leave the ranch to get treatment.
Carol walks to junior high school with her friends. She’s distracted by thoughts of Serge and the ranch. When students introduce themselves and their preferred nicknames, Carol says that she prefers Carol (as opposed to Carolina) and that she spent the summer on her grandfather’s sheep ranch in the desert. The teacher tells her that her grandfather must be happy that the drought has broken; Carol hadn’t heard about this and is amazed.
At home, Carol rushes to tell her mother about the rain. She asks if they can go to see Serge, but Patricia has errands to run. Carol tries to call The Seville, but Serge doesn’t pick up. She goes to sleep but wakes up at one o’clock in the morning; it’s still raining. She sees Alta’s car keys.
Carol takes Alta’s car and drives through the rain to The Seville. She considers that she would have introduced herself differently in class if she was given the chance. The Seville is locked, but she remembers the door code that her father used. A nurse rounds the corner, but a bee flies in her face, distracting her as Carol sneaks by.
Serge is slow because of the sedatives but eventually recognizes Carol and hears that it’s raining. He asks her to take him home. He instructs her to wait out in front with the car. She tells him the code for the door, but he quickly forgets it and trips the alarm on his way out. Patricia calls Carol. Carol assures her that she’s safe and hangs up. Carol asks Serge how the story ends; Serge tells her that it ends with death.
As they near the ranch, Carol loses control of the car, which flips and rolls. It comes to rest in a green lake.
Carol opens the car’s convertible roof, and they climb out. Amazingly, a large, black tree stands on the lake’s shore. Carol realizes that her phone is gone and goes to the ranch to use the landline. She manages to call 911, but then the connection is cut off. She returns to Serge, who is climbing into a boat. He urges Carol, whom he calls Rosa, to get in. They paddle into the lake, but a wave capsizes the boat. Carol helps her grandfather climb back into the boat. She’s washed against the tree’s roots, which seem to hold her. She sees bees bringing drops of water to the lake, which the tree seems to be drinking. Reflecting that she must be dreaming, she passes out.
Carol wakes in the branches of the tree, 30 feet above the lake. She jumps into it and swims to the shore, where Serge lies. He weakly comments on the amazing return of the water by the bees.
A rattlesnake appears. It lunges at Carol, but the bracelet takes the impact of its fanged bite. It bites Serge, and he collapses in pain. Serge tells Carol that it’s all right and asks her to stay with him.
Carol is awakened by Alta, who has arrived with Raúl and Patricia. Alta is relieved that Carol is okay; she’s uncharacteristically loving and gentle. Carol confides that it hurts her feelings when Alta reminds her that they’re only half-sisters. Alta apologizes and admits that she found the summer on the ranch difficult; she felt excluded from the nuclear family of Raúl, Patricia, Lu, and Carol.
Carol and Serge are taken to the hospital by paramedics.
Carol has second-degree sunburn but is otherwise unhurt. Alta’s car can be repaired; Carol has to pay for the repairs out of her pocket money and lifeguard money.
Serge won’t live much longer; the doctor’s say that his organs seem very aged. The doctor comments on an old chair in the corner of the room that they call the “lucky chair” because patients tend to feel better after they sit in it. It’s made of black wood.
They go to say farewell Serge. Serge presents Alta with a wooden bracelet, like Carol’s but made of newer wood.
Alta, Patricia, and Lu leave. Serge tells Raúl that he must tell him the end of the story. He begins, “Once there was a tree stump” (317). Serge wanted Rosa to go to get treatment in the city, but it was she who refused to leave the ranch. One day, Rosa turned into white blossoms and floated away, leaving only a seed.
Raúl is shocked; he always presumed that it was the other way around: that Serge insisted on Rosa staying at the ranch as she was dying. Raúl tells Serge that he called off the sale of the ranch; he promises never to cut down the tree that Carol planted. Serge asks Raúl to feed Inés, and Raúl starts to cry. Serge whispers that the bees are coming, and then he dies.
Raúl, Carol, and Lu arrive at the ranch. Raúl was devastated to have to destroy the ranch house, which was full of termites.
They’re building a new home on the ranch property and plan to move there. Carol and Alta will attend the local school. They plan to go shopping later that day.
Raúl and Carol climb the tree and swim in the lake. Rather than sheep, Carol, who now prefers to be called Carolina, suggests that they could have beehives. A bee buzzes past, and Carol whispers a greeting to her grandfather. She teaches Lu, whom they now call Luis, the Spanish word for tree. She climbs into the tree and watches the stars come out.
