Historical Context
When "Average Waves in Unprotected Waters" was published in the New Yorker during the winter of 1977, it emerged in a period characterized by economic uncertainty and social conservatism. The 1970s, following the Vietnam War in America, were defined by widespread disillusionment. Many working-class individuals lost trust in the government, doubting that their votes could bring change, while high unemployment rates highlighted the stark divide between the rich and the poor.
Families led by women, like Bet Blevins’s in Tyler’s narrative, faced significant economic challenges. Wage disparities between women and men in similar roles became a central issue for the feminist movement, which pushed for change, albeit slowly, to benefit economically disadvantaged women. On the brighter side, societal attitudes shifted, allowing women to work and raise families without facing societal judgment. Increasingly, mothers joined the workforce not only out of financial necessity but also in pursuit of personal fulfillment.
The quest for self-fulfillment became a dominant theme in the 1970s, a theme reflected in Bet's story. She grapples with her identity and feels an urgent need to escape her current struggles. Many Americans shared this desire in the post-Vietnam period, but like Bet, they were often restricted by socioeconomic barriers that severely limited their opportunities.
This pursuit of self-fulfillment led many to reorder their priorities, placing personal needs above family obligations. This shift paved the way for the "Me Generation" that emerged in the 1980s. By the late 1970s, this changing mindset negatively impacted marriages, causing a significant increase in the divorce rate. Society, which once valued marriages enduring hardships and prioritizing obligations over personal happiness, became more accepting of divorce and abandonment. Bet’s absent husband, Avery, exemplifies this trend and the relational damage that affected many lives.
Self-fulfillment also sparked widespread self-expression, manifesting in various forms, some unexpected, like denim jeans. For both affluent and less privileged individuals, customizing jeans in the 1970s provided a stark contrast to the plain jeans and black, beatnik sweaters of the 1960s. While only college students and rebels wore jeans in the 1960s, by the 1970s, jeans had become a national staple. In "Average Waves in Unprotected Waters," Bet is concerned that Arnold’s jeans are not sufficiently faded or worn, making him seem unreal. This use of jeans to reflect her concerns about her son’s character is fitting for the 1970s, an era when jeans were a key part of personal identity.
In the early 1970s, the presidency was notably marked by Republican Richard Nixon, who resigned following the Watergate scandal. He was subsequently pardoned by his former vice president, Gerald Ford. In 1977, Ford handed over the presidency he had inherited to Jimmy Carter, a man often referred to as "the non-politician." Carter, who was once a peanut farmer and then the Governor of Georgia, won the election as an outsider to Washington politics. By the end of the decade, similar to the conclusion of "Average Waves in Unprotected Waters," there was an unclear perspective on government and patriotism. In the story, Bet feels "saved" by the mayor, interpreting it as an act of destiny, believing the government intervened specifically for her. As the 1970s ended, a comparable sentiment toward the government was prevalent. The Democratic Party was exiting office as the nation prepared to welcome Ronald Reagan and the Republican Party, ushering in a new political era focused on individual needs.
Tyler's "Average Waves in Unprotected Waters" reflects the ideologies, cultural phenomena, and values of the 1970s. However, what stands out most about the story is its relative timelessness and universality. Tyler's narrative, along with much of her work, transcends generations,...
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making it continually relevant. This universality is a key reason why this story frequently appears in anthologies. Students studying the text find its message remains pertinent, and its historical and cultural backdrop can be easily related to today's world.
Literary Style
Setting
In "Average Waves in Unprotected Waters," the various settings enhance the
narrative by reflecting Bet's emotions. Bet Blevins's deteriorating apartment
gives off the sensation of "many lives layered over other lives, like the
layers of brownish wallpaper." This imagery reflects Bet's feelings of
entrapment and solitude. Despite the presence of "too many lives," she
navigates her own life in isolation, compelled to act independently.
