LitCharts assigns a color and icon to each theme in Running in the Family, which you can use to track the themes throughout the work.
Memory, History, and Story
Alcoholism
Ancestry, Homeland, and Identity
Irresponsibility in the 1920s
Colonialism
Summary
Analysis
Ondaatje’s maternal grandmother, Lalla, “could read thunder” and claimed she was born outdoors. Ondaatje knows nothing of her childhood up until she is 20, living in Colombo, where she is engaged to a selfish man who leaves her for a richer woman. Lalla, heartbroken, goes into a fit of rage and then immediately marries Willie Gratiaen “on the rebound.” Willie is a broker, but together they buy a house in Colombo and start a dairy farm. However, Willie falls ill within a few years and dies, leaving Lalla to raise their two children alone.
Although Lalla is not blood-related to Mervyn, much of her brash and reactionary behavior—such as marrying Willie “on the rebound”—foreshadows his own. As Ondaatje later recognizes, wild behavior and excessive drinking seem to run in the family, which suggests that some of Mervyn’s own misbehavior is not the result of poor character, but traits absorbed from his social environment.
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Lalla befriends her neighbor Rene de Saram, whose husband went mad and committed suicide, also leaving her to raise her children alone. Both women, coming from wealth and “high living,” fall on hard times. Both have several affairs with married men, but neither marry ever again. Rene owns a dairy farm as well, and the two look out for each other by legal or illegal means. When one of Lalla’s employees stabs a foreigner to death for harassing a young woman, Lalla hides him in another one of her neighbor’s houses for two days. When Lala is called to court to testify, she knows the judge and charms her way out of it. On top of all of this, Lalla frequently attends parties and gatherings in addition to raising her children.
Lalla is described as a woman who goes to many extremes, again foreshadowing Mervyn’s own reckless behavior. Her fall from wealth to poverty similarly reflects Mervyn’s own downfall which will occur many years later, making them effectively parallel characters. Lalla’s life provides context for the raucous years of Ondaatje’s parents’ generation, since she herself exhibits many of the same qualities which were likely passed down to her children Doris and Noel.
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Lalla constantly has a score of children around her, since she makes a very oblivious chaperone and allows them to get away with nearly anything. She constantly gives gifts and takes people out for meals until restaurants begin turning her away for never paying her bills. When Doris is a teenager, Lalla designs elaborate costume dresses for her to wear, though they are so elaborate it is often difficult for Doris to dance or find suitors. Although Lalla was vivacious, Ondaatje notes that her eccentricity was not always welcome. Doris never spoke of her mother, and Lalla always wanted a crowd around her but hated feeling “pinned down” or “contained” by others’ needs—even by breastfeeding her children, since it delayed her going to parties.
Lalla’s eccentricity and restless energy, which make her many people love her, also seem to make her irresponsible. Her irritation that such pursuits as motherhood pin her down suggests that, like Mervyn and Doris’s generation, Lalla struggles to face the realities and responsibilities of life. Doris’s failure to ever speak about Lalla suggests that, in spite of being such a vibrant character, she makes a poor and unsupportive mother.
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After her children are grown and leave the house, Lalla turns her attention to her brother Vere. Although Vere intends to remain a bachelor his whole life, Lalla engineers his marriage to an ugly woman with a large dowry—a priest’s sister. Lalla and Vere have “expensive drinking sessions” and need the money this union would provide. But after Vere spurns his new bride, the priest refuses Lalla mass, and she in turn refuses church for the rest of her life. Lalla and Vere drink together constantly, but Vere never finds a stable career for himself. Lalla occasionally sends whatever money she can to her other brother Evan—now, no one in the family remembers where Evan went or what he did.
Lalla’s heavy drinking again foreshadows Mervyn’s own, making them parallel characters to each other. Lalla’s own heavy drinking likely plays a role in the subsequent generation’s alcoholism, which suggests that Mervyn’s own struggle with drinking is exacerbated by a family history of alcoholism and an environment where heavy drinking has long been a habitual practice. In light of this, Mervyn’s alcoholism seems the tragic consequence of a grim family legacy, rather than his own individual moral failure.
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By the mid-1930s, both Lalla and Rene’s dairies shut down. When Lalla’s poverty forces her to sell her property and possessions, she hits her prime, floating transiently around the country to visit and scheme and party, living out of a suitcase. Lalla loves flowers but can't be bothered to grow them, so wherever she goes she steals them, pulling them up by their roots, gazing at them or gifting them to friends, and then casting them aside. She does the same with any property, especially toys, which she loves to steal from the market and give to children—a “lyrical socialist.” She drinks heavily, sees “old flames” constantly, and often loses her foam breast after she becomes the “first woman in Ceylon to have a mastectomy.”
Lalla’s ripping up flowers so she can admire them for a moment suggests that though she lives fully, she loves destructively. She consumes something and destroys it, then casts it aside. This again depicts her as a vibrant character with no real concept of consequence or reality, and ultimately makes her seem more narcissistic than loving. For Ondaatje, Lalla’s place in his own ancestry explains some of the rash and irresponsible behavior of his parents, even as adults.
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Ondaatje knows that some of Lalla’s children despised her brash behavior, particularly her son Noel. Even so, Lalla was proud of her children, even if she was never content to “be just a mother.” Ondaatje doesn’t know what Doris thought of her, but imagines that his mother inherited some of her theatricality from Lalla. Lalla was always the center of whatever places she inhabited, an “overbearing charmed flower” who was freest after her husband’s death.
The notion that Doris has inherited her theatricality from Lalla points to the role of ancestry in one’s identity. Rather than see himself as an oddly dramatic person, Ondaatje’s new understanding of his family’s past allows him to trace his own dramatic streak from Lalla to Doris to himself, offering him new insight into why he is the way that he is.
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As Lalla grows older, she continues traveling around but feels ready to die. In 1947, when she is 68, she comes into a small amount of money, so she and Vere drive up to Nuwara Eliya on his motorcycle. They move into an abandoned boarding house and spend the next several days eating, drinking, and playing cards. A storm gathers and Lalla thinks that she will die soon. She and Vere spend more days together, drinking and speaking about their lives more intimately than they ever have.
Lalla’s first reaction to coming into money is to spend it all on alcohol, which suggests that after so many years of drinking and partying, alcohol has a strong grip on her life. Notably, Lalla doesn’t spend her last days surrounded by friends and family, but rather drinking with her brother, suggesting that the consequence of such a transient, rambunctious lifestyle is the loss of many key relationships, such as her relationships with her children.
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In the middle of the night, while Vere sleeps on the couch, Lalla drunkenly stumbles out of the building and directly into a flash flood. The flood carries her away down the hillside, slamming her into objects and carrying her through town. Lalla, drunk, observes it all but doesn't think she is in any danger. She rides the flood all the way to the ocean and dies when she reaches it.
Again, Lalla’s alcoholism-related death foreshadows Mervyn’s own struggles. Here, it becomes clear that the heavy drinking in Ondaatje’s family can ultimately have a lethal impact, either through clouding one’s good judgment or destroying one’s body.