46 pages • 1 hour read
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Signal Fires is a novel that explores trauma and its lasting impact. Teenage Sarah and Theo cause a car accident that kills another teenager, Theo’s crush Misty. Though Theo was the one driving the car at the time, Sarah believes she has culpability in Misty’s death, which is partly why she claims she was the one driving. Sarah blames herself for encouraging Theo to take risks, inviting Misty on their drive, and drinking too much, which forced Theo to drive the car as an inexperienced driver. She carries the guilt of Misty’s death for a long time. Neither she nor Theo are subjected to criminal consequences; neighbors and peers know the Wilfs and understand that Misty’s death was an accident. Sarah had long been a favorite in town for being a star athlete and student. However, because Sarah is never held accountable by her society, she never finds closure. The Wilfs themselves don’t speak of the accident, trapping Sara and Theo in unresolved guilt. Ben and Mimi are relieved that their children are alive, but know they are responsible for Misty’s death. But rather than confront this reality and speak about the accident openly, the Wilfs shut down. This leads to Sarah struggling with drinking and infidelity. Although Sarah becomes a successful film producer, she uses drinking and infidelity to punish herself, to quell her unresolved guilt. However, when she finally opens up about Misty at an AA (Alcoholics Anonymous) meeting, it allows her to honor Misty’s life and take accountability for Misty’s death.
Theo is similarly traumatized by Misty’s death. This trauma is exacerbated by other realities, such as his low self-esteem and poor mental health. Theo was the driver at the time of the car accident, so he is directly responsible for Misty’s death. He had a crush on Misty, and her death made him wary of dating women as an adult. He believes he doesn’t deserve to be happy with a woman, that he doesn’t deserve love. This trauma, like Sarah’s, is heightened by the fact that the Wilfs don’t discuss the accident, which denies the siblings the chance to develop appropriate coping mechanisms. Theo turns inwards and struggles with depression, weight gain, and a fear of intimacy for years. He already struggled with depression and weight gain as a teenager, but these issues remain largely unresolved as an adult—that is, until Theo finds comfort in his restaurants and nieces. As for his fear of intimacy, it doesn’t just apply to women, but his family. In his struggle with shame, he leaves his family for years, barely keeping in touch. Eventually, as Theo grows up, he learns how to believe in himself more. However, Theo will always struggle with trauma because he was too young to deal with the accident on his own.
While trauma is lasting, it can lead to meaningful connections and opportunities. Waldo is traumatized by his past, as he was raised by a father who punished him for being himself. Still, he believed in himself. Despite Shenkman becoming a kinder person with time, Waldo is unwilling to mend their relationship—nor is he obligated to. Alice’s death does little to bring father and son together, as Waldo becomes even more enclosed in his own interests. However, Waldo does become closer to Ben. Waldo appreciates Ben’s empathy, embracing their connection even if it’s not biological, even if it’s long-distance, and even if it’s based on his childhood reliance on Ben as a friendly neighbor. Waldo’s traumatic relationship with Shenkman opens him up to a more meaningful relationship with Ben. Waldo is also traumatized by Mimi’s death. At only 10 years old, Waldo witnesses the reality of mortality—which should be terrifying, but it teaches the precocious boy that death is simply a moment in one’s life, that the deceased don’t completely disappear. Waldo feels Mimi’s energy even after her death, which allows him to understand mortality as infinite, not the final chapter in a linear life. This experience contributes to Waldo’s understanding of metaphysics; the trauma of Mimi’s death teaches him something valuable. Moreover, both Mimi and Ben had a hand in Waldo’s most profound trauma—the trauma of his birth. Ben helped usher Waldo into the world, connecting Ben and Waldo on a subconscious level.
