69 pages • 2 hours read
Victor LavalleA 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: The source material for this study guide includes depictions of domestic violence, child abuse, and the death of a child. It also describes instances of parents attempting to kill their children and references death by suicide and racist attitudes.
The novel begins by describing itself as a fairy tale. It begins in 1968 when Brian West, a New York parole officer, meets Lillian Kagwa, a Ugandan American secretary, at the modeling agency where she works. Lillian migrated from Uganda after her cousin was killed by paramilitary agents.
Brian initially comes to visit Lillian’s employer, who is his parolee, but soon starts returning to see Lillian instead. Worried that Brian will eventually uncover his fraudulent business operations, Lillian’s employer fires her. Lillian moves to a new secretarial job but resents Brian for how he’d affected her employment situation. Eight years later, Brian asks Lillian out on a date, and they go to dinner and a movie. Brian indicates his strong desire to become a husband and father. When he suggests that Lillian could be a good mother, she notes that he is being too forward. During the movie, Lillian realizes they have a connection. Soon after, they have sex, and Lillian becomes pregnant with their only son, Apollo, who is born in September 1977. Four years later, Brian vanishes.
After Brian disappears, Apollo has a recurring dream of a man who knocks on their front door. The man pulls off his face and reveals that he is Brian, but then he spews out a cloud from his mouth. The dream ends with Brian picking up Apollo and moving toward the sound of running water. Apollo is traumatized by something Brian says in the dream: “You’re coming with me” (8).
Lillian reverts to her maiden name and Apollo, too, becomes Apollo Kagwa. In 1989, when Apollo is 12, he is home alone and about to take a shower when he hears someone knocking on the front door. Remembering his dream, Apollo cautiously opens the door, but he finds no one there. Instead, someone has left a cardboard box at the door; it is marked “Improbabilia.” Apollo takes it inside.
When Lillian returns homes and sees the box, she tells Apollo that it belonged to Brian. She is shocked to see it and assumes that Apollo went through her closet to find it. As Apollo is explaining what actually happened, he is interrupted by the shower, which he’d left running—the water is spilling out of the bathroom. Lillian leaves to make sure the water hasn’t leaked into their neighbor’s apartment.
Apollo examines the contents of the box, which includes Outside Over There, a children’s book by American author Maurice Sendak. Since Lillian isn’t a reader, Apollo cannot bond with her over his love of literature. To compensate, Lillian starts bringing home reading materials from her office. She is appalled when Apollo starts renting them out to their neighbors, but Apollo explains that he needs to do something with the magazines and books after he’s finished reading them. He convinces Lillian that he has established a viable business in their neighborhood. Lillian encourages him by designing a business card. Apollo names the business “Improbabilia.”
Apollo focuses more on his bookselling business than on his academics. He becomes the informal apprentice of several booksellers, but he is shunned by others. He establishes a personal mantra to overcome his anxiety: “I am the god, Apollo” (19).
In 1995, Apollo is set to study at Queens College when a mentor gifts him with a memoir entitled Confessions of a Literary Archaeologist by the American book collector Carlton Lake. Lake’s anecdote about finding French poet Charles Baudelaire’s annotations in one of his books inspires Apollo to skip college and devote his life to book collecting.
Apollo goes to an estate sale to look through the book collection of an elderly couple who dabbled in the occult. There, he discovers a postcard signed by the British occultist Aleister Crowley. When Apollo feels the impulse to share his excitement over this discovery, he decides to start a family.
Apollo goes to a library sale, where he is impressed by a librarian who deftly assists a noisy patron, as well as a mother and child looking to buy some picture books. Apollo asks the librarian, Emma Valentine, out to dinner. Though she declines, Apollo persists and keeps asking her out. She finally accepts five months later.
Over dinner, Emma reveals that her older sister Kim raised her after their parents died. Aside from Kim, Emma considered her local librarian, Ms. Rook, a secondary guardian. Ms. Rook used to play movies for Emma while waiting for Kim to pick Emma up. At some point, Emma watched a Brazilian film called Quilombo and fell in love with Brazilian cinema.
Apollo tells Emma he wants his future children to think of him as a good father. Though Apollo immediately regrets saying this, Emma explains that the reason she initially declined Apollo’s invitations is that she is moving to Brazil.
