Previous
Chapter 7: Jean
Themes
Key
LitCharts assigns a color and icon to each theme in Nine Days, which you can use to track the themes throughout the work.
Unconventional Family Structure
First Impressions, Perspective, and Personal Growth
Gender, Stigma, and Shame
Mothers and Sons
The Far-Reaching Effects of War
Summary
Analysis
Alec sits outside alone while a jet flies overhead, “away from home in a world of strangers.” He doesn’t have his sketchbook because he forgot it, and no phone because Charlotte won’t let him for fear of the radiation, because she’s intent on “making [him] a leper.” Alec thinks of his friends, who are off somewhere playing Xbox in Tim’s garage or at the movies. Charlotte wouldn’t let Alec go out with his friends earlier that evening and is “ruining [his] life,” so he walked out. At least Stanzi understands that he’s 17 and basically an adult. Stanzi gives him space. Alec imagines himself driving away forever in two years when he has his driver’s license. He considers taking the tram farther away just to see where it goes, but he decides to go home.
The presence of jets and an Xbox in Alec’s narrative immediately establishes that it takes place in the early 2000s. Alec’s running away from Charlotte and feeling that she is oppressing him and ruining his life establishes the conflict between mother and son as the primary conflict of this chapter. In this regard, Alec’s situation bears some semblance to Kip’s conflict with Jean in Kip’s narrative, since he, too, felt mistreated by his own mother and resented her. However, the suffering that Kip experienced seems substantially greater than Alec’s.
Themes
When Alec gets home, his sister Libby is standing in the kitchen cleaning silverware. She yells to her mom that Alec is back, and Alec insults her. They bicker angrily, Alec insulting her intelligence and infuriating her—since he ran off, she had to do all the housework herself. He then goes up to his room and grabs his sketchpad, ready to sketch Charlotte’s “maternal fury.”
In spite of Alec’s similar position to Kip, his relationship to his sister is far less admirable or affectionate than Kip’s to Connie, depicting Alec as an angst-ridden, immature teenager rather than a young boy trying to survive the world after the loss of his father.
Themes
Charlotte comes in, furious that he ran away while she was talking to him, and forces him to call her “mother” rather than “Charlotte.” Alec is snide and sarcastic, only making Charlotte more furious. Alec complains about not having an Xbox or a TV in his room, saying that he lives in “Nazi Germany.” She tells him she can do whatever he wants when he’s a real adult, and he says the first thing he’ll do is get a tattoo. He’s not afraid of making permanent decisions, unlike Charlotte’s own fear of commitment, demonstrated by her two children and no boyfriend. Charlotte’s had enough and yells for Stanzi to come talk to him instead.
Alec’s description of his own suffering—living without a TV in his room or an Xbox—as living in Nazi Germany suggests that he has a wildly-inflated view of his own suffering, again depicting him as little more than an immature child. However, Alec does make the astute observation that Charlotte fears commitment and making such weighty decisions, which should recall in the reader’s mind that she relied on the pendant and fate to even decide whether or not to have Alec at all.
Themes
Stanzi, who is now a personal trainer, bounds up the stairs. Alec thinks she must rush to help all the time because she and Charlotte are afraid that if he or Libby are ever left alone with any unanswered questions, they’ll suddenly realize they have two “smother mothers” and no fathers besides their two distant, biological dads. Stanzi is not angry like Charlotte, and jokes about living as an Amish person while Alec complains about Charlotte’s weird rules. After listening sympathetically for a bit, Stanzi reminds him that they have an anniversary to get to, and it means a lot to his grandfather, Kip].
Stanzi’s transformation from an overweight and cynical counselor to a fit and positive physical trainer demonstrates each individual’s capacity to change themselves over time—for the better, in Stanzi’s case. Additionally, Stanzi’s position as the second parent in lieu of any fatherly demonstrates that in an unconventional family, individuals may change rules and new structures may emerge.
Themes
Get the entire Nine Days LitChart as a printable PDF.
Alec’s grandmother Annabel, Kip, and Uncle Frank arrive, and the whole family sits down to eat. Although Kip and Annabel speak positively of Charlotte’s vegan casserole, nobody eats much. Frank tells Libby about how the whole family used to live in this house, and then just himself after Kip moved out, and then he gave it to Stanzi and Charlotte and moved himself into the nursing home after he retired from the law firm. Alec thinks Stanzi and Charlotte are “lame” for staying in the same house all these years.
Again, in spite of Jean and Mrs. Husting’s belief that Kip would never amount to anything, Alec’s narrative reveals that Kip fathered two generations, proving his own value and arguing that one should not judge a person entirely on their limited perception in that moment in time.
