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54 pages 1 hour read

M. T. Anderson

Landscape with Invisible Hand

Fiction | Novel | YA | Published in 2017

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Chapters 13-17Chapter Summaries & Analyses

Chapter 13 Summary: “A Small Town Beneath a Hovering Luxe Cloud Complex”

Adam and Chloe visit a “rich-people cloud-complex” (44), and Adam paints a top-down view of his town. Mr. Reilly, a volunteer art teacher, works as a door attendant at the complex. Chloe and Mr. Reilly get along, and the two teens sit with him as he works. Adam wishes Mr. Reilly were his grandfather and shows him the virtual castle he’s working on for Chloe. A group of rich teens enters the lobby. Mr. Reilly greets them, and one gestures at a large box on a hovering dolly, telling Mr. Reilly to take it to apartment 723. The kids use Mr. Reilly’s first name (Dave), which Adam finds disturbing. He, Chloe, and Mr. Reilly are all uncomfortable.

One of the rich teens sees and compliments Adam’s castle, and Mr. Reilly says that Adam and Chloe are visitors from another complex. Chloe brags that Adam made the castle for her, and he and Chloe show them the different rooms of the virtual building while Mr. Reilly takes the box up to apartment 723. The rich kids use slang that Adam doesn’t understand. Adam makes up a school, St. Photon’s, and Chloe claims that he’s a long-distance runner, but Adam says he no longer runs because of an injury to his Achilles tendon. Mr. Reilly returns, telling Adam and Chloe that they need to catch their shuttle. On the way home, Adam reflects on the smallness of his life.

Chapter 14 Summary: “My House in Late Fall”

By fall, Chloe and Adam dislike each other. Chloe’s fights with Hunter agitate Adam, and he doesn’t like seeing her in the morning. Adam’s symptoms of Merrick’s Disease disgust Chloe. He has attempted to treat the condition but can’t afford the simple cure the vuvv have: “All the medicine in the world won’t help you if you don’t own it” (52). Although they dislike each other, Adam and Chloe continue making episodes of their show. The presence of the audience, which once inspired creativity, now makes them feel awkward. Much of their bantering contains obscured biting comments.

Chapter 15 Summary: “A Georgia Peach Orchard, With the Slogan ‘Everything’s Peachy in Georgia!’”

The Costello family receives a postcard from Mr. Costello a year and a half after he left. He tells them that he’s safe and suggests that they rent part of the house, as they’re already doing. Mrs. Costello, enraged, tears the postcard to bits and declares that Mr. Costello is lying to himself in feeling that he did the right thing by leaving. Her dramatic reaction surprises Adam because she’s typically optimistic. He tries to help by suggesting that Mr. Costello moved someplace warmer with a low cost of living, but Mrs. Costello interrupts and reveals that Mr. Costello fetishizes Southern women. Meanwhile, Nattie finds the pun on the postcard—“Everything’s Peachy in Georgia”—offending; she calls it “the pits” but must explain her ironic use of a different pun to her mother.

Mrs. Costello says she’s going to search online for jobs, but Adam finds her half an hour later staring at the screen. Knowing that she’ll find nothing, she can’t bring herself to begin a job search. Instead, they watch the news and see a report about white men storming a bodega and screaming racist insults at the Mexican employees:

Some white woman standing outside on the street in a terry-cloth hoodie tells a reporter that if it weren’t for those goddamn people, the censored censored censored illegals, everybody wouldn’t be eating the grass in our yards on all fours (57).

Another station reports on a group of human farmers who built fertilizer bombs and attacked a vuvv agricultural transport. The reporters argue that if people like the farmers weren’t so “lazy,” they wouldn’t be poor.

Chapter 16 Summary: “A Village on a Mountain Peak, Taken From Some Old Master”

Adam paints a pleasant mountain village, and Mr. Reilly thinks it’s nice but likes Adam’s other paintings better because they depict the current state of the quick-changing world. Mr. Reilly admits that he entered Adam in a vuvv art contest with a cash prize and the promise to distribute the winner’s work throughout the Vuvv Interspecies Co-Prosperity Alliance. Mr. Reilly thinks Adam could win but warns that the vuvv think humans paint only still-life works—like bowls of fruit—so Adam might want to consider adding those to his collection. Adam prefers landscapes and hates still-life paintings, and Mr. Reilly concedes that landscapes will help Adam stand out from the crowd. He advises Adam to paint the truth and says that Adam will be a better artist than himself. This last comment sticks in Adam’s mind because he fantasizes about becoming a successful artist and realizes that Mr. Reilly must have his own dreams of success. Adam respects Mr. Reilly because he uses his passion for art to help students.