Apollo frequently writes to Emma in Brazil, falling more in love with her. A year later, Emma announces she is returning to the United States and hopes to see Apollo at the airport. Though Emma’s flight is delayed, Apollo waits for her, and she is moved to see him.
While eating a late dinner, Apollo notices a red string tied around Emma’s wrist. Emma says an old witch gave her the string. The witch urged Emma to make three wishes and promised that they would come true once the string naturally fell off her wrist. Taking a risk, Apollo cuts the string off with a knife and promises to make Emma’s wishes come true.
Apollo, now expecting a child with Emma, visits Mrs. Grabowski, a Ukrainian American widow in Queens, to look through her late ex-husband’s book collection. Apollo is antagonized by the widow’s son, whom Apollo mentally calls “Igor.” Nevertheless, Mrs. Grabowski is insistent on closing a deal. Apollo assesses that most of the books are too damaged to buy. Out of pity for the widow, he buys one rare book and one common book for $50.
Apollo meets with Emma and her childhood friend, Nichelle, at an expensive French restaurant, where the maître d’ gives him a sport coat to meet their dress code. The three talk about Emma’s pregnancy, Nichelle’s writing job, and Apollo and Emma’s plans to have a natural childbirth at home. Apollo is quietly shocked as he glances through the meal prices on the menu. Emma and Nichelle each order a main while Apollo sticks to the bread basket.
When Emma goes to the bathroom to relieve her nausea, Nichelle reveals that Apollo has already granted two of Emma’s three wishes: “A good husband” and “[a] healthy child” (48). She starts to discuss the third wish by revealing that Emma had once explored an abandoned Brazilian factory with a Dutch photographer. The photographer wanted to take photos of Emma, but she wanted to learn how to take photographs. When the photographer left his camera unattended, she took a nude photo of herself, and the photographer included it in his next show. Emma has always willed what she wanted into existence.
Nichelle urges Apollo to pay attention so that she can reveal Emma’s third wish without violating her trust. Suddenly, the waiter calls Apollo to help Emma in the bathroom.
Nichelle pays for dinner as Apollo tries to call Kim, who is Emma’s sister and midwife. Kim agrees to meet them at home, though she cautions Apollo that it may be false labor. Apollo takes Emma down to the subway station, and his phone loses signal, which cuts the call. Apollo is anxious because the only reason he agreed to a natural childbirth at home was because Kim would help them through it.
On the subway train, a group of young dancers perform for the commuters. Emma is annoyed as she struggles with her nausea. At the next stop, a mother comes on with her two children. They sit across Apollo and Emma. Apollo repeatedly whispers to Emma that he is excited to meet their child. On their way to the next stop, the train stalls.
Apollo tries to recall as much as he can from the Bradley Method classes he attended with Emma. Emma moans through her labor pains, which draws the dancers’ attention. Apollo sends one of them to find the conductor while the others assist Emma. The conductor arrives, reporting that they won’t make it out of the tunnel in time. The dancers try to give Apollo and Emma some privacy. The mother on the train helps Emma to relax. Apollo starts to deliver the baby.
Apollo delivers their child—a boy—just as Emma’s water breaks. Apollo asks Emma if they can name him Brian.
After a period of recuperation at the hospital, Apollo helps Emma and baby Brian to settle at home. He then goes through the house, cleaning up and imagining how he might refurbish one of the rooms for Brian. Kim and Lillian visit, and they help Emma to breastfeed Brian.
Patrice Green, Apollo’s bookseller friend, invites him to an estate sale, but Apollo declines. Later that night, Apollo closes a deal on the rare book he’d acquired from Mrs. Grabowski.
A few months later, Apollo brings Brian to an estate sale, where they meet up with Patrice. Patrice, an Iraq War veteran, became a bookseller after graduating in library studies. Patrice has already set aside some books to buy. He has spared the basement, however, for Apollo to examine himself. They agree to split the profits of their respective discoveries.
In the basement, Apollo sets Brian on a blanket while he searches for books. He keeps talking to the child, telling him about his namesake, as well as the appearance of the mysterious box; Apollo rationalizes that the reason his father had left the box but remained absent was that he wanted to send Apollo a sign that he loved him. As Apollo changes his son’s diapers, he tells him about Outside Over There. In the book, goblins take the baby sister of a little girl named Ida while she’s looking out the window.
