51 pages • 1 hour read
Julie OtsukaA 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 5’s narration remains in second-person point of view but is now addressing Alice’s daughter as “you” instead of Alice. The daughter realizes, in hindsight, how many warning signs of Alice’s condition she overlooked before her dementia was finally diagnosed. Even when changes in Alice’s memory and behavior became fairly obvious, her daughter didn’t recognize their significance. In part, this was because of all the things Alice still remembered. She didn’t realize that long-term memories are more resistant to dementia in its early stages.
When Alice got confused or forgot things she’d once known well, her daughter acknowledges she was in denial that it meant anything. For as long as she could remember, Alice was always healthy, beautiful, and strong. It seemed unfathomable that anything could be really wrong with her. Gradually, however, she developed fixations. She complained about everything and hoarded nonperishables in preparation for a giant earthquake she’d long feared. She began to repeat stories over and over, especially stories about the Japanese detention camps in World War II. Once, Alice’s husband couldn’t find her. Hours later, he finally located her in the garage, sitting in the car, waiting to go for their Sunday drive.
When Alice’s doctor diagnosed her with frontotemporal dementia (FTD), he explained this causes personality changes, inappropriate behavior in public, apathy, and urges to hoard, among other things. He told Alice’s family it was terminal. Suddenly, the changes and odd behaviors Alice had been exhibiting made sense.
Alice’s daughter thought of Alice as always being so stylish. She loved shopping, and her hair and makeup were always flawless. After the onset of her dementia, she struggled to even dress herself. Her daughter considers the toxins present in so many everyday products and wonders if any of them are to blame. She also wonders if she’s to blame, recalling the distance she created between her and Alice as soon as she reached adulthood, though it was clear Alice still wanted a close relationship. She found Alice’s efforts at closeness exhausting.
Even when she wasn’t actively pulling away, Alice’s daughter feels as though she made no efforts to be there for her mom. Now she feels overwhelming guilt for this. When Alice’s mother experienced declining health, Alice took excellent care of her, visiting her at the nursing home five days a week for four years. Alice took her mother’s death very hard, though she lived to be 101 years old. Now, her daughter is unable to live up to the example her mother set, unable to provide the same level of care.
Alice’s husband has a difficult time adjusting to her being gone after she moves to Belavista. He lives as if she will be returning home soon and leaves her Post-It reminders all over the house, just in case. He insists her bedding be left on her bed. He keeps up with routine maintenance on Alice’s car and saves every magazine that comes for Alice in the mail. This all reminds Alice’s daughter of the story of the two songbirds her father had as a boy in Japan. When one died, the other was inconsolable, refusing to eat or sing. It seemed to be on the verge of dying when his mother put a mirror in the cage. The bird began to eat and sing again and lived many more years. Alice’s daughter wonders if the bird saw its own reflection in the mirror or its dead mate, or if the two were one and the same.
Throughout the time Alice is at Belavista, her husband doesn’t openly acknowledge that she’s never coming home. He worries about her, though he tries to stay positive and remains hopeful about her condition. He keeps up with his hobbies, like gardening, to stay busy. He even designs and builds a rock garden outside Alice’s old window. To his daughter, he seems to be living in the past, as if Alice were still at home.
Alice’s daughter learns that during her first few days at Belavista, Alice was in a panic. The first time her daughter visited, Alice thought she’d come to take her home. Another time her daughter visits, much later, Alice is waiting with her clothes stuffed into a pillowcase. She says to her daughter, “They’re sending me home today” (151). She tells her roommate every day that her husband is coming to get her. She still remembers to make kind, albeit small, gestures to those around her, like paying compliments and offering comfort. Her desires have become so small and simple. She doesn’t ask for much and says thank you for every task done for her.
When Alice’s husband visits, Alice tells her daughter he looks like he’s getting old. She asks her daughter, “Didn’t everything used to have a name?” (161). Over time, her daughter observes Alice becoming more frail and confused. Eventually, she can no longer walk safely and is put in a wheelchair. She’s quieter and doesn’t smile anymore. Visitors may see brief flashes of her old self, but these are few and far between. She gets to a point where she doesn’t speak much at all, and the last complete sentence she ever says is: “It’s a good thing there’s birds” (167).
Alice’s health fades until her daughter barely recognizes her. Two years after Alice stops speaking, she grips her daughter’s arm during a visit. Her daughter feels like she’s being held and is overcome by a sense of calm for five wonderful minutes. Most of the time now, Alice seems indifferent to her daughter’s visits and barely acknowledges her departure. If she recognizes her daughter, she has already forgotten her by the time she reaches the exit. On one of her last visits, however, Alice’s daughter is on her way out when she turns to see Alice’s hand raised in an affectionate wave.
After Alice dies, her daughter pays to have Alice’s brain analyzed by a renowned neurologist. The neurologist confirms the frontotemporal dementia diagnosis and specifies Pick’s disease as the subtype. Slides of Alice’s brain tissue will be presented at an international neurology-neuropathology conference in Paris called “The Euroneuro” (170).
In the wake of Alice’s death, her daughter develops insomnia. She tries every imaginable remedy, but nothing works. Alice’s husband, on the other hand, finally gets a continuous positive airway pressure (CPAP) machine and starts sleeping soundly for the first time. Feeling energized, he takes down all the Post-It notes and buys a better bed. Together, Alice’s husband and daughter go through her belongings; her old makeup and toiletries, hoarded magazines and newspaper clippings, expired coupons, and a pile of cheap, unused purses in her closet.
Alice’s daughter can’t find any of the jewelry Alice bought to replace her pearl necklaces. The pearls were brought from Japan by Alice’s father and stolen from Alice at the airport. She had planned to give them to her daughter, a sort of cultural inheritance. All the other family heirlooms her daughter should have inherited, Alice told her, were destroyed during the war.
