Little Bee

by

Chris Cleave

Little Bee: Chapter Four Summary & Analysis

Summary
Analysis
Early in the morning of Andrew’s funeral, before Little Bee arrives at her front door, Sarah watches the world through her window and thinks about how futile it seems. She listens to radio commentators talk about the stock exchange and finds herself saying out loud, “Yes, but I have lost my husband.” Sarah knows she should feel pain for Andrew’s death, but so far she has not felt anything. She considers fleeing the suburbs, taking Charlie and her credit card and disappearing on a plane until her life and grief disappear in the distance. But then Little Bee knocks on her door. Sarah and Little Bee stare at each other for a moment, and then Sarah brings her inside. Little Bee looks exhausted. Sarah thought she was dead.
Once again, the suburbs are used to epitomize modern life and daily banal concerns in the developed world. Sarah’s exclamation to the radio suggests that everything which once seemed meaningful now appears unimportant in light of her husband’s death. This suggests that the gravity of losing a loved offers Sarah a new perspective on life, allowing her to see which things truly matter and which do not. Sarah’s instinct to emotionally run from her pain parallels Little Bee’s physical flight from danger and her traumatic past.
Themes
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After exchanging a few sentences, Sarah leaves Little Bee in the living room, grabs her phone, and calls Lawrence, her lover. Sarah tells Lawrence she feels conflicted but does not mention Little Bee. She tells him that she keeps thinking about that day on the beach with Africa, but Lawrence tells her she needs to move on. Sarah can hear him swearing at his child in the background. Lawrence tells Sarah to just get through the funeral, and hangs up.
Lawrence’s interaction with Sarah immediately establishes him as a fundamentally selfish person. Rather than listen to Sarah’s grief and confusion, Lawrence brushes it aside and encourages her to bury it, suggesting that he cares more for his own convenience than Sarah’s emotional health.
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Sarah stares at her face in the bathroom mirror, disappointed to see no marks of grief in it. She wonders if she lost something “so fundamental” that day in Nigeria that any additional loss—a finger, a husband—seems inconsequential. Sarah rubs her eyes hard so that at least they’ll be reddened at the funeral and it will look as if she’s been crying. Going back to the living room, Sarah finds Little Bee still sitting on the couch. Little Bee tells her she had no other place to go, no one else she knew in the country. The undertaker arrives and prepares to take the coffin, so Sarah sits with Charlie in the garden. Charlie asks if Little Bee is a “goody” but Sarah does not answer.
Sarah’s missing finger represents her loss of innocence, the moment when she was forced to recognize that the world is a horrific place, even if she manages to shut such horrors out of her upper-class suburban lifestyle. Her desire for her eyes to look red, as if she’s been crying, suggests that Sarah cares more about appearing the right way to the people around her than actually grieving her husband’s loss or coming to terms with what happened in Nigeria.
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Sarah privately frets about superficial details: whether her clothes are appropriately dark for a funeral, whether 10 pounds is a suitable donation for the collection plate at church. Andrew always had a “strong opinion about life in a civilized country,” and Sarah realizes that such ordinary decisions will be difficult without him. As she looks at Charlie in the garden in his Batman costume and Little Bee in the living room, she realizes “life had broken through.” Her curated identity, her “careful set of defenses against nature” have failed her and allowed reality to come and sit in her living room.
Again, Sarah’s focus on superficial details suggests that she is very careful to appear right and fit into her identity as a sophisticated career woman, which she admits is a defense against the outside world. Little Bee’s entrance into Sarah’s life thus represents the failure of Sarah’s constructed identity to keep the real world at bay. Little Bee’s presence forces Sarah to confront the existence of horror around the world.
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Standing outside next to the hearse and the limo, Sarah thinks about how slowly Andrew’s death happened, stretched over the two years since Nigeria. With the “full clarity of horror,” Sarah recalls that Andrew used to be a “passionate, loving, brilliant man.” They’d met just after Andrew was fired from a newspaper job over his unmoving principles, and the instant attraction between them felt like a lightning strike. That attraction began to fade when Charlie was born, and that day in Nigeria only quickened its collapse. Sarah cannot cry for Andrew because his fading happened so slowly. And she cannot cry for herself because she deserves no sympathy.
