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The motif of the journal informs the structure of the text, as Mary Lou keeps a day-to-day record of her summer. Her consciousness of an audience varies according to the day and heightens more at the beginning and the end of the summer. Sometimes she directly addresses the reader, as when she says “for your sake, though, mystery reader, I hope things get a little more interesting” (8). This address is one of many that communicates the fear of having herself and her life pronounced deficient by the stranger who will read it. Moreover, in the opening instruction to Mr. Birkway not to read the journal, she half fears that her getting “a little carried away” and filling six journals, will expose her as abnormal (1).
The process of getting carried away happens when Mary Lou forgets that the journal is an assignment and writes for herself, to make sense of what has happened in the day. As a result, she learns to be observant and reflective. While Mary Lou enjoys documenting the lives and speech of others and recording her private thoughts on their behavior, when she is faced with the horror of Carl Ray’s accident and the suspense about whether he will wake up, she reads and rereads the journals to study herself. As she searches for the roots of the behavior that made her unfriendly towards him, she reflects on how unobservant and insensitive she was with regard to the evidence he was having a hard time. She also observes with some satisfaction that she has “been changing all along” and does not even “recognize myself when I read back over these pages” (197). The journal thus serves as a document of change and could serve to make her a better person.
On a more conscious, intellectual level, the journal also shows how Mary Lou changes, as her impressionable young mind experiments with play-script dialogue and invocations to the Muse inspired by the Odyssey. This gives the impression of the journal as a document of a mind in a stage of expansion.
The stranger, who is a personification of the unknown, is a prevalent motif. At the beginning of the novel, Mary Lou judges strangers as threatening outsiders who could not possibly have anything in common with her. Her initial brief excitement at learning of Carl Ray’s visit soon turns to disgust, when he arrives with his strange habits of uncommunicativeness and slovenliness. She resents having to treat him as a guest and pick up after him, especially as she feels that there are barely enough resources and parental attention to go around. Being made to wait for a single helping of ham and bread until after Carl Ray has served himself four makes Mary Lou think that he is going to “take over” their family in the manner of a cuckoo who starves out the chicks of the nest (17). Mary Lou’s casting of Carl Ray as the stranger makes her see his kind and generous actions as anomalies. Mary Lou’s resentment of Carl Ray’s takeover runs so deep that she is triggered by scenes from The Odyssey in which Odysseus or Telemachus are welcomed warmly wherever they go, even though they are strangers to the communities receiving them.
It is only when Mary Lou takes up the role of a stranger on Aunt Radene’s farm, and her female cousins are forced into the roles of being her maids, that she understands Carl Ray’s point of view. When she is pronounced a disappointing, stuck-up baby as opposed to the sophisticated, sexually precocious city girl her cousins hoped for, Mary Lou learns what it is to be thought of as strange and to be misunderstood. In her homesickness and loneliness in the privileged position of guest, she comes to empathize with Carl Ray and is remorseful for her prejudice against him. Rather than see strangers as outside entities, she comes to view strangeness as a relative term.
After Mr. Furtz dies, dreams become an important motif in the novel. They represent the unconscious mind processing traumatic information and trying to make sense of what does not seem rational. Even without the Carl Ray element, Mr. Furtz’s sudden death and the viewing of the body are overwhelming for the Finney children and they all have nightmares. While the children collectively dream about being lost or suddenly abducted by unknown entities, indicating their shared experience of facing death, Mary Lou’s dream is distinct. She dreams she is lost in the woods and hoping Carl Ray will save her.
Mary Lou’s dreams throughout the summer are vivid, as they connect The Odyssey, her feelings about Carl Ray, and her attempts to process death and the unknown. Her nights in West Virginia are especially scary for their incorporation of elements that are unfamiliar to her, such as pitch darkness and her memories of the day where her cousins tease her about dangers in the woods. She conjures such surreal scenes as a headless Mr. Furtz running all around the yard looking for his head. Here, Mary Lou’s subconscious desperately tries to make stories and regain a sense of control after everything familiar has been taken away from her and she has gone from being the host of a stranger to the stranger herself.
Nevertheless, dreams, like The Odyssey, also cause Carl Ray and Mary Lou to bond. Her revelation that she dreams about him is a catalyst for his revealing the truth to her. Arguably, Carl Ray privileges Mary Lou with the truth before anyone else because her dreams of him and Mr. Furtz show that she already has a sense of the truth within her.
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By Sharon Creech