48 pages • 1 hour read
Kate DiCamilloA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
At the beach, Beverly looks at the happy photo of Mr. Denby’s family and labels it a lie. People aren’t happy: They’re horrible, and the world lacks equity. Jerome is alive, and Buddy is dead—that’s not fair.
Robbie, a boy around six or seven, asks Beverly to move—he wants to build a sandcastle where she sits. If she doesn’t move, Robbie will get his mom. Beverly isn’t afraid of Robbie’s mom, but the mom scares Robbie. Beverly helps Robbie build a sandcastle before his mom takes him away. Beverly promises to return and thinks about how people lie to children. She ponders the world’s countless “stupid things” before thinking about Nod, the blue angel wings, and Iola’s tuna melt.
Iola excitedly reads a piece of paper advertising Christmas in July. Though it’s August, not July (and it is summertime, not Christmastime), the VFW is hosting a Christmas event, and attendees will have the chance to win the world’s hugest turkey. There’ll be dancing and food, and Beverly notices a Santa and a lone “ho.”
Beverly asks Iola if Elmer can come for dinner, and Iola says he can—she’ll make tuna melts. At Zoom City, Beverly officially invites Elmer to dinner, but Elmer doesn’t want Beverly’s pity. Beverly doesn’t pity Elmer. Referencing Jerome’s nickname, Elmer says Bugs Bunny’s closing line from the Looney Tunes cartoons. Beverly mentions the “crooked little house” line and asks Elmer again if he wrote it. She likes it, and the words make sense. Elmer smiles, and Beverly promises to wait for Elmer to finish working.
Mrs. Deely has “good news”—another edition of her religious cartoon. She reminds Beverly she’s the messenger of truth. A boy rides on the metal horse, and the mom tells him it’s fun. Beverly loathes when people tell others what’s fun. Mrs. Deely tries to give the boy her cartoon, but Beverly takes it—she says she’ll give it to a friend.
Done with work, Elmer walks with Beverly to Iola’s trailer. He notices Beverly’s chipped tooth. She chipped it after she stole the wallet of one of her mom’s boyfriends. He ran after her in his underwear, and she fell. Shortly after, the boyfriend broke up with Beverly’s mom.
Elmer can’t wait to leave Tamaray Beach, but he knows people like Jerome are in New Hampshire and everywhere else. If Jerome bullied Beverly, she’d beat him up. Elmer isn’t Beverly—he doesn’t steal wallets or eat glue.
Iola greets Elmer with a “howdy,” notes his height, and offers to teach him how to dance before the Christmas in July party. She serves herself, Beverly, and Elmer a tuna melt. Iola likes it when more people are at her kitchen table, but she knows people (and animals) often come and go, so people should go to dances together while they can.
Elmer looks at a wedding photo of Iola and her husband Tommy. They met when they were in a play together when she was six and he was seven. He was the sun, and she was the moon. Her first line was, “Oh, world, I cast my dappled light upon you” (165). Elmer draws Iola as she is in the photo and as she is now. He offers to draw Beverly, but she declines.
In the sand, Beverly tells Elmer about the disappearance of Louisiana. Beverly and Raymie went to the house where Louisiana lived with her grandma, and it was empty. They didn’t have furniture, so it was always empty, but this empty was “different.” She got the same empty feeling after she and Raymie buried Buddy, and Raymie recited the “surly bonds” poem. Elmer admits he likes poetry and recites a line from “Wynken, Blynken, and Nod.” He thinks almost everything is “stupid,” but he invites Beverly to the Christmas dance, and she accepts.
A sign on Mr. C’s door alerts customers that it’s having “small problems” and isn’t open today. In other words, Doris and Charles are on strike. They want benefits and better pay. Doris won’t cook and Charles won’t clean until Mr. Denby makes changes. Freddie scolds Doris and Charles and pressures Beverly not to join them, but Beverly allies with Doris and Charles. The three play poker, and Freddie calls Beverly a “traitor.”
