The Case of the Missing Theme

If I had a chance to sit down with the Pulitzer Prize winning author Elizabeth Strout I would have several inquiries in which I would like to see answered. However, one such question regarding her 2008 novel Olive Kitteridge has meddled itself into my thoughts since finishing the book and even during the story itself. "What is the overall theme of your novel"? It seems such a basic, shallow, and unspecific question however I can not seem to pinpoint an overall purpose for the story. The brunt of the issue lays within the way Strout writes: thirteen separate stories within themselves each with ostensibly little to no underlying connections with one another. Aside from basic plot developments connecting from one story to the next unearthing a carrying over theme seems nearly hopeless. Given, each story has its own set theme which presents itself without much need for analyzation. For instance, the theme of Ship in a Bottle: "sometimes one has to sacrifice what they think is right choice for the betterment of others". Strout proves this theme when Winnie's sister runs off with her boyfriend instructing Winnie not to tell anyone. Consequently, Winnie "almost cried" due to her yearning to tell her parents, and second guessed herself thinking "they could still do it [get her sister], she was still here" (197). However, Winnie does not give it up until her sister had already left, validating the theme. Likewise, other passages have their individual themes, take A Different Road  for example, Strout includes an individual theme of how "One needs to cherish everyday because anything can happen". This exemplifies itself in how quickly a normal day turned into a life or death situation for Olive. When at the hospital for a surprise check-up "A tall man holding a rifle" and a "person in a blue ski mask" take her and her husband hostage (113). They end up making it out alive but not after they have guns pointed at their heads and threats made, this external conflict supports the theme associated once more exemplifying how each story has its own theme. However, therein lay the problem for me. I could not help but search for a connection, a vague similarity, I expected that the last story would provide some sense of closure. Unfortunately the last story seems to posses its own theme as well. Not to mention no connecting of the characters or events took place at the end either which I could bear, but still the question keeps nagging me. Without a universal theme, however ambiguous, how can there be a true purpose? So please Elizabeth Strout, drop me a hint here, what did you intend for the universal theme? Unless each individual theme somehow harnesses a purpose which I have yet to ascertain.

Ovations for Olive

During the first third of Elizabeth Strout's 2008 novel Olive Kitteridge I harbored a slight resentment towards the pseudo main character Olive due to her seemingly insensitive behavior. For example, when in the presence of company, her husband Henry accidentally knocks ketchup over, and she sneers: "Leave it alone, Henry. For God's sake" (7). Olive's derisive tone through the commanding diction of "leave it" makes for quite an uncomfortable situation for her guests. Not only does this spout of anger leave her one guest "looking stricken" but it also indirectly characterizes Olive as spastic but it also forms a slightly menacing persona for her (7). Likewise, my disdainful feelings towards Olive arose once again when at her son's wedding a sobbing sister-in-law asked Olive if she cried at weddings to which olive replied "I don't see any reason to cry" (67). The juxtaposition of a seemingly crass Olive against her emotional counterpart furthers Olive's seemingly cold and inhumane persona. Thus, I could not help but hold a standoffish  mentality against Olive and her sheer apathy for others . However, further on in my reading I began to notice my feelings for her evolve into more of an appreciation for her cynical tones and realistic outlooks on life due to signs of her not being so tough and insensitive after all . For instance, when Olive finally spends time with Chris in New York City she could "not let go of a certain happiness inside her" (220). Strout indirectly characterizes Olive as upbeat, dare I say, jovial and she has finally began to shed her persona of a dispassionate hermit. Olive's dynamic character delves into so many levels, but through this "happiness inside her" she seems to embody a characteristic which every other character has had from the beginning: emotion. I can not help but crack a smile knowing Olive finally has something to smile about herself.  Likewise, the unfamiliar personality of Olive arises again when Rebecca recollects that Olive had told her "If you ever want to talk to me about anything", she could (242). The reassuring tone via the friendly diction of "anything" shines Olive in a light unlike any before, Strout interestingly reveals Olive's gentle and compassionate side through another characters story instead of through Olive's own dialogue. Furthermore, Strout indirectly characterizes Olive as benevolent, a characterization which I had never expected to associate with her, especially back during her days as a school teacher. I am now beginning to believe that Olive has a tough exterior but under her thick figure and allegedly horrid dresses lies a warm, wise person enduring a struggle to uphold her facade as a resilient and tenacious woman.

Conservative Charazterization

The main characteristic that makes Elizabeth Strout's 2008 novel Olive Kitteridge shed the visage of a painfully average book would undoubtedly be the vast amount of characters present in the story. Not only does Strout introduce fresh new characters each chapter but she also paints the characters in their own unique image abstractly detailing them within sometimes just a few sentences. Thus, Strout provides the reader with an opportunity to make accurate assumptions about the characters without spending countless pages describing them all. For example, when introducing Henry Kitteridge Strout simply states that he "Retired now" and how he "wakes early as though the world were his secret" (3). Whilst this may not seem like much Strout says so much about Henry's character which I can easily interpret. For instance, the direct characterization of Henry as a retired man indicates he has quite a few years under his belt  which could give me the sense of him as a decrepit old man. However, by including the simile about Henry's mornings seving as "his secret" Strout gives the apparent husband to Olive Kitteridge a slightly whimsical and friendly charm. Furthermore, Strout indirectly characterizes Henry as innocent and almost child-like through having his own little "secret" time alone with the world. Although this might all seem like an opinion, it holds true later on in the story when Henry exemplifies his inferred friendly and innocent persona by  inviting his employees over for dinner, or having the "need to keep everyone content" (4). Likewise Strout's ability to  inadvertently describe a character furthers itself when first discussing how Christopher's new wife Suzanne "will take over...coming from money the way she does" (63). On the surface Strout seems to only indirectly characterize her as wealthy. However by saying this through the often accusatory tone of Olive Kitteridge I am led to infer that she posses the qualities of a spoiled brat. Furthermore, the foreshadowing of Suzannanne "taking over" Christopher's life led me to believe she will act as more of an omen to Olive and Henry rather than a loving daughter-in-law. Again, my inferences thanks to Strout's open-ended characterization of Suzanne as a control freak prove accurate once more when Chris tells his mom that "Suzanne and I are moving to California" (142). Through Strout's ability to develop a persona through only a sentence or two I have come to appreciate the vast amount of characters that I would otherwise detest due to the prospect of memorizing them all.