Themes
When the meal is over, Kip stands to make a speech about his marriage with Annabel 50 years ago and how happy he is to have the whole family at one table. Alec is bored. Kip talks about how it bothered him that he and Annabel only had the one amethyst pendant to give and two daughters—even though Stanzi took cash instead. He gives Stanzi the shilling, now threaded on a silver chain, making her well up with tears, and enough money to Charlotte to make her cry as well. Kip makes a scene of looking for his glasses in his pockets, and then asks Alec to go retrieve them from his car.
The fact that Stanzi wells up with tears at Kip’s gift of the shilling—which she’d previously disregarded and tried to replace with just another penny—suggests that she has let go of much of the bitter cynicism she carried at 35 and now appreciates the gift and the loving connection it represents between family members. Once again, Stanzi’s marked transformation demonstrates each individuals potential to change and grow into a happier, healthier version of themselves.
Themes
Alec walks out to the car, thinking about all the different generations in that house and how they all know exactly who they are, except for he and Libby who only half-know on account of their absent fathers. When Alec opens the car door he finds the glasses next to a package with his name on it. He opens it, finding a note from Kip explaining that this is his gift, though he should probably keep it a secret. Alec opens the box and is thrilled to find a new Nintendo DS. However, he realizes that he needs to find a place to hide it from Charlotte; his room won’t work. Searching around the outside of the house, Alec finds a loose brick in the wall and pulls it out, but finds something else already stashed in there.
Although Alec technically knows who both he and Libby’s biological fathers are, his feeling of not truly knowing who he is suggests that it takes an actual relationship to know someone. This is significant, since Alec himself fantasizes about taking off and running away, beholden to no one, though he apparently does not make the connection that is what his own father, Craig, did. This contradiction suggests that Alec will face his own decision someday to either stay put and accept himself and the people around him, or to leave and abandon that identity.
Themes
Alec brings the item, a biscuit tin, inside to show everyone. Kip asks him to open it and he does, pulling out an old photo of a woman hoisted up on a soldier’s shoulder, kissing another soldier as he leans out of a train. Kip looks at it, silent, face almost anguished. He tries to stand but falls over, and they lay him on the couch. Charlotte tries to call an ambulance, but Kip and Annabel insists he’s fine. Kip explains it’s a photo of his sister. Kip never knew that Connie had the photo developed. He reveals to the family that Connie didn’t die of the flu, as everyone said, and explains about her abortion. Charlotte is angry about the “ridiculous sexist taboos” but Annabel explains that’s just how the world was back then. Kip looks at Alec and tells him that Alec gave Connie back to him.
The photo described is the same photo on the cover of the novel, which inspired the final chapter, as well as the entire story that precedes it and each of the nine main characters involved. The fact that Kip hid the true cause of Connie’s death for so long suggests that it was a point of great shame and pain for his family long after she died. Charlotte’s angry reaction at the shame Connie had to face and the awful conditions of the operation reveals just how far society’s acceptance of abortion and view of women has come.
Themes
As Annabel and Uncle Frank are getting ready to leave, Charlotte realizes that Kip has disappeared. Alec finds him in the backyard, standing beneath a tree, which he says is the last place he ever saw Connie alive. Connie never got to see Kip marry or meet his children; she was only 19 when she died. Kip takes Alec’s face in his hands and tells him that every time he sees someone he leaves may be the last, and he needs to love them in that moment, to kiss them goodbye each time. As Kip leaves, Alec thinks about how frail he seems now, and thinks back on the way that Kip stood in for his and Libby’s father throughout their childhood, performing all the fatherly duties. After Kip’s kissed everyone goodbye, Stanzi drives them home and then goes out for the night.
Alec’s recollection of Kip fulfilling the fatherly duties for himself and Libby suggests that although they technically had two parents, Charlotte and Stanzi, their fathers’ absences was still felt. Even so, Kip stepping in to fulfill that fatherly role when needed again demonstrates the manner in which an unconventional family structure can still function just as well when individuals adapt and are willing to take on new roles. Importantly, Kip seems just as loving and supportive as any father could be, suggesting that although it is unconventional, their family is as loving and beautiful as any.
Themes
As Libby, Charlotte, and Alec are about to go to bed, they all notice that Kip has left the photo sitting on the couch. Charlotte begs Alec to take it, since she thinks Kip must be frantic without it. Alec doesn’t want to since he’ll have to take two trams to get to the nursing home and won’t be home until very late. However, Charlotte begs him and makes him feel guilty by saying that Kip is old and might die this very night, and then Alec would feel terrible for not doing this nice thing for him. After pleading and negotiating, Alec finally relents, leaving with the photo in the biscuit tin in his backpack.