Andrew’s slow descent into numbness and depression suggests that his experience in Nigeria left him with his own form of trauma, though it seems to manifest in different ways than Little Bee’s. Although Sarah does not suffer the same depression that Andrew did, her inability to feel anything for his pain or tragic death or even for her own bereavement suggests that she feels a similar numbness in her own way, as her own form of trauma.
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After the funeral, someone drives Sarah, Little Bee, and Charlie home. Sarah and Charlie talk about ordinary things, and there seems to be something horrible for both of them in the ordinariness of it all. After lunch, Little Bee plays with Charlie in the garden, helping him hunt bad guys. They form a quick and easy bond. Sarah sits in the kitchen while her mother and sister putter around the house, trying to help. Sarah realizes that she can run and hide from a memory, perhaps, but not a person. She will need to face Little Bee and face what happened in Nigeria. Sarah stares at her stump of a finger, her eyes wet with tears.
Again, Little Bee’s entrance into Sarah’s life symbolizes the real world, with all its horrors, cutting through Sarah’s constructed identity that once protected her. Sarah’s tears as she looks at her missing finger and realizes that she cannot run from what she saw in Nigeria any longer suggests that her own numbness is beginning to crack, presumably as her protective identity fails to insulate her from the outside world’s problems any longer.
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Two years before, Sarah and Andrew took a holiday in Nigeria, though they shouldn’t have. They didn’t know that an oil war was in progress there, and they didn’t realize that the Foreign Office’s advisory against traveling to Nigeria was serious. When a tourist company sent Sarah a free trip to Nigeria, her independent streak jumped at the chance to be unusual. Not far from the beach where Sarah and Andrew were staying and “being unconventional,” Little Bee was fleeing her burning village. Sarah’s missing finger itches as she thinks about it.
The contrast between Sarah and Andrew’s flippant desire to be “unconventional” and Little Bee’s flight for her life suggests that Sarah and Andrew’s lives at this point are marked by frivolity, privilege, and ignorance, which is a sharp contrast to the life-and-death struggles that many people like Little Bee endure. Sarah’s itching missing finger suggests that this realization marks her loss of innocence.
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After Little Bee and Batman come in and clean up—Sarah gives Little Bee new clothes—Sarah makes drinks for herself and Little Bee. They sit together in the living room. Sarah asks Little Bee to tell her everything about her escape. Little Bee begins her story: after the men burn her village, she runs through the jungle for six days. Nkiruka is able to follow her trail and catch up with her, though that means anyone else will be able to as well. Nkiruka decides they should change their names to hide their ethnicity. She names herself Kindness. A bee lands on a flower between them, which Little Bee had not noticed before. She names herself Little Bee.
Little Bee’s unwillingness to go by her real name, even now, two years after escaping the killing in Nigeria, shows how she clings to her constructed identity. Little Bee no longer needs this identity to hide from physical danger, but it perhaps protects her from grappling with the trauma she’s experienced in the past.
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Since the men are hunting them, the sisters hide in the jungle until sunset. The oil companies do not want any survivors left alive to testify to all the killings, so mercenaries hunt all the women and children who fled. During the night, Little Bee and Kindness sneak down to the shore to wash their bleeding feet. In the morning the sisters hear Sarah and Andrew on the beach. Andrew seems nervous about being away from the hotel compound. Little Bee and Kindness are amused by the two white people, until they hear dogs barking behind them in the jungle.
The oil companies’ involvement in the slaughter of innocent people suggests that globalization has come with grim consequences, enabling wealth in some parts of the world and horrific violence in others. Although the novel does not heavily explore this idea, it makes several nods to it throughout, suggesting that the developed world exploits the developing world for profit.
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A Nigerian hotel guard armed with a rifle jogs up to Sarah and Andrew and asks them to return to the hotel; it’s not safe on the beach. Sarah and Andrew are both irritated by him and resistant. The dogs’ barking grows nearer. Little Bee and Kindness are terrified. The hotel guard points his rifle toward the jungle. Andrew thinks the guard is putting on a show, looking for a bribe, so he starts arguing with Sarah about how much to bribe the man. The guard pays them no heed, staring at the tree tops, and demands that they return to the hotel. He fires three shots into the air, giving the dogs and whoever is with them brief pause.
