Ms. L. Lopez

English 12

28 March 2001

         For decades, high school students have been reading great works of literature ranging from William Shakespeare to Tennessee Williams.  Most often though, these works are read under duress, frustrating teachers and students alike.  This leads to a long term distaste for reading.  Consequently, people don't realize that there are works of literature outside the canon of high school that are more contemporary, and still have literary merit.  However, there is life, and literature, beyond William Shakespeare and his high school cohorts.  Janet Fitch’s White Oleander is one such book, containing many elements that attest to its worthiness as a meaningful work of fiction.  Although Fitch’s White Oleander is not a part of the typical canon of high school literature, it is still a worthwhile book to read.
        For a book to appeal to its readers, it needs to have a strong, universal theme.  T.S. Elliot said, “A good book is about a man.  Great books are about mankind” (qtd. in Bartlett).  While novels are literally a story about specific people at a specific place and time, great books also offer insight into the human condition.  Although most people cannot relate to Astrid’s experiences of being shot by a foster mother or attacked by dogs, many can relate to her equally painful search for self.  Throughout the novel, Astrid continuously struggles to define herself independently of her mother, yet it is true when Ingrid tells her “Your blood whispers my name” (Fitch 357).  Through Astrid’s declaration, “I am not you, mother” (256), Fitch portrays Astrid’s desire for separation and independence.  However, Fitch also illustrates the opposing desire for security and comfort with grown women of all backgrounds calling for their “Mommy, ma, mom, momma” during the pain of childbirth (403).  The tension and conflict resulting from the search for self outside the influence of one's parents, is a common human experience.  This universal theme gives the reader something to relate to.
       Clearly, strong characterization is essential to any work.  Essential also is that the characterization be subtle.  When developing a character, as Adam Ginder simply advises, “show it, don't tell it” (39).  Fitch does just this in characterizing Ingrid Magnussen.  For example, in the very first paragraph of the novel, the reader learns that Ingrid’s “blond hair [is] like a white flame in the light of the three-quarter moon” (Fitch 3).  This single simile alone creates a vivid image of the woman that is Ingrid Magnussen.  She is full of spirit and energy, and like fire, is both a source of comfort for Astrid as well as a cruel, relentless source of destruction.  Ingrid is truly like a white flame regarding the treatment of her daughter.
       The initial characterization of Ingrid for the reader that comes from the flame simile is confirmed in later pages through Ingrid’s words and actions.  Even while imprisoned, Ingrid is able to bring solace to her daughter.  Astrid says, “If it weren't for my mother's letters, I would have thought of something [to kill myself with].  I reread them until they were soft and divided along the creases” (Fitch 127).  Conversely, these same letters show Ingrid’s abject cruelty.  She responds to her disenfranchised daughter, suffering in foster care, “I look at the fires that burn on the horizon and I only pray they come closer, immolate me.  You have proved every bit as retarded as your school once claimed you were.  […]  I wash my hands of you” (Fitch 168).  Furthermore, Ingrid writes, “I live for you, the thought that you're alive gives me the strength to go on” (Fitch 118), only to later tell Astrid, “Loneliness is the human condition.  Cultivate it” (Fitch 126).  Truly, the fire simile subtly characterizes the duplicitous Ingrid.
       In addition to similes, other figurative language is used to enhance the novel.  Alan Bloom commends the author for her “remarkable artistic and psychological maturity throughout [White Oleander], skillfully making use of metaphors […]” (qtd. in Fosters 25).  Fitch’s metaphors are clearly developed throughout the novel.  Olivia Johnstone gives Astrid a bottle of perfume that for Astrid represents “My childhood, my English garden, that tiny piece of something real” (Fitch 184) which is soon destroyed by Marvel.  The loss of the bottle, “broken inside its silver cage,” (Fitch 184) is reminiscent of the loss of Astrid’s relationship with Olivia, the only piece of sweet beauty Astrid had in her life.