Mr. Denby explains his situation. He must support his family, so he can’t raise their salaries. Mr. Denby tries to work the stove, but Doris warns him about blowing up the restaurant. He tries to take the fan but leaves it after Doris reprimands him. Doris and Charles plan to strike until they get a “living wage.” The seagull joins them, but Doris shoots it away.
Elmer thinks Beverly should go home, not to Iola, but to her “real home.” She could return to school, graduate, and attend college. Beverly doesn’t think that will happen. Elmer thinks all kinds of things happen. He gives Beverly a picture of her, and Beverly folds it. Iola scolds her—she’s ruining Elmer’s artwork.
Outside the VFW, Beverly apologizes for folding his picture—it scared her because she both recognized and didn’t recognize herself. Beverly shows him the bird’s nest on the V and asks if his acne hurts. Elmer says it does, but there’s lots of hurt in the world, and he won’t have acne forever.
Beverly thinks about the Annunciation painting. The angel had a message for Mary. The announcement was important—that’s why the angel had blue wings. In real life, she wonders how people judge announcements and if everyone should have blue wings.
The Presence Versus Absence theme grows complex in Chapter 27. Since they didn’t have furniture, Louisiana’s house had a physical void, but her disappearance leaves Beverly feeling “a different kind of empty” (170). The emptiness is intangible and intolerable, and it happened again when Buddy died. Beverly tells Elmer, “I came here because I couldn’t stand it—that empty feeling” (170). Beverly escapes to get away from the absence of Louisiana and Buddy. In other words, two disappearances lead to one more.
Beverly’s perplexing “empty” feeling evokes the ideas of the 20th-century French religious thinker Simone Weil. Weil didn’t write for young readers, but Weil can help young people fathom Beverly’s dilemma:
The world must be regarded as containing something of a void in order that it may have need of God. To love truth means to endure the void and, as a result, to accept death (Weil, Simone. Gravity and Grace. Trans. Emma Crawford, Ark, 1987, p. 11).
Just as cruelty and kindness exist in the world, so does emptiness or “the void.” While Beverly doesn’t want to fill the emptiness with God proper, spirituality captivates her, and the idea of angels (or some type of higher power) helps her “endure the void” and “accept death.” In other words, Beverly faces the empty feeling caused by an absence, a disappearance, or, in the case of Buddy, death proper.
Facing the Cruel but Kind World continues to rely on juxtaposition, with DiCamillo pitting someone or something good beside someone or something bad. Beverly thinks, “Buddy was gone from the world and Jerome was in it. There was no equity in that—none at all” (143). Buddy was a good dog, and Jerome is a cruel person. An equitable world would have saved Buddy and discarded Jerome. DiCamillo then juxtaposes Beverly with her mom’s boyfriend, who, wearing only his underwear, chased Beverly. The mom’s boyfriend is toxic, and Beverly, though flawed, is admirable.
The boyfriend reveals how adults can add to the cruelty of the world. If Beverly’s mom had made wiser choices about her romantic partners, then maybe Beverly wouldn’t have chipped her tooth. Conversely, Iola’s choices don’t expose Beverly to additional anguish. With Iola, Beverly receives support, nourishment, and fun.
The tuna melts continue to symbolize bonding. Beverly gets Elmer to come to dinner due to the tuna melts, so the tuna melts add another person. Iola exclaims, “Three of us. That’s good. I like it when the numbers go up instead of down” (162). The tuna melts bring them all together in the trailer.
The humor manifests with the strike. There’s no reason to doubt Mr. Denby exploits Doris and Charles, but Mr. Denby is not a predatory capitalist. He’s anxious and bumbling, and the gap between who he is and how he comes across to Doris and Charles creates laughs. When he tries to take their fan, Doris orders him to put it back, and he complies. Though she’s the worker, Doris is in charge. The subversion of presumed roles adds to the comedy.
By Kate DiCamillo