Apollo takes pictures of his sleeping son, which he sends to Emma and posts on Facebook. Having found nothing of value in most of the book boxes, he slowly inspects the last one.
Apollo is overjoyed when he finds an original first edition of Harper Lee’s To Kill a Mockingbird. The book includes an inscription by the author made out to another American literary titan, Truman Capote.
Apollo cannot believe his luck and, back at home, he speculates on the book’s retail value. He retrieves his father’s Improbabilia box and replaces Outside Over There with To Kill a Mockingbird. He also places Emma’s red string inside, as well as the common book he’d bought from Mrs. Grabowski the night Brian was born and the driving ticket he’d been given on the way home that day. He hopes to share the stories behind these objects with his son one day.
The novel opens by describing itself as a “fairy tale.” This establishes several expectations, calling to mind the patterns of popular fairy tales and what this could mean for the shape of the story to come. One such expectation, for instance, is the involvement of magic in moving the plot. Later, the novel will invoke the fairy tale of “Rapunzel,” which includes an enchantress among its characters. Yet, in the opening chapters of The Changeling, references to magic are very sparse, which underscore them more in the moments they do appear. For one thing, Brian West’s disappearance from the Kagwa household comes across as a mystery, and this is complicated by his sudden reappearance as a faceless man in Apollo’s dreams and by the arrival of the Improbabilia box. There is also the story of Emma’s encounter with the witch in Brazil, which hints at magic though it does not confirm it. Though these details manifest at the edges of the plot, they create the possibility that magical details will loom larger over the story as it progresses. This sets The Magic That Underlies Everyday Existence as one of the novel’s major themes.
Notably, the novel introduces the protagonist, Apollo Kagwa, by briefly telling the story of his parents, Brian West and Lillian Kagwa. This is important because Apollo’s family history provides a contrast to his philosophy and approach to parenting. Young Apollo is characterized by his reaction to his father’s abandonment. It lowers his self-esteem to think that he was worth abandoning, yet he continues to feel an attachment to his father—this is symbolized by their shared love for books. Apollo’s love for books even evolves into a career, so the world of literature functions as a kind of surrogate for his father in teaching Apollo how to navigate the world. For instance, Apollo makes the important decision to become a book dealer right after finishing high school because he reads an impactful memoir about book collecting and literary archaeology. He, too, becomes obsessed with finding a personal kind of magic—that is, the magic of discovering literary secrets and artifacts.
However, Apollo decides to start a family when he realizes he is lonely because he loses himself within books and has no fulfilling personal relationships. He wants to share that life with someone, so he finds a partner in Emma, a librarian who knows how to defuse tense situations and attend to other people. Tellingly, Apollo does not consider the possibility of being attracted to anyone else, even after Emma announces that she is leaving the country for an extended time. Apollo’s perception of Emma aligns with the best characteristics of his parents: She is a fellow book lover, but she is also highly organized and attentive. When Nichelle talks to Apollo in private, she raises the idea that Emma is so much more than what Apollo sees. Her lifelong fascination with magic has developed into a kind of willfulness that Nichelle describes as a preternatural quality. This gives rise to the three wishes that Emma had made to the witch. Although Apollo has almost completely fulfilled his promise to make those wishes come true, the third wish remains an enigmatic part of Emma’s character. The potential for tension not only arises in Apollo’s desire to know the third wish, but in the question of whether he is equipped to resolve it. Apollo’s initial perception of Emma is very simplistic—he idealizes her as if she were a beautiful, virtuous princess in a fairy tale. However, Nichelle’s descriptions of Emma reveal that Emma is more complex and layered than Apollo realizes, indicating another of the novel’s themes: The Shortcomings of Simplistic, Moralizing Stories. Real people are more complex and harder to categorize and judge than characters in fairy tales.
These early chapters end with the birth and the first days of Brian Kagwa, which cement The Challenges of Modern Parenting as a major theme. Caring for baby Brian offers Apollo a chance to correct his relationship with his own father, Brian West. While the elder Brian’s fatherhood is characterized by his absence, Apollo approaches fatherhood by being as present as possible for his son. His desire to store mementos of happy times of baby Brian’s early life in the Improbabilia box is a sign of Apollo’s hope for the future and his desire to overwrite his own trauma with his love for his son. Apollo sees fatherhood as an opportunity to correct the wrongs done to him.
By Victor Lavalle