39 pages • 1 hour read
Two events shape Kate’s character: the death of her mother from virulent pneumonia and Mikey’s accidental electrocution.
These deaths make no sense to Kate. Of her mother, Kate says: “She got sick on a Thursday and died three days later […] it took everyone by surprise. Especially the doctors” (22). Before Mikey dies, he plays with a toy truck in his new room. When they find his body, Kate cannot process the loss, in spite of having lost her mother. A child’s death does not fit into her worldview, revealing that she is still a child herself, at least emotionally.
Neither death is logical. Kate can’t embrace her father’s religion in which such deaths, so evidently meaningless, can find purpose. Her father’s faith suggests God is the protector over all. As she watches her father abandon the sermon at Mikey’s funeral, however, Kate realizes God is a useful fantasy: “Sometimes I wish I did have faith” (20). Even her faith in science fails her. As she says in chem lab and as Mitch reminds her—“accidents don’t happen” (160).
Confronting death is central to Kate’s evolution into adulthood. The other characters’ reactions to death vary. Teri sinks into an angry depression; Kate’s father busies himself with helping the Litch family; Kate’s friend Sarah wears red to the funeral and avoids thinking about it; Mitch cleans his room; Kate’s English teacher offers her poems about grief; and Kate initially tries to run from her confusion, literally.
In the end, Kate’s bonding with Teri brings her peace of mind in a world where everyone can die at any time. When Kate steps outside herself and seeks Teri’s friendship, death becomes bearable if not understandable. Connection if not religious faith, Anderson suggests, is a way of finding meaning.
At the beginning of the novel, Kate accepts her friends, including her boyfriend Mitch, with unquestioned allegiance. These friends have always been part of her life. They text constantly; they chat in class; they share secrets and gossip; they sit at the same table in the cafeteria. They are all from upscale families, destined for prestigious private universities.
Her friends represent aspects of Good Kate’s personality. They are part of her world of competitive academics, extracurricular activities, and dutifully attended-to chores. They reflect her social class and desire for a life of status and achievement. They do not care or think about people whom they consider below them unless it is to mock them. They are an echo chamber, a hall of mirrors that makes it difficult for Kate to see past her myopic viewpoint.
Two events move Kate beyond such limited notions of friendship. Her rejection from MIT and growing connection with Teri give Kate a chance to see how shallow her friends are—and by extension, Kate herself. They offer Kate only empty cliches about how to handle the rejection from MIT. They allow Teri to be l tormented Teri in school and at the diner. They easily judge each other by their clothing, electronics, and future colleges. They deal in gossip and are quick to judge.
Teri, the school outcast, provides Kate with the opportunity to grow. Both Kate and Teri realize that they need the other. When they promise to help each other rebuild Teri’s house, they demonstrate a connection that Kate’s other friendships lack. After getting to know Teri and her history, Kate realizes that Teri is far stronger than herself; this humbles her. Friendship, Kate learns, is about respecting and helping others, and in turn feeling their support and respect.
As Kate matures, she comes to embrace what she initially disdained: the importance of having a community. Beyond friendships and family, a person needs to engage with others to give and receive support.
At the beginning of the novel, Kate’s world is centered on her own issues, anxieties, and achievements. She disdains her father’s idea that Christianity in action requires community service. She finds it a chore to go to church and volunteer at the fundraiser. It doesn’t strike her as significant that church money goes to helping the homeless and underprivileged.
When her father explains the concept of an Amish barn-raising, Kate understands the power of community. She sees the impact of Christianity in action when the congregation rebuilds the Litch’s’ fire-damaged home. The volunteers don’t know the Litches and, in some cases, dislike them, but their desire to serve those in need inspire them to help.
Seeing Christianity in action is not enough to prove to Kate the importance of community. Teri will be the one to complete this education. Kate comes to understand that no one is alone, that with friendship, small-scale miracles can happen. Kate had always understood community to be something outside herself. Her independence and self-reliance led her to disdain group activities; only the weak need others’ help, she thought. When she decides to help Teri rebuild her house, Kate not only realizes that she needs community; she can also be community for someone else.
Catalyst is a bildungsroman or coming-of-age novel. In this genre, a young person on the threshold of adulthood comes to understand their world and themselves through an experience or set of experiences that challenge their worldview. Protagonists begin with assumptions that have helped them navigate life until a point when everything changes—circumstances force them to adopt an entirely new perspective. The Kate who ends the novel—dismissing MIT’s rejection and offering to help one of the most feared bullies in her class—is not the Kate who began the novel.
The question the novel explores is not so much who Kate is but who she wants to become. Kate’s journey into maturity begins with both MIT’s rejection and her emerging friendship with Teri. Kate grows by seeing that she is not the center of the universe and that her fullest self can only be realized through connecting with others.
Kate’s friends and their response to Mikey’s death offers one model that she could follow. They initially express sympathy to Teri but quickly return to life as usual. Teri is not someone to whom they will extend their friendship or prolonged attention. The Kate from the beginning of the novel would have likely followed suit; she didn’t see Teri as a person but an object of scorn.
Mitch’s reaction to Mikey’s death provides another model. Mitch immerses himself in planning his future, becoming the model student that he mocked early on. Kate could throw herself into renewed plans for college and focus on her studies, but her priorities have changed. In the diner, Kate finally rejects her peer group—including Mitch—for Teri and true connection. This completes Kate’s journey into awareness and prepares her for what school, her friends, and even her family could not teach her: that being an adult means taking responsibility for yourself and helping others.
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By Laurie Halse Anderson