In the midst of real danger, Sarah and Andrew misunderstand the situation and bicker about bribes. This suggests that in their modern, upper-class lives, they are so far removed from the horrors present in other parts of the world that they can hardly conceive of any real danger; it is far easier for them to believe that a Nigerian man is trying to shake them down than that he is warning them of a real threat.
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Little Bee and Kindness can hear the mercenaries’ machetes cutting through the brush close by, so they break their cover and run out to the beach to meet Andrew and Sarah. Little Bee ignores the guard and Andrew, looking straight at Sarah, and begs her to take them to the hotel compound. The hunters will kill them otherwise. Sarah cannot fathom why someone would kill a little girl. Andrew exclaims that the situation is a “classic Nigeria scam” and starts to pull Sarah back in the direction of the hotel. Little Bee and Kindness follow after. When the hotel guard threatens them with his rifle, the sisters exclaim that a bullet is better death than the “oil company’s men” would give them. The guard shakes with fear.
Again, Sarah’s disbelief that anyone would kill a girl like Little Bee suggests that her life is so far removed from any actual horror or danger that she hardly believes it exists. By contrast, the Nigerian guard’s apparent fear suggests that he understands the potential horror of the world and their immediate situation all too well. The contrast between Sarah and the guard’s reaction to Little Bee suggests such an insular mindset that does not believe in danger is a privilege of living in a wealthy developed nation.
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Five dogs emerge from the jungle, followed by six men, and sprint across the beach. When the guard shoots the closest dog in the head, the other dogs turn and immediately start devouring its corpse. The hunters approach. Most of them have machetes. One draws a bow. The leader has a large, festering wound in his neck. When the leader sees Kindness, he grins, points at her, and fingers his nipples in sexual gesture. The hotel guard threatens to shoot them, but the leader tells him he cannot kill all of them quickly enough. Little Bee and Kindness move behind Andrew and Sarah.
The dog’s ferocity and the leader’s threat of sexual violence immediately establish that Sarah and Andrew were wrong—the threat that Little Bee claimed is very real. Andrew and Sarah’s comfortable, privileged life, insulated from violence and horror, leads to a delusional view of the world where violence and barbarism do not actually exist, and certainly cannot them.
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The hunters are passing around what looks like a bottle of wine. One of them has a full erection. Sarah tells Andrew to give the hunters whatever they want. The leader steps up to Sarah and pulls off her beach wrap, exposing her small green bikini underneath. In the retelling, Sarah says that she cannot believe that she wore such a thing into the middle of an oil war. The leader steps close to Sarah and runs his finger across her bare shoulder. As one hunter passes the bottle that looked like wine, Sarah sees an eyeball floating in the red liquid. Andrew offers the man money, and the leader takes it without looking at it and passes it to the men behind him. The leader says that he wants the girls.
Sarah’s remorse at wearing a revealing bikini into the midst of a genocidal oil war suggests she recognizes her own extreme naiveté, which is the product of a privileged life insulated from any actual violence or horror. The hunter’s erection and their collective drinking of what is clearly blood not only indicates that they are rapists and cannibals, but increases the sadism and horror of the entire scene.
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Sarah tells the leader he can’t have Little Bee and Nkiruka; if he tries to take the girls, the hotel guard will shoot him. The leader looks genuinely surprised at the refusal. He asks Sarah where she is from, and when she tells him they are from Kingston he remarks that he knows the place; he “studied mechanical engineering there.” The leader stabs his machete through the hotel guard’s throat and lets his body drop to the sand. Kindness mutters a prayer behind Sarah. The leader points at Kindness and announces that she will die next. Sarah pleads for the leader to leave the girls alone, but Andrew tries to dissuade her, saying that “this is not our affair.”
Although Andrew at one point criticizes Sarah for doing unimportant work at the magazine, she is obviously much braver and more assertive than he is, even though he is the one who writes moralistic newspaper columns. The contrast between Andrew and Sarah’s conduct under pressure suggests that speaking about virtue and self-sacrifice is far easier than acting out those ideals. Andrew’s claim that “this is not our affair” demonstrates that despite his virtuosity, he is unable to overcome his own self-interest and self-preservation instincts.
