44 pages • 1 hour read
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The possum babies are a symbol of Snap and Jacks’s growing family relationship. As such, they help illuminate the theme of The Strength of Found Family.
With Jacks’s mentorship and guidance, Snap raises the possums from infancy. The two connect over their mutual care for the babies. Just like Snap begins to perceive the possum babies with affection, she begins to see Jacks as part of her family network. Snap often expresses growing attachment to the babies. When it’s time to return them to the wild, she says, “I can’t believe it’s already time…I’m gonna miss ‘em” (114), to which Jacks says, “I told you not to get attached” (114). This philosophy is also Jacks’s general approach to relationships, be they with Jessie or Snap.
Jacks tries to stop herself from becoming too fond of Snap. After Jacks tells Snap the story of why she and Jessie split up, she says, “If we’d stayed together you wouldn’t exist. And that’d be a shame” (103). Her self-protection drops and she admits her feelings. A moment later though, she clears her throat with a “HEM” sound, eyes wide. She gets up and changes the subject quickly. She is trying not to get attached to Snap, like she advised with the possum babies.
This symbol also appears when Snap arrives at Jacks on Halloween dressed as one of the possum babies. On page 169, Jacks is illustrated seeing the costume for the first time. Around her head, next, torso, and arms, wiggly lines are animated to show the reader that Jacks is trembling with laughter and amusement. She tries to swallow her laughter, resulting in a “HCK! HCK!” noise (169). Snap asks if she is okay: The following panel on page 169 shows Jacks turning toward the reader. She is smiling and clearing her throat, saying: “HEM! Mm-hm. Just a cough” (169). Once again, Jacks tries to disguise her affection for Snap, who is becoming like a surrogate granddaughter to her. Thus, the possum babies symbolize their growing relationship.
Roadkill is a symbol that helps explore The Social Effect of Being Perceived As Different. For Jacks, roadkill symbolizes the loneliness and alienation of being ostracized and forgotten by society. Jacks saves roadkill from their fate on the side of the road so they don’t have to die alone and forgotten. She has profound empathy for their spirits due to her own fear of being alone with no connections left in the world.
Jacks thinks that her lot in life is already determined and the choices she made when she was young determined her eternal fate. Jessie wanted “a bustlin’ home” but Jacks didn’t (98): This led to their break-up. Jacks says that Jessie “met a kind man and they raised the family she wanted. She got what she wanted…and I suppose I did as well” (101). An illustration on page 101 shows Jacks riding her motorcycle alone, away down a dark, deserted road. This road symbolizes her life, which she has now chosen to live alone.
The compassionate way Jacks treats roadkill also show that age—and even, eventually death—is not an ending. Jacks tells Snap, “Lotsa folks don’t even notice when they hit something. So I notice ‘em […] Then put ‘em where the buggies can safely eat ‘em up. Then, they become something new. And they’re remembered” (61-62). For Jacks, the death of these animals is not their ending. By burying them, their decay contributes to the biological cycles of the local ecosystem. By then re-articulating their skeletons, their memory lives on in the form of the new thing they have become. The roadkill thus has a second life and contributes to the lives of other creatures. This perspective on roadkill makes Jacks different than anyone else in town and contributes to the town’s rumor that she “eats roadkill.”
Other people do not see the same potential in roadkill that Jacks sees. Jacks’s own isolation gives her compassion and empathy for them. Jacks doesn’t seem to have the same hope for herself as she has for the roadkill. She tells Snap that both she and Jessie moved on. Before that, she doesn’t reach out to the town to establish relationships with anyone or correct their misconceptions about her. Only after she meets Snap does she begin to think that she, like the roadkill she says, might be able to have a fulfilling rebirth, even though society perceives her as different. She begins to read books on “The Basics of Teaching” (152) and agrees to go with Snap to Jessie’s house to reforge their connection.
Snap’s stick wand is a motif that relates to The Intersection of Magic and Reality and The Social Effect of Being Perceived As Different. When Snap finds out Jacks really can use magic, and Jacks agrees to train her, Snap asks if she gets “a wand or a hat or a familiar or a broom” (128). She lists items commonly associated with witches in popular culture. Jacks is immediately dismissive, saying, “That junk’ll clutter your brain and distract you from real control” (129). Jacks sees magic as directly tapping into one’s will and spiritual force, without any intervening objects people associate with witches. Jacks wants to distance her practice from what society presumes about witches. While magic and reality exist closely in this world, some non-magic people carry prejudices against magic-users. Jacks associates wands with these types of stereotypical perceptions, and so she is quick to dismiss Snap’s interest in it.
Lulu finds Snap a stick that Snap can use as a wand: Channeling her energy this way finally allows her to use magic. When Snap uses her wand to save a possum baby, but instead almost sends a car falling off of a cliff, Jacks is frustrated that Snap used a wand after Jacks told her, “That junk distracts […] I been tryin’ to teach you real control so you don’t make mistakes like that” (180-81). If Snap’s magic would have injured the people in the car, it might have inadvertently confirmed the fear people have about witches. Jacks channels her frustration about this into Snap’s wand, blaming it and confiscating it from her.
Later, after Snap’s conflict with Violet’s abusive ex, Chuck, Jacks apologizes to Snap. She gives the wand back and says, “Just because you weren’t doing things my way—doesn’t mean your way was wrong” (208). Jacks initially saw Snap’s different approach to magic and was dismissive of it, judging her methods as playing into people’s stereotypes about witches. However, Jacks models how to own up to and begin to make amends for our mistakes. She realizes how her preconceived notions affected her behavior toward Snap in unintentionally hurtful ways, and she apologizes to Snap for her judgement.
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