65 pages • 2 hours read
Natalie BabbittA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Breakfast with the Tucks is a simple affair of flapjacks, but no one minds. Winnie realizes she loves the Tucks, and part of her wishes she could stay with them, drink from the spring when she’s 17, and live forever with Jesse.
Partway through the meal, a knock comes at the door. The knock is “such an alien sound” that it takes everyone a moment to realize what it was (93). Mae answers the door. It’s the man in the yellow suit, who asks if he can come in.
The man enters and tells a story from his childhood. Years ago, a friend of his grandmother married a man from a family that never seemed to age. After 20 years, the woman took her children and stayed with the man with the yellow suit (still a child) and his family. They told many stories, one of which about the very memorable tune Mae’s music box plays. When he heard the tune coming from the Fosters’ wood the other night, he knew he found them. He followed them when they kidnapped Winnie and listened to their entire story.
The Tucks are pained and outraged. The man in the yellow suit wants their help to find the spring so he can sell the water to “certain people, people who deserve it” (96). He offers the Tucks money for their help, but the Tucks refuse. The man shrugs off their anger and grabs Winnie, pushing her out the door, where Mae stands with Tuck’s shotgun. The man is unphased. If the Tucks don’t want to help, he’ll force Winnie to drink from the spring and use her instead. Mae cracks the man over the head with the shotgun, breaking his skull. He collapses, and the constable rides into the clearing “just in time to see it all” (102).
The man in the yellow suit is badly hurt but not dead. Mae defends her actions, saying the man was taking Winnie against her will. The constable accuses Mae of doing the exact same thing, but Winnie argues that she came with the Tucks because she wanted to. Her statement stops the argument, and she notices Tuck staring at the nearly dead man “like a starving man looking through a window at a banquet” (105).
Despite Winnie’s statement, Mae is still in trouble, and if the man dies, she’ll be hanged for murder. Mae and Winnie go with the constable while the rest of the Tucks take the dying man inside to wait for a doctor. As Winnie rides back along the road that brought her to the Tuck’s house, she no longer thinks of the wide world and all its possibilities. She thinks only of the near future and what must be done to keep Mae from being hanged because even if she was brought to the gallows, “Mae Tuck would not be able to die” (107), and the secret would be out.
These chapters begin the novel’s climactic sequence. All the seemingly unrelated events from the Prologue come together here. Mae riding out to meet Miles and Jesse meant she was there with the horse when Winnie discovered the spring, which allowed the Tucks to kidnap her. Winnie’s thoughts of running away never came to fruition, but they made her determined to do something. That something was exploring the wood, where she met Jesse and discovered the spring. The man heard the music box while standing outside Winnie’s house, which made him keep an eye on the Fosters, notice Winnie’s kidnapping, and follow the Tucks. The man’s arrival at the Tuck’s home is the culmination of these events.
The man in the yellow suit wants to sell the spring’s water to people who deserve it, explaining his motivation and agency. The man is motivated by greed and he doesn’t or chooses not to see the trouble that can come from eternal life. He is only interested in what the spring can do for him. He is also an elitist who believes eternal life should only be bestowed on those who are worthy. While he does not give a definition for those who deserve the water, he implies that the Tucks don’t deserve eternal life, meaning the ideal is the opposite of the Tucks—people who are rich, educated, and refined.
Aging
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American Literature
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Coming-of-Age Journeys
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Family
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Friendship
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Mortality & Death
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