48 pages • 1 hour read
The narrative flashes back to Junior building the house on Bouton Road. Junior enjoys winning every argument between him and Mrs. Brill about the house. He usually brings up impracticality, or resorts to questioning her taste in matters, if need be. When Mrs. Brill finally begins showing distaste for the house’s upkeep, Junior’s belief that the house will one day be his seems closer than ever. The one battle he lost, however, is a white wrought-iron swing, which Mrs. Brill wants because it symbolizes her childhood. When the Brills leave, Junior chucks the swing and goes to great lengths to have a simple yet expensive wooden one made.
One day, he surprises the family by showing them the house. Junior thinks Linnie Mae will love the new wooden swing as much as he does. When she sees it, however, she immediately asks if they can paint it Swedish blue. This is doubly insulting to Junior. Not only does she dismiss his hard work, but Swedish blue is considered a common color by him. When he next arrives at the house, someone has painted the swing Swedish blue. One of his workers, Dodd McDowell, confesses that Mrs. Whitshank called him and asked him to paint the swing. When Junior points out how he took great care to make the swing as-is, Dodd defends himself by saying, “Well, I didn’t know. I figured: women. You know?” (355).
Junior thinks back to the day in 1931, when Linnie Mae calls him five years after he had been run out of the county by her father. She announces she is in Baltimore and asks him to pick her up from the station. Understandably, disbelief clouds Junior. He’s neither heard from her nor thought about her since he fled North Carolina nearly five years prior. He tries to come off as distant, but Linnie Mae doesn’t take the hint.
Linnie Mae explains that she is frightened of all the black people at the station. Junior initially shrugs off her concerns, but then feels bad about leaving her alone in a strange city. He finally acquiesces, but upon seeing her at the station decides to drive by. He then circles back and picks her up. He immediately regrets doing so, however, likening her appearance—and existence—to mold on lumber: “You think you’ve scrubbed it off but one day you see it’s crept back again” (356).
Though Linnie Mae can’t stay with Junior because his boardinghouse only accepts workingmen, she dismisses his concerns. To Junior, Linnie Mae looks the same, even though she is now 18. She also still envisions them as they were. Linnie Mae then relates how she tracked him down by asking his coworkers for information and bought a train ticket to Baltimore based on a lead. When she arrived, she looked up the name of one of Junior’s acquaintances and managed to get Junior’s number. Both her sleuthing and naivete shocks Junior. He later sneaks her into the boardinghouse, but sleeps on a chair. Linnie Mae asks if he is mad at her, but he feigns sleep.
The narrative travels further back in time, to when Junior first meets Linnie Mae at a church function. She sits with the Moffat twins—high school girls—so he assumes Linnie Mae is also in high school. Junior finds himself drawn to her full breasts, which she oddly touches repeatedly. While walking through the church graveyard, Linnie Mae points out her grandparents’ gravestones (they were from the haughty Inman family). They then agree to meet the following day. Junior finds it strange that Linnie Mae doesn’t want him to pick her up at home but assumes she is ashamed of her house. They date for three weeks and have sex routinely, until she reveals her age unwittingly via an offhand comment about her older 14-year-old brother. Junior panics, knowing he could be arrested. Though Linnie Mae swears she hasn’t told anyone, Junior sets about ending the relationship immediately. He drops her off and lies about being busy the next day.
Junior later visits the lumberyard in town, looking for work. The Moffat twins find him there and pass him a note. In it, Linnie Mae asks him for a visit that night, and indicates that the twins, with their brother Freddy, will drive him. Her brother, Clifford, is having a graduation party, so Linnie Mae can slip out unnoticed. The suddenness of the invitation makes Junior think she is pregnant, but he accepts the ride anyway. Once at Linnie Mae’s house, she directs him into the barn to make love, despite Junior’s sincere protestations. Linnie Mae then reveals that she knows Junior is concerned about her age, and that is why she wants to talk. This revelation puts Junior at ease. Relief and lust overtake him, and the two undress. They are interrupted, however, by Linnie Mae’s father, who calls for his sons to bring guns. Naked aside from his T-shirt, Linnie Mae’s father marches Junior outside at gunpoint, in full view of all the guests, and warns him to flee the state or he’ll get the law involved. Junior makes the long, grueling trek home. By the time he reaches it, it is dawn and his feet are bleeding. Though he tries to sleep, he can’t help thinking about how much he hates Linnie Mae, with her parting phrase, “He’s half nekkid!” (384), playing repeatedly in his mind.