Carol returns to her life in Albuquerque but finds that she’s irrevocably changed. Her discontent in the city foreshadows her return to the ranch; the sounds of the city are “deafening” and Carol feels that she can’t breathe: “I inhale a blast of car exhaust and cough for three straight minutes” (245). She interprets her surroundings using imagery from the ranch, illustrating that the ranch, rather than the city, now feels familiar, like home, and forms a baseline for comparison; this alludes to Nature’s Role in Shaping Identity as a theme:
When we pose in the mirror, our bags all slung over our left shoulders, I think of the sheep at the ranch, how they would stand so close together they blurred into a single pulsating puffball (250).
This metaphor comparing kids to sheep illustrates the pressure that Carol feels to fit in with the other kids at school. This same peer pressure led her to reject her Mexican heritage and shorten her name, a practice that other middle school students of Mexican heritage have normalized: “Eduardo, call me Eddie” (272). However, Carol’s confidence grows in these chapters, she embraces her Mexican identity. As she drives toward Serge and then the ranch, she reflects, “If I could stand in front of my class now, I would say different things. I am different. On the inside” (279). The text implies that Carol wouldn’t have told Mr. Adair to call her Carol but would have asked to be addressed as Carolina, reflecting her newfound pride in her heritage.
Similarly, Lu starts to be called Luis. Carol teaches him Spanish words, correcting his English: “‘Tree,’ Luis says. ‘Say árbol,’ I [Carol] say” (329). This conversation mirrors Serge and Raúl’s conversation when Raúl was a baby; Serge tried to encourage his son to use Spanish words, but Raúl was drawn to English, the language that Rosa suggested was the “language of the future” (214). In this anecdote, the family symbolically moves back toward their Spanish roots and toward their heritage in a broader sense, as the family’s move back to the ranch illustrates.
These chapters continue to explore The Power of Story in Identity and Connection as a theme. For Carol, Serge’s tale, which she previously dismissed as the entertaining but fantastical ramblings of dementia, takes on the significance of an origin story. This realization hits at the moment the family leaves the ranch: “The bees brought back the rain. Of all the things that have come out of Serge’s mouth, that sentence sounds the craziest. But it’s not. (234). Carol now believes the story. Her belief is confirmed when the rain comes after they leave the ranch. A bee, symbolizing Carol’s connection to Rosa and to the ranch, assists her with Serge’s escape by distracting a nurse, bolstering her confidence in the righteousness of the plan to return Serge to the ranch: “A familiar buzz sounds near my ear” (283).
Further tangible clues of Serge’s story appear in the hospital; the doctor observes of Serge that “his organs look like they’ve seen five lifetimes, not just one” (312). Carol smiles knowingly, conveying her acceptance of Serge’s story that he has lived for five lifetimes. Furthermore, the doctor refers to a chair of “smooth black” wood (which matches the description of the magical tree) that possesses healing properties; this further establishes Serge’s story as fact, not fiction.
The final chapters suggest that one should live bravely and fully, and have faith that new beginnings will follow. In previous chapters, Serge steadfastly expressed his belief that cutting the tree down was a mistake; this reflects his fear of the outside world, and of death, for himself, Rosa, and Raúl. However, when Carol and Serge lie beside the lake after the storm, he tells her, “I’m not afraid. Not anymore” (306). Serge advises Carol to live fully rather than letting fear dictate her life: “Squeeze the juice out of every day, Caro-leeen-a,” Grandpa says. “Do not be afraid to live…and you will not be afraid to die” (316). Serge finally realizes (as Rosa believed) that the tree was meant to be cut down so that the villagers, including Rosa and Raúl, could travel, explore, and be free, and that death is a part of life if one lives fully and authentically. Carol’s planting the seed, which quickly grows into a new magical tree, symbolizes the cycle of death and rebirth. The reflections are echoed in Carol, who ponders how “Death is around every corner at the ranch. But now, so is life. Isn’t one always part of the other? An old tree dies; a new one is born” (312).
The broader rejuvenation of the land echoes the cycle of death and rebirth: “Green grass shot out in an almost-perfect circle around the tree and the lake. An oasis” (327). The family had believed that with the combination of Rosa’s death, Serge’s dementia, and the drought, that the story had come to an end. However, Raúl saves the ranch and recommits to it, signaling a rebirth rather than a death: “‘That’s our ranch,’ Dad says, knotting his hands together. ‘It belongs to us. I don’t know what I was thinking. It’s our land. It always has been, and we shouldn’t ever let it go’” (323). Raúl’s reflections thematically allude to Nature’s Role in Shaping Identity; he believes that the family’s future is tied to the ranch, which is part of their story and their future. The Epilogue, which is chronologically at the end of the novel, both in its placement within the book and in terms of the story world, is called “The Beginning,” illustrating the paradox that endings also constitute beginnings, and implying that the family’s life on the ranch will continue for many happy years to come.
Aging
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Appearance Versus Reality
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Coming-of-Age Journeys
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Community
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Daughters & Sons
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Earth Day
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Family
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Fate
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Fathers
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Juvenile Literature
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Magical Realism
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Truth & Lies
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