Setting
The tale of Matt Moran unfurls at the peaceful retreat of his family's lakeside cottage, set against the poignant backdrop of a summer preceding Dory's untimely departure. Yet, the heart of this narrative pulsates between the solemnity of Dory's March funeral and the year's academic conclusion, nestled within the suburban tapestry of Glenburnie, a northwest enclave of 1970s Chicago. This vividly depicted realm is woven with the threads of bustling highways, affluent enclaves secured by stone arches, sprawling high schools with ample parking, and apartment complexes brandishing names like “Camelot Close.” Here, sprawling shopping malls contrast with the fading facades of downtown shops. Through Matt's discerning eyes, a preference for the quaint farming town of Glenburnie, where his grandparents once thrived, is evident. He possesses a keen awareness of the stark class divides, particularly between his own residence in a modest apartment shared with his working-class father and stepmother, and the expansive, manicured estates, lush lawns, and pristine golf courses of Glenburnie Woods.
In stark contrast to this suburban sprawl stands the cherished cottage on Juniper Lake, a sanctuary of love, contemplation, physical vigor, and ultimately, a wellspring for Matt's emotional rebirth. Though rooted in yesteryear, as it was crafted by Matt's grandfather, the cottage transcends mere nostalgia, offering Matt a profound understanding of time's dual nature: its power to mend and its role as a vessel carrying life forward, seamlessly connecting past and present.
Literary Qualities
In Close Enough to Touch, Peck employs a first-person narration, resonating primarily in the present tense, that infuses Matt's tale with an echo of confession and a gripping sense of immediacy. This narrative choice masterfully transforms Matt into what Peck has described as a "surrogate" for the reader. Such a technique is a hallmark of young adult literature, some critics argue, tracing its roots back to Holden Caulfield's iconic narrative voice in Salinger's The Catcher in the Rye. Peck weaves a cohesive tapestry in Matt's journey through the deft use of allusion, vibrant symbolism, and, most consistently, a deliberate crafting of setting.
The narrative oscillates between the mundane bustle of suburban life and the tranquil seclusion of the Juniper Lake cottage, where the seemingly immutable landscape allows loss to find its rhythm. At the lake, the past intertwines with the present, transforming from a haunting memory into a part of Matt's ongoing growth. The encounter with Margaret at the lake—her vintage riding attire and noble demeanor—breathes life into the past, as she eloquently captures this sentiment: "It's linking up a part of the past with the present. Who wants to be locked into anything—even a time." This expansive perception of time resonates profoundly at the novel's conclusion, where Matt shares the dock with Margaret, revisiting a place once shared with Dory. The past resurfaces, now layered with new perspectives.
The Suburban Landscape
Within the suburban tapestry, settings are imbued with deeper significance, particularly through the portrayal of Glenburnie Woods. Here, the stone entryway symbolizes the inhabitants' insulation, while the expansive lawns and cavernous living rooms echo the void in their lives. Additionally, Peck's integration of the Hopkins poem serves not only as an introduction to Matt's contemplation of mortality but also as a means to intricately interlace characters and events. Dory's silent, childlike mourning for the dying deer subtly evokes the memory of the young Margaret grieving for the fallen leaves in the poem. Unlike the child in the poem, Dory succumbs before the full realization of her grief's connection to her own mortality.
Margaret Chasen, named from the poem, emerges as the matured counterpart, in essence, the child of the poem grown...
(This entire section contains 406 words.)
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into adulthood. These literary elements, some more pronounced than others, enrich Matt's narrative with a complex texture, revealing that beneath the seemingly straightforward prose of Peck's work lies a structural finesse that rewards those who delve deeper into its layers.
For Further Reference
Elizabeth Kubler-Ross. Coping with Death and Dying. New York: Macmillan, 1981. In this influential work, Kubler-Ross masterfully unveils the stages of acceptance, offering profound insights applicable to Matt's evolution in Close Enough to Touch as well as to the journeys of other protagonists grappling with life and loss in young adult literature.
Richard Peck. Anonymously Yours. New York: J. Messner, 1991. Peck's autobiographical narrative passionately illuminates his transformation into a writer for young audiences, weaving threads from his own life into the fabric of his fiction.
——. "In the Country of Teenage Fiction." American Libraries 4 (April 1973): 204-207. In these pages, Peck delves into the intricate needs of young adults and their reflection in contemporary literature.
——. "Richard Peck." In Speaking for Ourselves: Autobiographical Sketches by Notable Authors of Books for Young Adults. Edited by Donald R. Gallo. Urbana, IL: National Council of Teachers of English, 1990:165-167. Here, Peck shares poignant reflections on his educational journey and the sparks that ignited his writing career, offering sage advice for burgeoning young authors.
——. "Richard Peck on Landmarks." In Literature for Today's Young Adults, by Kenneth L. Donelson and Alleen Pace Nilsen, eds. 3rd ed. Glenview, IL: Scott, Foresman, 1980: 226. Peck articulates the pressing themes woven into his novels, discussing the challenges of discovering landmarks along the path of modern adolescence.
——. "Some Thoughts on Adolescent Literature." News from ALAN 3 (September-October 1975): 4-7. Within this article, Peck distills the essence of young adult fiction, revealing its defining traits.
Sheldon L. Root. "The New Realism— Some Personal Reflections." Language Arts 54 (January 1977): 19-24. Root offers insightful commentary on the transformative impact of realism on young adult fiction, alongside strategies for critically assessing this evolving narrative style.
Catherine Sheldrick Ross. "Young Adult Realism: Conventions, Narrators, and Readers." Library Quarterly 55 (April 1985): 174-191. Ross examines narrative techniques with a keen eye, particularly highlighting the power of first-person narration as employed by Peck.
