41 pages • 1 hour read
Ken KeseyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The omniscient narrator describes the landscape of the Oregon coast and the fictionalized Wakonda Auga River. The description takes an ominous turn when the narrator focuses on a disembodied arm attached to the pole of a boat going downriver. The end of the novel will reveal that the arm belongs to Henry Stamper, patriarch of the rugged Stamper family. The Stampers reside in an unconventional, ramshackle house on an isolated riverbank that is under constant threat of flooding.
The narrative cuts to a scene of union loggers standing on the bank across from the Stamper house. Floyd Evenwrite, the union’s local representative, and Jonathan Bailey Draeger, the union’s president, discuss the river and its tendency to flood. The union is struggling because Hank Stamper, the eldest son of Henry, is continuing the family’s non-union logging operation despite the fact that the union is on strike—in effect, the Stampers are strikebreakers. Draeger goes to a bar after the union meeting, where he runs into Hank’s wife Viv. She shows Draeger pictures of the Stamper family and says that understanding the complicated family requires knowing their roots.
The narrative flashes back to the early days of the Stampers. Starting in 1898, the notoriously hard working and independent family kept moving further and further west across the United States, always believing that something better lay beyond. Jonas, Henry’s father, settled in Oregon, where his sons flourished, though he returned to his former home in Kansas. Jeremy (Boney) Stokes took care of the family afterward, ensuring that they were fed, but Henry resisted the charity, insisting instead on independence and his motto, “NEVER GIVE AN INCH!” (35).
After Henry’s first wife, Hank’s mother, died when Hank is ten, Henry went to New York for three months and found a new wife, Myra, a student at Stanford University. She moved with Henry back to Oregon, but was unfit for life in the wilderness. She had a son, Leland (Lee) Stanford, but Hank never accepted him as a true brother. When Hank was 16, Myra seduced him, and Lee saw them having sex. After a few years, Myra and Lee went back east, Hank taunting Lee as they left.
Now, 12 years later, Lee gets a postcard from Hank announcing that Henry has been hurt and the family needs Lee’s help to continue the logging operation.
With its first section, Sometimes a Great Notion showcases its complex style, rapidly shifting perspectives between numerous characters, weaving several voices together in a single paragraph. The narration switches from first-person voices to an omniscient narrator that has a bird’s-eye view of characters, their conflicts, and their motives.
The landscape of the Oregon wilderness is almost a character in itself. The environment is harsh, rainy, and unforgiving, implying that only the hardiest of humans could bear living there. The Stamper household stands precariously on a bank of the fictionalized Wakonda Auga River, defying nature. The river floods often, threatening the house’s existence, but the fact that it has remained intact is symbolic of the Stampers’ will to thrive no matter the odds. The house’s flaunting of risk echoes the way the Stamper family defies the expectations of the logging union and the townsfolk. Their aloofness is punctuated by the appearance of the middle-finger-giving arm at the beginning of the novel—a clear signal that the Stampers refuse to acquiesce to the demands of politeness, the society around them, and the wishes of other Wakonda Auga residents. The Stamper house and the severed arm exemplify Henry’s motto, “NEVER GIVE A INCH!” (35).
The struggle between the Stampers and the logging union exemplifies the conflict between independence and belonging that is woven into American identity. In their quest to move further and further west to secure independence, the Stampers exemplify the concept of manifest destiny, or the idea that the expansion of the United States across the North America was God-ordained, so their extermination of Native peoples and their subjugation of the landscape were justified. However, the Stampers’ desire to function entirely without outside help is often disastrous. Both Jonas Stamper, Henry’s father, and Myra, Henry’s second wife and Lee’s mother, left Oregon. Jonas was unable to adapt to the region’s climate, while Myra felt so lonely and out of place on the frontier that she initiated an affair with her 16-year-old stepson. These past escapes foreshadow Viv’s imminent departure from town due to her own loneliness and restlessness.
By Ken Kesey