Part 5 ends with a memory Alice’s daughter has of visiting Alice in Belavista. She’s unsure if her mother remembers who she is. She shows Alice a copy of her newly published book. Alice looks back and forth between the photo on the back cover, the byline, and her daughter’s face. She hasn’t spoken in over a year. She looks like she wants to say something to her daughter, but she doesn’t.
In Part 5, the narrator again takes on the perspective of Alice’s daughter. The tone, similarly, returns to the author writing to herself in a therapeutic search for meaning. This helps explain why the section is titled “Euroneuro,” despite the neuropathology conference in Paris earning only a brief mention. Obtaining scientific confirmation of her mother’s diagnosis after her death symbolizes Otsuka’s efforts, in hindsight, to make sense of everything her mother and family went through. Within the novel’s structure and narrative arc, nontraditional as they are, Part 5 can be viewed as the story’s resolution. It represents the author’s real-life search for elucidation and meaning.
Otsuka’s catalog of the signs she overlooked, all the ignored red flags that her mother wasn’t okay, contributes to a salient tone of guilt in Part 5. The narrator’s descriptions of seeing Alice suffer, the comment about not knowing why she and her mother weren’t closer, and the comparative portrayal of Alice taking excellent care of her own mother, all support a palpable sense of the authors’ feelings of guilt and regret. Otsuka’s style, characterized in Part 5 by powerful imagery and intimate details, makes this emotional pain tangible.
Depictions of Alice’s transformation over time can seem inconsistent or even contradictory. As her personality and behaviors change due to dementia, she complains more, worries more, and needs more, yet the narrative also presents her as always making kind gestures, asking for little from Belavista staff and her family, and never forgetting her manners. These contradictions develop the depth of her character and reflect the complexities of real human experience and growth. The physical changes to her body and the cognitive changes to her mind seem to go solely in one direction—decline—yet there’s an inner strength of character she still shows now and then, and her daughter knows it’s still inside her. Dementia may have changed her, but her moments of optimism and joy in Part 5 and her undiminished kindness demonstrate how the author still honors her life and the person she was at heart.
Alice’s husband, her daughter, and Alice herself can all be seen going through the stages of grief in Part 5. Alice mourns the loss of her memory, her freedom, and her identity as her dementia progresses and she leaves her old life behind to live at Belavista. Her wedding ring, left behind when she was sent there, symbolizes this loss of her identity. While her belief that her husband or daughter will be taking her home any day is a symptom of memory loss and cognitive degeneration, it can also be viewed as part of the denial stage of grief.
Alice’s husband, too, seems to be in denial that Alice’s condition is terminal, based on his refusal to make changes around the house after she goes to Belavista. Once she dies, he finally does all the things he’s been needing to do for himself. This is what the acceptance stage looks like for him.
Acceptance for Alice’s daughter is less clear-cut. The authorial tone of guilt signifies full acceptance probably hasn’t been reached yet. She describes certain moments, however, that seem to offer her comfort. The interaction in which Alice, who hasn’t spoken in two years, grips her daughter’s arm and her daughter is overcome by a sense of calm, suggests her daughter feels forgiven, at least in that moment. Her description of Alice waving goodbye on one of her final visits conveys a similar sense of forgiveness and acceptance as if Alice is telling her she’s at peace and her daughter can let go of her guilt.
The difficulty Alice’s husband has adjusting to her no longer living at home also deepens another of the novel’s themes, communal versus individual identity. Unlike the swimmers in earlier sections, Part 5 deals with the community of family, even the two-person community of a marriage. Alice’s husband may not have reflected much on how his wife and his marriage shape his individual identity or the shared identity that exists between the two of them, but it becomes apparent when she’s gone. He finds himself looking for her or imagines he sees her washing dishes because after being married so long, they define each other. He isn’t sure who or what he is without her.
Part 5’s story of the two songbirds symbolizes this thematic idea. Alice’s husband couldn’t tell which bird died because the two looked exactly alike; in other words, they had a shared identity. For the surviving bird, seeing itself in the mirror is the same as seeing its mate. The shared identity between Alice and her husband coexists and overlaps with their individual identities rather than replacing them. Like the songbird, Alice’s husband feels as though he’s lost part of himself when his mate is gone. Rather than a mirror, his healing requires time and closure. Alice’s last complete sentence, “It’s a good thing there’s birds” (167), echoes an optimism that the birds in the story can teach a valuable lesson: When someone connected to a shared or communal identity dies, part of that person still exists within their loved ones.
After Alice’s death, her daughter and husband must go through her things, which asks what one’s belongings say about them after they’re gone. The answer is perhaps unimportant; it matters only in that it prompts an exploration of what makes up a person’s identity. Belongings are merely symbolic representations of identity. Alice’s pearls, for example—her last family heirlooms from Japan—symbolize her daughter’s cultural inheritance. Now, even the replacement jewelry, like the last of Alice’s memory, is lost. Her daughter must decide what she believes remains of Alice and her legacy after her death.
The book’s ending, in which Alice looks back and forth between her daughter and her book and appears to want to say something, conveys a sense of desperation, a need to know what Alice wanted to say, and an attempt to defer loss. The imagery evokes the idea that Alice isn’t ready to lose the last vestige of the woman she knew within this stranger’s body. It’s a moment that also evokes the frustration and fear of losing one’s memory, one’s speech, and one’s sense of self. The choice of such an imperfect resolution for the concluding scene demonstrates that in real life, there are no complete or thorough answers.
By Julie Otsuka
Asian American & Pacific Islander...
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