Although Alec is reluctant, his eventual willingness to carry the photo to his grandparents suggests that despite being an angst-ridden and often ungrateful teenager, he does truly love his family. Although Charlotte’s begging and guilt-tripping can be read as manipulative, since it is not for her own gain, it seems just as likely to be rooted in her deep love for Kip and wish for him to be reunited with the photo.
Themes
Alec is near the first tram station when a shiny red sports car pulls up, the nicest car Alec has ever seen. As Alec is marveling at it, the window rolls down and Alec sees it’s Tim and and his friends; one of their older brothers is at the wheel. They just got the car and have a bunch of beer, and are going to road trip the to beach and spend the night. They want Alec to join them. Alec reflects on the fact that he’s done nothing in life until this moment. This could be the greatest night of his life: beer, pizza on the beach, maybe even girls in bikinis.
Once again, Alec’s idea that he’s accomplished nothing in his young life but could somehow redeem himself by partying on the beach suggests that he is quite immature. However, the chance to drink beer, eat pizza, and drive around in a fancy car represents a rare opportunity for Alec to feel like a normal teenager with normal parents, rather than the son of an eccentric single mother.
Themes
As Alec puts his hand on the door to climb inside, he feels the strap of his backpack and remembers the photo and Kip. He feels trapped. If he doesn’t go, his friends will make fun of them like people did at school when they found at he had two moms, and assumed that they were gay and he was gay too. But on the other hand, Kip could die tonight without the photo of Connie. Alec hates himself for it, feels as if his life is over, but decides he has to go to the nursing home. His friends call him a loser and speed off, and Alec thinks they’ll never hang out with him again. He’ll be a loser forever.
The derision Alec receives at school for having two moms (who in reality are sisters, not a gay couple) demonstrates that in spite of all the ways society has progressed, many of the same old stigmas and prejudices exist, including the general intolerance toward unconventional families. Alec’s choice between going with his friends or taking the photo to his grandparents represents the greater choice about honoring his family or meeting the expectations of his peers and society at large.
Themes
Alec enters the nursing home where Kip, Annabel, and Frank all live together, and finds Kip and Annabel’s apartment. They don’t understand why he is there at first, but he tells them he came to drop off the photo. Kip is stunned that he left it behind and Alec realizes that he didn’t even know it was missing. He could have gone with his friends and given it to Kip another day. Alec is furious at himself. But now, with nothing better to do, he stays and has tea with Kip while Kip tells him about the old days, about Frank and Connie, and he holds the photo in both hands. While Kip is talking, Alec thinks about how, although Libby annoys him, he’d never want to lose her: “While Libby is alive, I know I’ll never really be alone.”
Although Alec’s choice to honor his family and be loyal to them was not as dire as Charlotte made it seem—since Kip was not frantic—his prioritization of family over friends or fitting in seems to help him recognize the true value of his family, and especially of Libby. Alec’s belief that family keeps one from truly being alone mirrors Jean’s belief that children keep one from being alone, suggesting that family is the most valuable thing an individual can have, even when they don’t get along.
Themes
When Alec opens the door to his own home, Charlotte yells at him; he should’ve been home hours ago, except he stayed to talk to Kip. Alec is about to protest when Charlotte wraps her arms around him like she never has before, sobbing. She has to reach up to hold onto his neck, and Alec realizes for the first time how small his own mother is compared to him, and how she’ll only get smaller while he grows larger. He lifts her off the floor with his own hug and comforts her as best he can.
Alec’s realization that he is growing larger while his mother seems to grow smaller parallels Jack’s realization that he is outgrowing his parents. However, Alec’s realization seems to help him recognize the difficulty of Charlotte’s position as well, offering some level of empathy for her as she watches her own son, to whom she gave birth, rise above her.
Themes
Charlotte, sobbing, gasps about a traffic accident on the freeway on the news. Over her shoulder on the TV, Alec sees the same red sports car in which his friends were riding. He kneels in front of the TV, touching the screen, looking at the wrecked car and bodies covered by tarps. The newscaster rambles about a possibly stolen vehicle, drunk driving, and families who’ve lost their sons.
The fact that Alec could have died had he chosen friends and fun over loyalty to his family affirms his decision. This suggests that even an unconventionally formed family is the most important thing in one’s life, and should be seen a gift.
Themes
