46 pages • 1 hour read
Paul ZindelA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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The concept of determinism examines the idea that humans lack free will and that external forces outside their control shape their lives. In The Pigman, Zindel explores the idea of determinism versus free will through all the main characters and poses the question of whether the characters are responsible for their fates or if they are imprisoned by circumstances limiting or impeding their ability to choose differently. Through the recurring motif of locks and cages, the author enforces the idea that every person in the story is physically or emotionally trapped. Angelo Pignati’s grief over his lost wife has made him a prisoner in his own home. His denial of her death chains him to a cycle of mourning and grief, preventing him from engaging with reality. It is fitting he befriends Bobo the baboon, a wild creature held against his nature in a locked enclosure, and their relationship is a sad symbol of the human condition.
Lorraine is a prisoner in her home, locked in by her mother’s fear of the outside world’s corrupting influence on her daughter, which results in controlling, abusive parenting tactics. Lorraine is hesitant to visit the zoo with John and Mr. Pignati because seeing the animals in cages unsettles her. When she sees the strange boy in the bat enclosure, she realizes she identifies with the zoo's penned-up animals: “He made me feel as though I was a bat in a cage and he was on the outside looking in at me. It all made me very nervous” (50). Imprisoned by her mother’s tyrannical rule, Lorraine feels as helpless as the animals kept under lock and key, robbed of their freedom and powerless to change their circumstances. As much as Lorraine is held captive, she also empathizes with her mom’s plight. Ms. Jensen is a single mother bound to a life of endless work, making just enough money to survive. Lorraine sees the monkeys at Beekman’s and pities their cramped confinement until she realizes she understands their plight: “Here they were, clinging to each other in the pet shop at Beekman’s, looking out at everybody with those tiny, wet eyes—as though pleading for love. They looked so lonely and sweet just holding on to each other” (77). When people are trapped in a situation from which they cannot escape, often the only choice is to find another prisoner and cling to each other for comfort. Ironically, Mr. Pignati dies in front of Bobo’s cage, gripping the outside bars as his last act of fighting against the uncontrollable forces of death. Bobo’s fate and the Pigman’s examine the bleak truth that sometimes the only path out of imprisonment is death.
Like Lorraine, John also is a prisoner of his family circumstances. His father puts a lock on the phone to keep him from using it. However, John rebels by gluing the lock, preventing his father from using the phone. Through the circular futility, both father and son reach a stalemate where neither person has gained anything in the process. The scene symbolizes the relationship between John and his father as they are locked in a standoff over Mr. Conlan’s expectations for his son and the reality of John’s idealism and rebellious nature. After the Pigman’s death, John ponders humanity’s imprisonment and wonders if all humanity is like Bobo, just a forlorn primate held behind bars hoping someone will toss them a treat. John longs to break out of the confines of his father’s expectations but wonders if what is beyond the prison walls of his house is any better: “They build their own cages, we could almost hear the Pigman whisper, as he took his children with him” (149). John’s contemplation of life and death only brings him to the sad realization that humans often create their own prisons by making poor choices.
The novel begins somberly as the narrators explain they are composing a memorial to commemorate a person after death. Death becomes a motif throughout the narrative as it touches every character in some way. John begins the novel as a teenager who does not mind meditating on the end of life and even chooses a cemetery as his favorite place to relax. John is ambivalent toward death because he has not been personally touched by loss. The dead bodies on which he lies atop in the cemetery are faceless, and he has no personal connection to them. Thinking about their passing is only a gateway for John to consider his place in the universe: “I was just lying on my back, looking up at the stars, and I was so loaded I thought I could feel the spin of the earth” (56). When John next contemplates death, he is in Mr. Pignati’s house, staring at the bill for Conchetta’s funeral. As he reads through the pamphlet with step-by-step instructions for dealing with loss, he feels far less romantic about the idea of mortality and uneasy about how little he feels adults tell kids about dying. Learning that Mr. Pignati’s wife is dead brings John into a personal connection with loss and mortality, and his fanciful cemetery musings are replaced with the harsh reality of the death of a personal relation. At the end of the narrative, John sits with Mr. Pignati’s body, and the scene mirrors the earlier one in the cemetery when John thinks about the dead bodies underneath him. Watching someone for whom he cares pass away, he now has a personal and visceral connection to death, and his philosophy on mortality, which began with a curious romanticism, shifts towards uncertainty and nihilism.
Unlike John, Lorraine’s life is steeped in death as her mother spends her days tending to the dying. However, the drudgery and dismal nature of her work have made her callous toward her patients, and Ms. Jenson sees death as just the end of another job and an opportunity to pad her pockets from the funeral parlor kickbacks and stock her pantry with food from the dead person’s pantry. Lorraine often dreams about dying and is terrified by what she sees as premonitions of impending death. When she sees the woman at the ferry exit proclaiming, “Death is coming […]. God told me death is coming” (73), she is haunted by the bad omen for the duration of the narrative. Lorraine’s macabre premonitions come true as there are two shocking deaths before the end of the story. The teenagers enter the life of a man still grieving the death of his wife, the reminders of her absence all around them. They see Mr. Pignati receive the news of Bobo’s untimely death and then witness the tragic death of their friend right in front of their eyes. What begins as a project for two teenagers to memorialize a man they barely knew becomes a philosophical meditation on the transience and brevity of life and what, if anything, lies beyond this life for the deceased and what it means to be the ones left behind.
Mr. Pignati’s collection of ceramic pigs is as fragile and delicate as his physical and emotional health. Kept behind a black curtain, the collection symbolizes his hidden grief but also stands as a memorial to his life with Conchetta: “‘My wife collects pigs. I got her started on it when I gave her one to remind her of me—before we got married’” (38). As Mr. Pignati shares his precious collection with John and Lorraine, they are struck by the oddness of the scene, and Lorraine must feign amusement when he relates the joke about the connection to his name. The teenager’s insensitivity to what the tchotchkes epitomize—a lifetime of love between two people—signifies their lack of understanding and respect for Mr. Pignati as a person. Conversely, Mr. Pignati’s willingness to show the teens what lies behind the curtain symbolizes his vulnerability and willingness to share a sensitive part of himself with others. He allows them to see the pigs and encourages them to touch them and feel the weight in their hands. This tender, intimate moment symbolizes what it means to know and be known by someone. It requires seeing and understanding every part of a person, including their deepest pain.
Much like how John fails to recognize Mr. Pignati’s physical fragility resulting in his heart attack, both teenagers also fail to see his emotional frailty. When they reveal their deception, he dissolves into weeping, and Lorraine cannot even look at him through her guilty eyes. Mr. Pignati forgives the lie and allows John and Lorraine not only to still be a part of his life but also trusts them with unrestricted access to his house, a place that is not only a home for his body but also his memories of Conchetta and their life together. When John allows his friends into the house, he breaks his trust with a friend and desecrates a sacred space. Norton’s pillaging and destruction of Mr. Pignati’s prized possessions symbolize the end of not only his cherished memories but also of himself. As John helplessly watches Norton destroy the pig collection, he sees and feels the full weight of the consequences of his decision. Just as it would be impossible to repair the fractured and splintered figurines, John and Lorraine’s betrayal causes irreparable damage in their relationship to a man who has shown them nothing but kindness.