Junior leaves immediately for Baltimore, having been told that Trouble—a laborer skilled in woodwork—might be there. He finds him, but Trouble can’t offer Junior work. He does, however, tell Junior about work with Clyde Ward, as well as lodging at Mrs. Davies’s boardinghouse. Once settled, Junior thought neither of his family nor of Linnie Mae: “He didn’t think about Linnie Mae, either. She was a tiny, dim person buried in the back of his mind alongside that other person, his past self” (388).
One fateful morning, Junior sneaks Linnie Mae outside and instructs her to wait for him at the café on the corner. He then goes to work, excited for the job because it might bring him more work. Given an egg sandwich from his employer, he saves half of it for Linnie Mae and then takes off early to meet up with her. When he arrives at the boardinghouse, however, he sees Linnie Mae sitting on the steps in plain view, with his warmer jacket on. The only way she could’ve retrieved the jacket was to enter his room. Linnie Mae then explains that she tried ordering hot chocolate and sipping it slowly at the café, but she was eventually asked to leave. She then walked for a long time, only to meet and old lady and join her in a breadline. She expected to be let into a warm place, but instead they were given dry sandwiches and turned away. She left the old woman, ate her sandwich, and cried while walking further.
She spent the whole day walking, got lost, and finally looked up and found herself in front of the boardinghouse. Because Junior mentioned that the maid cleaned in the morning, she went in, only to find his door locked. She fell asleep waiting near his door, and then was awakened by a black woman accusing her of being a burglar. Mrs. Davies was summoned, and though Linnie Mae thought Mrs. Davies would understand because she’s a woman, Mrs. Davies demanded she pack both their things and leave. Linnie Mae then went door-to-door asking for a room, despite half the country being out of work. To Junior’s surprise, a woman took pity on her and rented them a room.
So, Linnie Mae and Junior headed to their new abode. Linnie Mae was ecstatic, further angering Junior: “If it weren’t that she was the only one who knew where all his earthly belongings were, he would gladly have left her behind” (403).
Despite the new room’s smaller size, Junior still has to pay Cora Lee, the woman renting the room, more than at his previous boardinghouse. Though Junior wants to haggle about the price, Cora Lee’s husband just lost his job and needs the money. That night, Linnie Mae takes Junior to a small diner, again despite his protestations. Junior suggests she save her money, but Linnie Mae believes she can find a job easily. The waitress who greets them informs them that Cora Lee thinks the world of them. Linnie Mae remarks that Cora Lee reminds her of people back home, and the waitress says, “We’re all like the people back home […] We all are the people back home” (407). Junior again tries reasoning with Linnie Mae because he is running out of money and she will be soon, but she begs his trust.
Junior feels strangely at ease as they return to their new room, likening the feeling to drunkenness. At Cora Lee’s, he finally addresses their “relationship” by suggesting she return home. Linnie Mae, however, accuses him of only having been interested in her body and unconcerned with finding out her age. Not wanting to argue, Junior pulls out the sandwich he’s been saving, and Linnie Mae interprets the gesture as a sign of love.
Linnie Mae doesn’t find a job, but she and Cora Lee become good enough friends that the Lee invites Junior and Linnie Mae for supper every night. Moreover, Linnie Mae and Cora Lee begin a canning business as well. Even when Junior and Linnie Mae move into their own place once the economy improves, Linnie Mae and Cora Lee remain friends. In time, Junior is able to buy tools and hire workers for his fledgling business. Sometimes, though, Junior goes home and eats everything in sight, despite being lanky and not having a particular interest in food. It is “as if he were starving, as if he had never gotten what he really wanted” (418). There are also times when he imagines how he’d do things over again—he’d leave Linnie Mae at the station.
The chapter returns to when Junior finds the swing painted Swedish blue. He has Eugene—one of the first black workers he’s hired—take the porch swing to have the paint removed before his move-in day. He later varnishes it himself. While doing so, he imagines Linnie Mae’s face when she sees that the swing is no longer the ugly, common blue color. Though he relishes this idea, Linnie Mae won’t truly understand: “She wouldn’t fully realize all that lay behind it: his shock at what she had done and his outrage at his sense of injustice, and his hard work to repair the damage” (423). Junior considers admitting to Linnie Mae that he’s never really loved her. He simply felt sorry for her, and now there’s no turning back. Since this truth would crush her, he keeps it to himself. Ruining things between them like this would make his sacrifice for nothing. Later, he assesses the armoire he purchased from the Brills, a piece of furniture that makes him feel both fancy and embarrassed. He’d thought the armoire was called a “more,” until her heard Mrs. Brill refer to it. This revelation then leads into Junior’s disgust with the rich. Though he’s now doing better in life, there’s always something that reminds him of his place as an outsider. As he thinks about this, his eye alights on wallpaper that’s been damaged near the window.
