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Sukey’s makeup, perfume, jewelry, and clothing represent Sukey herself, as well as the glamour and mystery of an older sister. Sukey’s belongings connect Maud to her missing sister and function as clues.
When Sukey kisses Maud goodbye, she leaves a lipstick mark that Douglas recognizes as the color Victory Red. When Maud notices a bottle of Sukey’s perfume, Evening in Paris, in the suitcase recovered from the Station Hotel, Maud impulsively grabs the perfume and splashes it on herself. Maud, who admires Sukey’s fashion sense, is wearing a jacket Sukey gave her from the last time Maud saw Sukey. After Sukey disappears, Frank gives Sukey’s old clothes to Maud who wears them when she meets with Frank.
After Sukey’s disappearance, Frank tells Maud that he misses “having her about the place, her bits of things” (156). When he implores Maud to tell him about Sukey’s things, Maud mentions Sukey’s perfume, Evening in Paris. Frank says, “What else does she have, Maud? What else? You remember” (156). Maud plays along, listing Sukey’s favorite belongings: “lipstick. And an old compact that matches her perfume. Silver and navy blue stripe […] earrings that look like sweets” (156).
Discussing Sukey’s things comforts Frank, but seeing Maud wearing Sukey’s clothes and lipstick infuriates Douglas. After he catches Maud talking to Frank, Douglas wipes the lipstick off Maud’s face and tells her to “[s]top trying to replace her. You can’t ever replace her” (223).
Nearly 70 years later, Sukey’s things are still on Maud’s mind. At the department store makeup counter, Maud looks at the powder compacts on display and thinks, “What I need is the bottom half of a blue and silver one, but I won’t find it here” (40). Instead, she asks the salesgirl for Victory Red lipstick. When the police pick up Maud for wandering the streets, Maud mutters, “Her perfume was Evening in Paris […] And she had earrings that looked like sweets” (162). As she leaves the station, Maud stops to pick up an earring that looks like the ones Sukey wore.
Back at home, a confused Maud uses an old skirt as a rag. When Carla points this out to her, Maud realizes that the skirt once belonged to Sukey. Maud reflects that she kept many of Sukey’s things because she “couldn’t bear to throw them away” (98). She laments “now I’ve gone and ruined something” (98). Even after all this time, Sukey’s belongings are precious to Maud.
Of all the things Sukey left behind, her compact is the most important clue. Maud digs up half of the compact in the Prologue, and Helen digs up the other half in the last chapter after discovering Sukey’s body. When Maud leans “down to reunite the two silver-and-blue circles” (286), she pictures Sukey at her kitchen table “sweeping powder over her nose” (286). Sukey’s compact led Maud back to her sister at last.
Birds represent the menace that the mad woman and Frank pose to Sukey and Maud.
Both Sukey and Maud are afraid of the mad woman. Maud describes the moment she saw the mad woman outside of Douglas’ window: “a flurry of birds dived from the dark of the hedge, and I turned just in time to catch the shape of a woman scurrying away” (22). Later, while visiting Sukey at Frank’s house, Maud encounters the mad woman again when she hears “that rustling in the hedge, that blackbirdish noise, and again felt the inexplicable shiver of dread” (76).
Maud compares both the mad woman and her umbrella to birds. The mad woman’s umbrella is “a shabby inky thing, half unfurled in a way that made it look like an injured bird” (28). At the end of the book, a confused Maud claims that the mad woman “was really a bird and flew about my sister’s head” (301).
Sukey describes the glass dome of stuffed birds that Frank brings home as “horrid” (73) and says she “‘can’t shake the idea’” (74) that they are going to hurt her. She says, “I can just hear it […] The glass breaking and the blighters fluttering out, flapping their wings, coming to peck my eyes out” (74).
When Maud thinks about the bird comb she gave Sukey the last time she saw her, she regrets giving her something that looked like the stuffed birds she feared: “I wished more than anything to speak to her about that. To tell her I hadn’t meant any harm” (164).
Sukey’s premonitions about the birds come true: The glass dome full of stuffed birds becomes the instrument of her death. The stuffed birds are buried with Sukey in Elizabeth’s garden, and their skeletons are recovered along with Sukey’s.