Chapter 17 Summary: “Autumn in a Field Near a Discharge Facility”

On Mr. Reilly’s advice, Adam practices painting the atmosphere between physical objects in his paintings. Mr. Reilly explains that landscapes were painted for “great industrialists” so that they could see the beauty within the landscapes they were destroying. As one of their dates, Chloe and Adam go to a large field near a discharge facility so that Adam can practice capturing the atmosphere in his work. His Merrick’s Disease symptoms are acting up, and Chloe is impatient to leave so that she can hang out with other friends. She’s frustrated because Adam is waiting for the sun to come out from behind a cloud. He explains that he’s trying to paint the atmosphere, and Chloe remarks that he’s marking the atmosphere, meaning that she smells his gas from the flaring medical condition. Both Chloe and Adam work to contain their anger because they’re recording their show. As the sun comes out from behind the clouds, a floating house drifts by, blocking out all the sunlight. They laugh and make up, and the episode becomes their most popular one because of their reconciliation.

Chapters 13-17 Analysis

These chapters continue to develop the characters, themes, and plot. The novel depicts the bond between Adam and Mr. Reilly as closer than that of a typical student-teacher relationship. Their relationship extends beyond the classroom, crossing the usual student-teacher boundaries and approaching an almost familial closeness, as is evident through Adam’s wishing that Mr. Reilly could be his grandfather and through Adam’s introducing him to Chloe. The latter point suggests that Adam is seeking approval for his choice to date Chloe, and he finds approval through Mr. Reilly’s friendly treatment of her. The atypical relationship is two-sided because Mr. Reilly willingly crosses ethical boundaries to develop his relationship with Adam by arranging for Adam and Chloe to visit the cloud-complex and by entering Adam into an art contest without first notifying him. Mr. Reilly illustrates the familial feelings between the two through his remark, “You’re going to be a better artist that I ever will be” (61). This comment implies that he sees Adam as the legacy that he’ll leave behind, an interpretation further supported by Adam’s response that Mr. Reilly is his “launching pad.” He becomes a father figure to Adam, which suggests the impact of adult guidance on teens.

The theme of Capitalism and the Wealth Gap is apparent in numerous and wide-ranging details that highlight the immense consequences of unchecked capitalism and the resulting wealth gap. Mr. Reilly’s vocation is art teacher, but society has devalued teaching and art, so he must volunteer to do it and take a meaningless job to earn a living. Nevertheless, he’s low-class compared to the residents of the complex in which he works. They treat him with relative disrespect, which makes him, Adam, and Chloe uncomfortable because of the juxtaposition in the relationship between Mr. Reilly and the residents of the complex, in which Mr. Reilly is a servant, and the relationship between Mr. Reilly and his students, in which he’s an authority figure. To help Adam and Chloe avoid facing the same, or worse, degradation, Mr. Reilly lies about their being rich. His plan works, and the teens who live in the complex treat Adam and Chloe with respect because they believe they’re in the same class.

Likewise, Adam’s lack of medical treatment and his low-coverage insurance are results of the capitalism-driven wealth gap, and the book’s details reflect current world conditions. Those living in poverty must process their own water because municipal water is no longer treated. The lack of clean drinking water alludes to real-world conditions in which many communities, even in the US, endure outdated and dangerous infrastructure, such as the infamous water crisis in Flint, Michigan. Although the vuvv have a simple treatment that would cure Adam’s disease, his family’s insurance doesn’t cover the medicine, and they can’t afford to pay for the treatment out of pocket. This lack of access to a simple treatment intentionally criticizes the state of the real-life medical industry and lack of universal health care in the US.

The same theme receives further scrutiny via the short clips that Adam and Mrs. Costello watch on the television news. The first story they see addresses themes of racism and immigration. The white men attacking the bodega and the woman talking to the reporter blame Mexican individuals for stealing job opportunities—an instance of misplaced blame that reflects real-world circumstances in the US. The second news story depicts another common assertion: that if poor people worked harder, they wouldn’t be poor. This assertion ignores central factors such as discrimination, changing markets, and lack of opportunities. Each of these plot points—Mr. Reilly’s degradation, Adam’s lack of medical care, and the news stories—depicts a consequence of rampant, unchecked capitalism. The author is critiquing real-world capitalism by drawing attention to its power to create intensifying division that leads to worsening social and environmental conditions.

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