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66 pages 2 hours read

A Little Life

Fiction | Novel | Adult | Published in 2015

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Part 2, Chapters 2-3Chapter Summaries & Analyses

Part 2: “The Postman”

Part 2, Chapter 2 Summary

Unlike any previous chapter, Chapter 2 is written in first-person narration, though without immediately identifying the speaker. The reader gradually realizes the speaker is Harold and he is communicating to Willem, though it is unclear whether the chapter is a letter or some other form of communication.

Harold attempts to explain the time period during which he gradually realized that he was going to share a deep parental connection with Jude. To do so, he starts by explaining his own background. He grew up happy, with a kind father and stepmother. His son, Jacob, died at five years old, though Harold does not reveal why at this point, speaking of his son as if Willem already knows the details about his death.

He explains that he became impressed with Jude quickly in law school because Jude was one of his only students who could separate the idea of “rightness” from the idea of “fairness.” He also feels guilty about his mentorship, however, because he taught Jude to think more like a lawyer, thus squelching Jude’s mental creativity.

Part 2, Chapter 3 Summary

JB, now a successful painter, finds out that a recent series he has completed will be showcased at a prestigious New York City gallery. The series features the paintings based on photographs of his friends that JB was working on in Part 1. When he began taking photographs for this series, Jude only agreed to be photographed on the condition that JB would ask him for final approval of each planned painting of him. Because JB brought Jude many photos for approval, Jude assumed JB was keeping his word about this condition. When Jude attends the gallery show, however, he sees two paintings based on photos he never approved, including one that depicts him right after one of his pain episodes. He feels betrayed, especially considering the vulnerable position in which this painting shows him.

Jude confronts JB with his feelings of betrayal after the show, but JB refuses to apologize or admit fault. As a result, the friend group splinters: Willem, whose acting career has now taken off and led to film roles, takes Jude’s side completely and cuts JB out of his life, while Malcolm thinks Jude has reason to be angry but is unwilling to sever ties with JB. After many months, JB relents and sends one of the paintings of Jude to Jude as an apology. Jude contacts him and accepts the apology, but he is distressed to have learned that even people who he thought had earned his trust could one day betray him.

That Thanksgiving, Willem and Jude go to Harold and Julia’s house as usual, and Jude is stunned when Harold and Julia tell him that they would like to adopt him. Although Jude is already an adult, they can pass their inheritance to him if he is their adopted son. More importantly, they recognize what the gesture would mean to Jude. Although Jude is initially overwhelmed with happiness, he falls into a state of acute anxiety over the next several weeks as he waits for the day the adoption will be legally finalized in court. He is consumed with fear that Harold and Julia will somehow find out about his past and react with revulsion, feeling they were tricked by a false version of him. To cope with his anxiety, he cuts himself “so much that even he knew how crazy, how destructive he was being” (192).

Jude remembers an earlier time he thought he was going to be adopted when a couple took him from the home for parentless children he was living in for a one-week trial adoption. Jude was on his best behavior, and Mrs. Leary hinted that the adoption was a likely outcome, but after the couple dropped him off at the home when the week ended, he never saw them or heard from them again. Jude becomes so anxious about the adoption that he goes to Harold and Julia’s house with the intention of confessing his past but loses his nerve at the last minute.

The day of the adoption arrives, and to Jude’s astonishment everything goes smoothly. All of his and the Steins’ closest friends attend the courtroom ceremony and a party afterwards at Harold and Julia’s house. As an adoption gift to Harold and Julia, Jude records himself singing some of their favorite classical music, but when the time comes to present the CD, he feels too self-conscious about the gift so he hides the disc, along with a handwritten letter, between some of Harold’s books on a shelf.

Part 2 concludes with a brief scene of Jude tutoring Felix, who is depressed about not having any friends. Jude comforts him by explaining how he, too, grew up with no friends but was able to find wonderful friends later in life: “You won’t have to work as hard at finding them as you will at keeping them,” he tells the young boy, “but I promise, it’ll be work worth doing” (210).

Part 2, Chapters 2-3 Analysis

Harold’s first-person communication to Willem, which recurs in future sections, is the only use of first-person narration in the novel. In all other sections, Yanagihara uses third-person point of view, limited to Willem and Jude from Part 2 onward except for one section that focuses on JB. This difference in point of view draws the reader’s attention and raises questions. Yes, Harold develops a relationship with Willem through Jude, as the reader has already begun to see in Part 2, Chapter 1, but it is unclear why Harold is seemingly writing to Willem and why is he retracing the intimate contours of his history with Jude. Form itself acts as foreshadowing here, forcing the reader to wonder what has happened to prompt Harold to relate such detailed reminiscences.

The story of Jude’s adoption in Chapter 3 marks one of the greatest emotional highs of the novel. Just as Jude’s story descends to horribly low lows, so does it ascend to cathartically high highs. Although nothing particularly exciting happens at Jude’s adoption—the court process occurs as expected and the party features nothing more than cheerful mingling and gift giving—Yanagihara nevertheless goes into great detail, spending dozens of pages on the event. Her care reflects Jude’s perception of the event. He gave up hope of having parental figures decades ago, and the fact that someone would voluntarily choose to claim him as their own is beyond his comprehension. All he can do is bask in the glow of his joyful disbelief.

Despite this emotional high, Chapter 3 also highlights several aspects of Jude’s psyche that will trouble him for the rest of his life. First, he struggles to conceptualize degrees of betrayal; he sees the world as populated, on the one hand, by people who would betray him and, on the other, by an extremely small circle of people who will not. When JB paints unapproved images of him, he moves JB from the latter category to the former in his mind. These mental designations allow for no room between someone like Brother Luke, a monstrous abuser, and JB, a person who struggles with selfishness but works on self-improvement. Jude’s thinking has no flexibility and does not allow for the nuances that would make trust in other people less of a herculean task.

Similarly, Jude can never shake his childhood logic about how other people will view his history. No person who does not have a mental health condition themselves would react to Jude’s childhood story with anything other than compassion and profound distress on his behalf. In his mind, however, the most likely reaction is disgust and outrage—not at his abusers, but at him. Because he experienced no appropriate love from a caregiver during his childhood, he has developed this logic and clung to it like protective armor so that he will not build any hopes that people will love him only to be disappointed.

It makes no difference how many characters explicitly tell Jude this logic is wrong; Ana tells him, Harold tells him, Willem tells him, Andy tells him. He cannot risk letting down the armor and believing it. As a result, no matter how much Jude ages throughout the book, it can be challenging to remember he is an adult man and not a child or an adolescent. This effect is exacerbated by the fact that Yanagihara tells us of Jude’s success at work as a lawyer, but we do not witness him dominating the courtroom. We know that his personality is bifurcated between the hyper-competent lawyer and the childlike inner voice, but we primarily see the latter.

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