When a young Maud discovers Sukey’s favorite records smashed after her sister disappears, she wonders if they are a clue to what happened to Sukey. Maud tries unsuccessfully to fit the jagged black pieces back together.
The broken records are like the clues young Maud gathers as she tries to solve the mystery of Sukey’s disappearance: She has separate clues and is unable to put them together to solve the entire puzzle.
The records are also a metaphor for Maud’s shattered memory: She is unable to put her memories back together in a way that makes sense.
Summer squash first appears in the Prologue when Maud discovers Sukey’s broken compact in Elizabeth’s garden and asks her friend Elizabeth, “Did you ever grow summer squash?” (2). Maud knows that summer squash is important, but she’s unsure how it relates to the item she’s just dug up. Later, Maud creates a list to help herself remember: “I make a note under a list which starts: Compact, summer squash” (96).
Like Sukey, the mad woman understands that summer squash is an important clue. When Maud encounters her in the beach hut after Sukey disappears, the mad woman includes summer squash in a series of jumbled clues about Sukey’s disappearance: “I could hear a voice from within, whispering. Whispering about glass smashing and birds flying. Whispering about a van and soil and summer squash” (117).
When she was a young woman, Maud saw a man in his front yard shouting that his rival had dug up his summer squash. Maud noticed the mad woman nearby and assumed she stole the squash because she was hungry. However, Maud later realizes that the mad woman was looking for something.
When the mad woman is hit by a car in front of Maud’s house, she hands Maud a flower just before she dies: “It was a flower from a squash plant, dry and faded and falling apart, like an old gramophone horn” (264). The squash blossom is the mad woman’s attempt to help Maud solve the mystery of Sukey’s disappearance.
Many years later, when Maud realizes that Elizabeth lives in the house where Frank helped plant summer squash, Maud invites herself to tea:
I got to know Elizabeth because of some summer squash. The first time I met her she told me her garden wall had pebbles cemented to the top and I knew exactly where she lived. It was the house with the garden, where more than sixty years ago, some squash had been dug up during the night. And, I don’t know why, but I wanted to have a look in that garden, so I got myself invited round for tea (18).
Later, confused in her neighborhood shop, Maud notices that she’s written the word “summer squash” on her shopping list. When she returns home, she is preoccupied by thoughts of summer squash. She repeatedly asks Helen, who is a professional gardener, “If I were to grow summer squash […] where would I best plant them?” (10).
At the end of the novel, Maud finally puts all the clues together: “She disappeared and they built those houses. And Frank brought tons of soil to lay over the gardens and he planted things there. And the summer squash were nearly ruined after someone was in the garden. Digging” (283).
The women in the book suffer both physical and emotional blows. The trauma of losing her sister, Sukey, marks Maud as a young woman. The grief over losing her best friend, Elizabeth, marks Maud as an old woman.
When the mad woman attacks young Maud with her umbrella, Maud remembers, “There was a bruise on my shoulder for weeks after that, dark against my pale skin. It was the same colour as the mad woman’s umbrella, as if it had left a piece of itself on me, a feather from a broken wing” (29).
Nearly 70 years later, Maud receives another set of bruises when she falls down the stairs at the park while searching for clues about Elizabeth’s disappearance. After scolding Maud for constantly calling the doctor, Helen discovers her mother’s bruises. Maud describes both sets of bruises as leaving marks like wings: “There are bruises, staining my skin, spreading round the elbow, fanning out like wings (33). When Helen asks her how she got the bruises, Maud confuses the bruises with the ones she received as a girl, telling her “[i]t was an umbrella” (34).
Helen’s discovery of Maud’s bruises is reversed later in the book when Maud discovers a bruise on Helen’s wrist: “There is a livid mark on her wrist that looks like it will bruise” (193). The irony is that Maud likely caused Helen’s injury in a fit of anger. Maud echoes Helen’s words, asking Helen how she got the bruise. When Helen replies, “It doesn’t matter” (193) Maud says, “It matters to me. You’re my daughter. If you’re hurt, it matters to me. I love you very much” (193).
Loss marks both Maud and Helen, but they are both capable of love. As Maud’s memories fade, her love for Sukey, Elizabeth, and Helen endures.