On the train, the rhythmic motion of the engine soothes Arnold, allowing Bet to delve into her memories. This journey theme unfolds on two levels: a physical journey as Bet and Arnold travel to Parkinsville, and a symbolic journey as Bet explores her past to seek understanding about herself and her circumstances. Upon arrival at the state hospital, the sterile, white surroundings are described with "no sign that children lived here except for a tiny cardboard clown picture on one vacant wall." This stark setting prompts Bet to assert to the nurse that her son is a child who needs his "special blanket" and is not "vacant," insisting "there's a whole lot to him." The sterile environment reflects Bet's view of her son's personality, which she perceives as empty and sterile, prompting her to attempt to demonstrate his uniqueness and depth.
At the story's end, the train station is depicted as "bombed out—nothing but a shell," symbolizing Bet's life after her son's departure. She previously identified herself as his mother, Avery's wife, and her parents' daughter, but now, these roles have concluded, leaving her in a "bombed out" train station, stripped of the roles that defined her. Like the train station, she is left empty and suddenly devoid of purpose.
Symbolism
In "Average Waves in Unprotected Water," the setting serves as a symbolic
reflection of the characters' emotions and actions. However, the most
significant symbolism is found in the story's title. The phrase "Average Waves
in Unprotected Waters" recalls Bet’s childhood memories at the seaside, where
her father wouldn't plan his day without checking the marine forecast for the
"height of average waves in unprotected waters." This forecast indicated
whether the sea was safe for swimming. As a child, Bet's father attempted to
teach her to body surf in these ordinary waves, but she was unable to master
it, merely standing firm in the water, "as if standing staunch were a virtue."
How does this connect to her current life? Now, instead of literal waves, the
"average waves" she encounters are the everyday challenges everyone faces: the
loss of a spouse, the passing of parents, and finally, placing her son in an
institution. These are challenges everyone encounters, the "average waves" in
the ocean of life. The phrase "average waves in unprotected waters" serves as a
metaphor, linking the real waves of her childhood with the common struggles she
faces today.
Point of View
"Average Waves in Unprotected Waters" is narrated from a third-person
perspective, which achieves two main objectives. Firstly, it allows readers to
deeply empathize with Bet's decisions and understand her situation as she
commits her son to an institution. Secondly, it enables Bet to infer the
motivations of other characters. Through Bet’s viewpoint, readers are led to
perceive Arnold as both entirely unresponsive and potentially aggressive,
lacking personality and yet possibly possessing unique traits. This point of
view takes readers on a complex journey through Bet's mind during this
challenging day. It offers a rare glimpse into Bet’s inner thoughts, while
leaving uncertainties about Arnold, the nurse responsible for his care, and
even her absent husband. Are their personalities and actions accurately
depicted through Bet’s perspective and memories? Tyler's selection of this
narrative style reveals her intentions as an author. She chose to present the
day through Bet’s perspective, engaging the reader through her thoughts and
emotions.
Compare and Contrast
1970s: The 1970 census shows that three million women are raising families on their own.
Today: The 2000 census indicates that more than ten million women, many by choice, are raising families as single mothers.
1970s: Toward the end of the decade, British researchers announce they have mapped, for the first time, the complete genetic makeup of a living organism.
Today: Scientists from the Human Genome Project complete drafts of the human genome, one of the most significant scientific efforts ever, revealing that the human genome contains between 26,000 and 40,000 genes.
1970s: In post-Vietnam America, struggling with economic difficulties, public distrust of government, and an energy crisis, the nation begins to recover as government agencies focus on domestic issues.
Today: After September 11, 2001, America, facing economic challenges, national security concerns, and bioterrorism threats, emphasizes a domestic agenda aimed at restoring safety and economic stability.
1970s: The phrase ‘‘Let’s talk about me,’’ borrowed from author Tom Wolfe, becomes America's unofficial slogan, fostering an environment where people start to openly share personal stories, struggles, and sacrifices. Full disclosure becomes a hallmark of the national culture.
