Although on the surface the story of The Girl seems uncomplicated and straightforward, further consideration reveals mythic patterns and poetic rhythms that resonate beneath the story of a group of patrons of a speakeasy, a bank robbery, and a girl’s pregnancy. Le Sueur envisions the narrative of The Girl as “cyclical,” embodying the enfolding of the human spirit and destiny. She believes that a linear narrative denotes death (beginning, middle, and end), whereas a cyclical narrative embodies continuity. Thus at the end of The Girl, Clara’s death juxtaposed with the birth of the Girl’s baby represents the birth-life cycle. The stories of the women and men culminate in a circular movement toward this “end,” out of which also comes a beginning.
The cyclical movement in the novel is twofold: interwoven from the course of the seasons, the gestation of the baby paralleling the Girl’s maturation; and, from the men’s and women’s needs and desires, a dialectic circling through sex, love, death, and life. Other circular movements occur within the larger cycles. The Girl leaves the country for the city, leaving innocence and inexperience for growth and experience. Amelia lives in the word—she distributes leaflets for the Workers Alliance and is passionate about recording others’ lives—but she also lives in action. Her acts, from the seemingly trivial to the significant, are made with a commitment to the community: She peels carrots for Belle’s stew; helps the cat, Susybelly, which is having a difficult time giving birth to a...
(The entire section is 647 words.)