Signal Fires explores how loved ones can be connected across time and space, emphasizing the power of love. Sarah and Theo are on similar trajectories despite key differences, highlighting their connection. They are connected through shared trauma and guilt. No matter how many years pass or how far apart they live from each other, they think about each other. Sarah is sympathetic to Theo’s disappearances and poor mental health. She feels responsible for Theo’s part in Misty’s death, as she loves her brother. The siblings’ love for each other is informed by the love they learned from their parents. By growing up in a warm environment, Sarah (living in Los Angeles) and Theo (living in New York) are able to maintain their connection across time and space. Furthermore, Sarah’s twin daughters are extremely important to Theo, no matter their location.
As for Sarah and Theo’s mother, Mimi’s Alzheimer’s makes it difficult for her to recognize reality. She runs away from her nursing home because her mind is stuck in the past; she believes her children are still young and need her. Alzheimer’s can make someone perceive reality differently, but Mimi always thinks of her children. When Mimi dies, she believes she is reunited with her son Theo. For her, it doesn’t matter that “Theo” is actually 10-year-old Waldo—he still represents her love for her children across time and space.
Love continues for the departed as well, as Misty and Mimi are still alive after their deaths. The magic tree is a symbol of Misty’s life. The tree’s intertwining roots and wildflowers have become a part of the tree itself, embodying the enduring memory of Misty. Even Waldo, who shouldn’t know anything about Misty, recognizes her energy in the tree. Furthermore, she lives in the memories of those who knew her. In the aftermath of Mimi’s death, the Wilfs and the Shenkmans experience a forcefield of energy, as though Mimi’s soul or some other entity is still with them. Despite not having known Mimi well, Waldo sees visions of her as his life goes on. He sees her as the old woman he knew but also as a young girl and woman. Regardless of time or space, these apparitions bridge Mimi and Waldo, well after Mimi’s death. Waldo compares the energies of Misty and Mimi’s souls to that of stardust. When stars die, their matter often transforms into other celestial entities, thus keeping the original stars alive through reincarnation. Through metaphysics, Shapiro explores how love transcends time and space, and how we as humans are connected.
Signal Fires explores the significance of our place in the universe. Waldo is the primary character who drives this theme because of his interest in metaphysics. Metaphysics is a branch of philosophy that explores questions about time and existence. Waldo is a natural-born scientist who loves stars. This passion teaches Waldo to see himself as small in the big picture (the universe). While other characters fixate on their own dramas and personalities, Waldo is comforted by his own insignificance.
Metaphysics connect Waldo and Ben. Ben has long suspected that time is not linear, but rather a loop. He believes one experiences past, present, and future simultaneously. Waldo and Ben believe people can’t escape the past but instead live in the present with the past and future encircling them. Thus, everything we do has reverberations on our lives and the lives of others. It is inevitable that a person will hurt and be hurt, heal and be healed—as all people are members of a universal loop. Observing the constellations, Waldo and Ben learn how small they are in the big picture, how they affect and are affected by others.
The novel itself is divided into 11 parts that are set in seven different time periods, from 1970 to 2020. This structure demonstrates that the characters, people, exist throughout the past, present, and future. Each character’s respective chapters are written in third-person limited perspective, providing both an intimate look at characters and the larger world around them. Thus, the characters are just as significant (or insignificant) to the universe (as small parts of a big picture, but parts nonetheless) as they are to the novel, an interconnected story of family, love, and trauma.
One way in which the characters are humbled by their relative insignificance in the universe is through discovering that their own dramas and personalities aren’t necessarily unique. Sarah and Theo share the same trauma (Misty’s death), even though they express it in different ways. When Misty dies, Ben agonizes over his children’s culpability while reminding himself that Misty’s mother lost her child. When Alice crosses paths with the Wilfs in 2010 (the night of Mimi’s death), she realizes that she has not been paying attention to her neighbors. Amid their own lives, characters come to terms with the fact that theirs are not the only lives going on. Again, this reinforces our relative insignificance in the universe. We are significant mostly to ourselves—meanwhile, there are other lives going on around us, likely just as preoccupied with their own lives. While this lesson could read as pessimistic, Shapiro uses characters’ revelations (such as Sarah and Theo working through their shared trauma) to comfort readers, to reassure them that their choices and experiences are what they make of them; they are both significant and insignificant.
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By Dani Shapiro