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34 pages 1 hour read

Carol Shields

The Stone Diaries

Fiction | Novel | Adult | Published in 1993

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Symbols & Motifs

Stone

A recurring symbol in the novel is the stone, which appears in many forms throughout, from the literal stones that are carved from the quarry in Manitoba to the name “Stone” present in the title. In some way, stones have literally and figuratively shaped the lives of the characters. Cuyler and Magnus are both stonecutters in Tyndall, a small village known for its stonecutting business. Cuyler becomes well-known for building stone monuments, both the tower on Mercy’s grave and the pyramid in Indiana. Daisy’s mother, Mercy, is given the surname “Stone” because the Stonewall Orphanage gives this name to children of unknown parentage.

Both the name and the rock itself are used to build connection and a solid sense of identity that seems to contradict an actual stone: cold, hard, unforgiving. Similar to the way Cuyler carves the rock with words and pictures, the narrative carves the stone into Daisy’s picture of a family. She even imagines herself turned to stone at the moment of death. As Daisy notes, “Life turned to stone” (301); this comment is meant as a reassuring statement of life rather than a pessimistic view of death.

Gardens and Flora

A love of flowers and gardens ties together most of the characters. Daisy, named after a flower, takes pride in her home garden and thinks of it as her “dearest child, the most beautiful of her offspring, obedient but possessing the fullness of its spaces” (196). She likes the control and creativity her garden yields. Later, she becomes “Mrs. Green Thumb,” sharing her gardening tips with devoted readers of the Recorder. Barker was originally “Mr. Green Thumb,” having studied botany and horticulture. He is obsessed with the lady-slipper, a flower he describes as “sensuous” and “his” (45-46). Perhaps both Barker and Daisy learned their love for flora from Barker’s mother, Clarentine, who made her living as a single woman selling flowers. In a letter to Cuyler in 1916, Clarentine notes how “the world has discovered the happiness that simple flowers can bring to an otherwise dreary wartime existence” (54).

We are also introduced to the “Flowers,” the ladies who live in Daisy’s condo complex. They all are named after flowers: Lily, Myrtle, and Glad. Together with Daisy, they become the popular clique among the retired Floridian condo residents. They become Daisy’s new family, helping her cope with retirement and feel at home after she suffers her heart attack.

Later, Victoria, Daisy’s grandniece, studies paleobotany in college, learning about older plant life and searching for fossil evidence of it in Scotland. She adds a new dimension to the novel’s recurring symbol of flora. Whereas Daisy, Barker, Clarentine, and the Flowers identify with flora in the present, defining themselves through their ability to make a living through their passion, Victoria studies flowers and plant life in the past, embodying the novel’s concern with family history and understanding where one comes from.

The Family Tree

A family tree included at the beginning of the novel shows the relationships between the main characters and the wide span of Daisy’s family over time. This illustration is symbolic and key to understanding the novel’s engagement with family. Daisy and Victoria both struggle with not personally knowing one of their parents—Daisy her mother, and Victoria her mysterious father. Later in her life, Daisy becomes obsessed with learning more about where she comes from, though, interestingly, this obsession takes form with Barker’s father, Magnus, rather than her own mother. Still, Daisy continuously battles with not feeling connected to her mother, Mercy, who died during her birth. Victoria claims to be unconcerned with knowing who her father was, but she understands Daisy’s curiosity about family because she identifies with unknown connections.

Some characters know exactly where they come from, like Barker, Alice, Warren, and Joan, yet still feel out of place and lost among the known. Barker especially laments not being more connected to his father and brothers. The juxtaposition of the inner-narrative family mystery and the fact-like illustration of familial connection in the family tree lines adds to the irony and satire of autobiography that the novel displays: We, the omniscient reader, know exactly who is related to whom, but the characters are often left in the dark about who they come from.

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