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The killer laughs at a white man claiming that something is not his business, since white people have always wanted his money, his oil, his land. He stares at Andrew and asks if Andrew wants to save the girls. Mentally, Sarah recalls that the last column Andrew wrote before they left for their trip mourned the fact that “we are a self-interested society.” Andrew is silent, but Sarah tells the leader they will give him anything he wants. The leader points to the hole in his neck and says he’ll die within two days. The only thing he wants is for Andrew to cut off his middle finger with the leader’s machete, since white men “been giving me this finger all my life.” If Andrew does that, he’ll let the girls live.
Andrew’s virtuous writing calling for self-sacrifice contradicts his actual conduct, again suggesting that espousing self-sacrifice is far easier than actually practicing it. The leader’s request for Andrew to cut off his middle finger suggests that he wants Andrew to admit that white people in the developed world have been actively exploiting countries like Nigeria for decades, and Andrew, by living in the developed world, benefits from that. The leader simply wants Andrew to take some responsibility for other people’s pain.
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Andrew curls his hands into fists while the killer takes his machete by the blade and holds the handle toward Andrew. He states that if Andrew refuses, he will have to listen to the sisters die. Sarah tells Andrew he must do it, but Andrew can’t summon the courage, offering several weak excuses. The killer shrugs and turns away, stating that Andrew made his choice. However, Sarah kneels, takes the machete, and chops off her own finger instead. Sarah thinks they will all die anyway, and the act is easier than she would’ve expected. Andrew is horrified and tries to hug Sarah, but she shoves him away and clutches the bleeding stump. The leader nods, takes Sarah’s finger from the sand, and announces that Little Bee will live, but Kindness will die because of Andrew’s failure.
Again, Andrew’s failure depicts him as a hypocrite, unable to live up to the righteous opinions he writes as a columnist. He embodies the self-interest that his writing criticizes. The ease with which Sarah cuts off her own finger suggests—as she will later state—that one finger in exchange for a human life is not even that great a sacrifice. Also, her rejection of Andrew’s attempt to hold her not only reflects that she is angry at him, but signifies a new sense of separation between them, even though they’d been trying to restore their marriage by going on this vacation.
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At some point in Sarah’s retelling of this incident, Little Bee fell asleep, but Sarah picked up the narration in her own memory. She calls Lawrence again and asks him to come over, but he tells her that he’s stuck home with his kids. When Sarah tells Lawrence about Little Bee, he becomes angry. Lawrence insists that Little Bee must be some kind of criminal and that Sarah should call the police to take her away. Sarah resists, however. She doesn’t think Little Bee is dangerous in any way, and she wants to help her this time.
Sarah asks Lawrence to come over immediately after revisiting her most painful memory, which suggests she uses her affair with Lawrence to hide from her own pain. This is ironic since, contrasting with Sarah’s self-sacrifice, Lawrence embodies societal cynicism by believing that refugees are naturally dangerous criminals, rather than seeing them as human beings.
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Instead, Sarah hangs up on Lawrence and wanders up to Charlie’s room. While she watches him sleep, she reflects on her happy childhood and healthy family. None of them had extramarital affairs; it just wasn’t done. At least that was the image. Sarah knew Andrew was a mistake within the first month of their marriage. They married quickly, to spite her mother, and were both so stubborn they wore each other down.
Sarah’s reflection on her own family suggests that marital faithfulness is part of their familial image, the identity they’ve formed as a family, even if it’s not true. This again suggests that even positive traits such as marital faithfulness can become part of a constructed identity to hide behind.
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Sarah thinks back to the aftermath of her vacation with Andrew: she doesn’t sleep for a week after returning from Nigeria. On the plane home, she thinks how odd it is that the world simply continues without her. She feels like her childhood has ended. Holding her hand aloft to ease the throbbing pain where her finger should be, Sarah decides that she will never let Andrew touch the wound for the rest of her life. When they get home, she resumes her work at the magazine, resumes her affair with Lawrence, and focuses on keeping her life moving along. But back in the present, staring into the mirror and seeing dark bags beneath her eyes, Sarah feels as if her “mask is finally cracking.”
Sarah marking the flight home as the end of her childhood confirms her missing finger as a symbol of her lost innocence. Although this loss of innocence is an integral part of her personal development, her decision to never let Andrew touch the wound suggests that she is barricading him out of this part of her life. Sarah’s belief that her mask is cracking suggests that Little Bee’s presence and confronting her own painful memories is threatening her constructed sense of identity.
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