Today: Americans share their personal stories on daytime TV shows and sell them to national magazines, while nightly news is often criticized for providing intimate glimpses into the lives of public figures and celebrities.
Media Adaptations
The Accidental Tourist was turned into a film by Warner Brothers in 1988, earning an Academy Award nomination. Kathleen Turner and William Hurt played the lead roles.
Most of Tyler's novels are available as audiobooks from Random House, including Back When We Were Grownups, released in 2001. Additional audiobooks from Random House include Breathing Lessons, The Clock Winder, and Dinner at the Homesick Restaurant.
Bibliography and Further Reading
Sources
Bachelder, Frances H., ‘‘Manacles of Fear: Emotional Affliction in Tyler’s
Works,’’ in Anne Tyler as Novelist, edited by David Salwak, University
of Iowa Press, 1994, pp. 43–50.
Croft, Robert W., An Anne Tyler Companion, Greenwood Press, 1998, pp. 1–14, 28–29.
Godwin, Gail, ‘‘Celestial Navigation,’’ in the New York Times Book Review, April 28, 1978.
Gray, Paul, Review of A Patchwork Planet, in Time, Vol. 151, No. 16, April 27, 1998, p. 80.
Hawley, John C., ‘‘The ‘Wrong’ Rebecca: Review of Back When We Were Grownups,’’ in America, Vol. 185, October 8, 2001, p. 33.
Iannone, Carol, ‘‘Novel Events,’’ in National Review, Vol. 41, No. 16, September 1, 1989, pp. 46–48.
Levenback, Karen L., ‘‘Functions of (Picturing) Memory,’’ in Anne Tyler as Novelist, edited by David Salwak, University of Iowa Press, 1994, pp. 77–85.
McPhilips, Robert, Review of Breathing Lessons, in the Nation, Vol. 247, No. 13, November 7, 1988, pp. 464–66.
Petry, Alice Hall, Understanding Anne Tyler, University of South Carolina Press, 1990, pp. 1–21.
Shapiro, Laura, Review of Ladder of Years, in Newsweek, Vol. 125, No. 17, April 24, 1995, pp. 60–61.
Templin, Charlotte, ‘‘Tyler’s Literary Reputation,’’ in Anne Tyler as Novelist, edited by David Salwak, University of Iowa Press, 1994, pp. 175–98.
Updike, John, ‘‘Family Ways,’’ in Anne Tyler as Novelist, edited by David Salwak, University of Iowa Press, 1994, pp. 11–119.
Further Reading
Chekhov, Anton, The Comic Stories, edited by Harvey Pitcher, Ivan R.
Dee, 1999. This collection contains forty of Chekhov’s stories, ranging from
straightforward and unrefined to intricate and nuanced. As a student of Russian
literature, Tyler studied Chekhov’s work, and many critics have noted
similarities in their writing styles.
Hicks, George L., Experimental America: Celo and Utopian Community in the Twentieth Century, University of Illinois Press, 2001. Hicks examines American utopian communities and their attempts to rejuvenate the country using these models during the 1930s and 1940s. His study primarily focuses on the Celo Community in North Carolina, where Tyler lived for five years during her childhood.
Welty, Eudora, The Collected Stories, Harcourt Brace Jovanovich, 1980. This anthology includes works from The Curtain of Green and Other Stories, The Wide Net and Other Stories, The Golden Apples, The Bride of the InnisFallen and Other Stories, along with two stories that were not previously collected. Tyler has mentioned that Welty’s skill in portraying the lives of everyday people greatly influenced her own writing.
Women Writers of the Contemporary South, edited by Peggy Whitman Prenshaw, University Press of Mississippi, 1984. Prenshaw compiled twenty-one essays from esteemed authors and critics about modern southern women writers, featuring an essay by Doris Betts discussing Tyler and her literary contributions.