Junior considers taking some things to the new house, but Linnie Mae suggests that he wait until they move in officially the next day. Linnie Mae refuses to look at him, which is a bad sign. She usually does this when mad. Junior speculates to himself what she might be mad about, only for her to subtly reveal she visited the house earlier. Though he wants to ask if she saw the swing, asking would reveal that he cares about what she thinks. When Linnie Mae simply mentions that the front door sticks, Junior takes offense. They circle around the issue until Junior leaves the kitchen. As they walk to a restaurant that night, Junior wishes Linnie Mae would look at him. The longest time she’s been this mad was when she wanted kids and he refused. He finally gave in, and when he broached the subject and she looked at him, it “made him feel the way a parched plant must feel when it’s finally given water” (432).
When they return home and prepare for bed, she still won’t look at him. Junior considers how she managed the trek to the new house alone, and her probable shock at seeing the swing, and suddenly feels hurt for her. He confesses that he just wants everything to be perfect. Linnie Mae turns in the dark and cups his face, and before kissing him, admits that she understands his intentions. Junior still doesn’t know, however, if she’s looking at him.
The Whitshanks leave early for the new house. Their neighbor, Doris, gives them a plant. Though Linnie Mae laments not seeing Doris again, Junior reminds her that they’re only moving two miles away. For Linnie Mae, however, things won’t be the same. If she invites old friends over and serves them nice food, they’ll think she’s lording her new life over them. If she serves the food they’re accustomed to, they’ll think she doesn’t believe they deserve anything better. They park in front of the new house because Junior wants to take it all in, but mostly because he wants to see the porch swing and prove he was right about how it should look. To his horror, there’s “a scattered explosion of blue” (438) leading from the steps to the driveway. Someone has thrown blue paint at the steps. Linnie Mae doesn’t even register the mess, which will take Junior time and effort to fix. Even if he manages to get some of the paint off, it will never be completely gone, and he’ll have to redo the mortar completely. Assessing the damage, Junior imagines that his future lies in worrying about ridding the mortar of this blue paint. Linnie Mae is the obvious culprit to him, and she’s been pulling the strings all along: “Why had he worried for one second about abandoning her at the train station? She would have done just fine without him! She would do just fine anywhere” (439). After recounting all the occurrences where Linnie Mae succeeded where most everyone else would’ve failed (or where he expected her to fail), Junior takes her hand in his, opens the door, and they walk into their new lives.
Chapters 10 through 13 flesh out the lives that shape the Whitshank mythos: Junior and Linnie Mae Whitshank. Earlier in the novel, family members relate what scant knowledge they have about Junior. Despite not knowing much, he’s heralded as a hardworking man who made the Whitshanks who they are through steadfastness. Though this is true, Junior and Linnie Mae’s relationship is one of mere happenstance, and later habit, more than anything else. Junior lusted after Linnie Mae and concerned himself with her age only after having sex with her. Junior, then, isn’t as smart or noble as he’s considered to be by present-day Whitshanks. “If he thought back on that scene now, it seemed to him that every detail of it, every gesture, had shouted ‘Thirteen!’ But he could swear it hadn’t even crossed his mind at the time” (368). There’s something immature and animalistic about Junior’s behavior far before Abby calls him on his hypocrisy. Though Junior succeeds in his business, he does so while berating everyone else’s vision. From the Brills to Linnie Mae, Junior dismisses any voice that doesn’t align with his, casting him as the authoritarian that Abby later sees him as. Junior fully represents the negative aspects of envy and clannishness that the Whitshanks don’t acknowledge.
Junior is also a man who is practically browbeaten into a relationship by Linnie Mae. Linnie Mae has always painted their relationship as mutual, especially when she tells the story to Abby, yet it’s anything but. Abby imagines Mrs. Whitshank to be near flawless, yet an embarrassing naivete on Linnie Mae’s (younger) part is responsible for her relationship’s success. The steadfastness Junior is known for can better be seen in Linnie Mae, as she tracks Junior down with patient ease. Though present-day Whitshanks focus on Junior, it’s Linnie Mae who establishes the Whitshanks family. She carefully orchestrates each moment of their lives without even letting on, and it isn’t until Junior sees the blue paint that he realizes just how crafty Linnie Mae is. Her actions underscore that the women in the Whitshank family are as adept at building and constructing families in the way the men are at providing housing for these families. Though both genders purport belief in traditional gender roles, the women actually hold power. Red falls apart when Abby dies, while Junior feels lifeless when Linnie Mae doesn’t look at him: “And then by and by, Linnie had just seemed to stop savoring the sight of him. he had to admit that he had felt the lack” (432). Like the house lacking upkeep or an owner, Junior and Red feel lack when their lives aren’t inhabited by their better halves.
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By Anne Tyler