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Turner’s white shirts that he wears in the book’s early chapters represent his role as a minister’s son and the internal conflict that role creates. The clothes he wears lead Lizzie to make assumptions about him, just as she makes assumptions about the “frock coats” who visit Malaga in Chapter 2. She calls his white shirt “fit for glory” (44), implying that Turner’s manners are somewhat pretentious and inhuman. Turner is uncomfortable when he is wearing the shirts, which soak up his sweat since they are full of laundering starch (26) and are difficult to keep clean, as Turner finds after his fistfight with Willis in Chapter 2. As the story progresses, Turner’s parents stop making him wear the uncomfortable and impractical shirts, which signals their acceptance of their son.
The white shirts that Turner is forced wear also symbolize the moral degradation that the Buckminsters encounter upon moving to Phippsburg. The family begins by dressing their son in the starched shirts, representing the family as upstanding and honorable to the community. As Turner continues to stand up to the prejudices and racism he sees in the townspeople, the shirts become soiled with sweat, blood, and dirt. The Buckminsters, too, become soiled with their own sweat, blood, and dirt: Reverend Buckminster figuratively sweats as he tries to appease the influential businessmen of the town, Turner literally bleeds as he fist fights Willis Hurd, and Turner shovels the dirt over his father’s grave after succumbs to his injuries from being pushed off the cliffs by the Sheriff.
One of the first things Turner notices when he arrives in Phippsburg is that almost all the window shutters and front doors are painted green—except for Mrs. Hurd’s, who prefers shutters “as yellow as sunlight and whose door was as red as strawberries” (12). This matches Mrs. Hurd’s status as an iconoclast and outsider. The green comes to symbolize conformity with Phippsburg’s beliefs and traditions, and after Mrs. Hurd is forced out of her house by her family, the shutters and door are painted the traditional green. It also foreshadows Phippsburg’s willingness to do anything for conformity to their ideals, regardless of familial ties.
Mrs. Cobb says, “those awful shutters have been painted a Christian color” (114), reinforcing the idea that a seemingly neutral concept such as color has been endowed with symbolic meaning. The religious pretense the town uses to justify its actions is illustrated by Mrs. Cobb’s reasoning for the color change. It is a direct parallel to the racism and forceful removal of the Malaga islanders as well; the shutters, like the islanders, were different and therefore out of place and not worthy of “Christian” consideration. Mrs. Cobb represents the town’s thought process concerning tradition in the backhanded comment about shutter colors, revealing deeper layers into the Phippsburg psyche. Therefore, Willis’s act of rebellion in repainting his grandmother’s house signals that he is also willing to challenge the oppressive traditions in the town.
Schmidt uses the sea breeze that Turner experiences in Maine as a unifying motif throughout the story. The breeze has various functions and evokes various moods at certain points in the book, which helps support Schmidt’s story and strengthen Turner’s connection to the natural world. For example, as Turner discovers that Mrs. Hurd is gone, the sea breeze “wearing its overcoat” accompanies him back to his house and then “went about its business” turning the leaves on the trees into autumn colors (116). This imagery mirrors Turner’s determination and “business-like” approach to finding out where Mrs. Hurd went, and to figure out a way to get back onto Malaga Island.
The breeze accompanies moments in the narration where Turner encounters a change in his community that alters him forever. Learning of Mrs. Hurd’s relocation to an asylum is a change that leaves Turner feeling isolated as he realizes what has happened to one of the few kindred spirits he had in Phippsburg. When Turner finds common ground with Mrs. Cobb and Lizzie, the breeze reappears, signaling the change of season into autumn. Schmidt also uses the breeze as a tool by which Turner measures his surroundings. Turner sniffs the breeze when he realizes that Malaga is to be burned, trying to figure out whether smoke is in the air or if he has time to prevent any further violence. The sea breeze also carries the ashes from Malaga to Phippsburg, continuing to connect Turner to the world around him and to those who have passed away.
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By Gary D. Schmidt
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