       One of Fitch’s most poignant metaphors uses bird images to represent Astrid.  When her mother is arrested and a frightened Astrid is questioned by the police, she calls herself “A bird trapped in a sewer, wings beating against the ceiling in a dark wet place […]” (Fitch 43).  Later, Fitch includes “a bird, flying in a hot wind, battered by the effort” (277) when Claire begins “collapsing at the center” (Fitch 276).  As Astrid paints “it [the bird] in the fire, black” (Fitch 277), she knows she is going to lose Claire and her prosperous life with her.  Birds are also used when Ingrid instructs Astrid about enduring adversity by telling her “The artist is the phoenix who burns to emerge” (Fitch 366), celebrating Astrid’s pain.  Towards the end of the novel, Astrid has progressed in her life to the point where she is “one of the free birds” (Fitch 434).  Finally, Astrid realizes that, like the doves who “wherever they were […] would try to get back” to the ruined dovecote, she is compelled to return to her mother despite their ruined relationship (Fitch 445).  The use of birds metaphorically illustrates Astrid’s emotions and circumstances.
       Cyril Connolly believed, “Literature is the art of writing something that will be read twice” (qtd. in Quotes).  Figurative language, such as metaphors and symbols, add a deeper dimension to a work that often requires a second, closer reading to fully appreciate.  A close reading of Astrid’s physical wounds show that they become a symbol of her emotional pain.  Astrid demonstrates her suffering with Marvel by “exaggerating my limp like a servant” (124).  Astrid feels “ashamed of my limp” in front of Olivia because she is ashamed of her suffering compared to Olivia’s luxurious lifestyle (Fitch 135).  Similarly, after the dogs attack her, Astrid realizes “it [the emotional scars] should bloody well show” (Fitch 174).  At MacLaren Children's Center, Astrid cuts off her hair because she “didn't want to be pretty” (Fitch 297).  She is in turmoil, and once again, her body bears the symbols of her pain.
       Perhaps the finest symbol in White Oleander involves the title itself, what Fosters identifies as the “beautifully poisonous […] signature flower” of Ingrid (25).  Clearly, on many levels, the flower is Ingrid Magnussen, but this symbol is established through more than the fact that Ingrid used white oleanders to kill Barry.  First of all, Ingrid has a distinct connection to the color white.  Astrid reveals, “As always when she read, my mother wore white […]” (Fitch 4).  At another time Ingrid is described as “a moth in white silk” (Fitch 13); moreover, her favorite flowers are white (Fitch 24).  Also, when Astrid dreams her mother is slipping away from her, she envisions “white milk in the street, white milk and glass.  Milk down the gutter, milk like tears” (Fitch 43).  Gerald Weales lauds Tennessee Williams’ A Streetcar Named Desire for its thoughtful title (356).  Similarly, Fitch provides a thoughtful title with White Oleander.
       Ingrid also shares the oleander's poisonous properties.  When Astrid looks at the oleander in bloom in Rena’s yard, she admits, “It made me think of my mother” (Fitch 413).  She wonders why her mother, like the oleander, “had to be so poisonous. […] Couldn't […oleanders and Ingrid] just be bitter” (Fitch 413).  Ingrid “had her revenge.  She had won, but […]” it wasn't enough until she killed Barry (Fitch 35).  Fortunately, Astrid also shares traits with the oleander: “Oleander could live through anything, they could stand heat, drought, neglect, and put out thousands of waxy blooms” (Fitch 413).  Astrid survives the heat of Ingrid’s intensity, a drought of food, shelter, and love, and the neglect of countless foster families.  Her suitcase art, inspired from each of her experiences, are the blooms that have grown despite hardship.  Ingrid, Astrid, and the oleanders, all endure with their own beauty.
       While there is still much to be derived from reading classic literature, new authors should not be overlooked.  With subtle characterization, and proficient use of metaphors and symbolism, Janet Fitch’s White Oleander is a fine example of quality literature.  Its strong universal themes and attention to detail make it a book worth reading twice.  Although it is not a typical part of the canon of high school literature, it is still a worthwhile book with literary merit.

Bartlett, John, comp. Familiar Quotations. 10th ed.  Rev. and Enl. by Nathan Haskell Dole. Boston: Little, 1919. Bartleby.com. June 2000. 6 March 2001 <www.bartleby.com/100>.

Fitch, Janet. White Oleander. Boston: Little, 1999.

Fosters, Frank.  “Fitch’s Fine First.” Rev. of White Oleander, by Janet Fitch.  New York Times 7 Feb. 1999: C25. ProQuest. Anthony J. Durso Media Center, Islip Terrace. 12 March 2001 <http://www.proquest.com>.

Ginder, Alan.  “Creating Good Characters.” Writer's Digest 15 Jan. 1998: 35-37+.

Quotes for Writers. The Writer's Home. 12 March 2001 <http://www.writershome.com/quotes/index.htm>.

Weales, Gerald.  “Tennessee Williams.” American Writers Vol. IV. Ed. Leonard Unger. Detroit: Gale, 1999.