53 pages 1 hour read

How to Be Both

Fiction | Novel | Adult | Published in 2014

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Symbols & Motifs

The Leak in George’s Bedroom

Content Warning: This section of the guide includes discussion of death and gender discrimination. 

George allows a leak in the ceiling of her loft bedroom to go unchecked in the hope that the damage will eventually destroy the structure of the house and open her room up to the stars. This symbolizes the harmful and self-destructive extent of her grief, as her desire to stargaze is linked to George’s refusal to watch a meteor shower with her mother shortly before the latter’s death. It also links to Francescho’s desire to be “roofless” and without grief or memory during the Ritual of Mnemosyne. George hides the leak from her father despite his work in the roofing industry, showing her veiled resentment for his failure to cope with his own grief. That she shows the leak to H, who is immediately appreciative and supportive in defiance of conventional wisdom, shows the deep connection between the two girls.

When George finally confesses to her father that there’s a leak, it symbolizes her progress through the stages of grief and her gradual development of healthy coping mechanisms. By allowing her father into her private space to fix the problem, she shows a reawakened willingness to reach out and connect with the people around her as well as a measure of understanding and forgiveness for her father.

Playing With Language

Throughout the novel, characters play with language as a means of connecting with those around them, making the manipulation of language—through translations, puns, banter, and word games—a recurring motif that represents emotional closeness between characters. George and Henry share a closeness that Francescho envies, which is symbolized by their linguistic play in misinterpreting the saying “sticks and stones may break my bones.” Similarly, H connects with Henry and cements her place within George’s life by bonding with the boy through a game of collaboratively creating absurd similes.

Language games and witty dialogue symbolizes a level of synergy and closeness between characters, and speaks to a deep or blossoming relationship. Barto and Francescho match wits near every conversation they share, and even in their first meeting Smith shows that the two are compatible and evenly matched through their rapid pun-filled tete-a-tete. Between George and H, language games are frequent. They confess to each other and share music in Latin translations, have running inside jokes about government surveillance through deliberate conflation of the near homonyms “monitor” and “minotaur,” and banter back and forth with ease.

Cameras

Cameras are an important motif throughout the novel, primarily representing the surveillance and invasion of privacy that prompt George, her mother, and H to engage in acts of Everyday Resistance to Injustice. George believes that her mother was being monitored by the government before her death, and George is thus highly attuned to the possibility of surveillance. She automatically avoids CCTV cameras when skipping school, and she discusses with H the role of technology in maintaining the modern surveillance state. When George turns the tables on Lisa Goliard by subjecting her to stalking and surveillance, she does so by repeatedly photographing Lisa’s home.

While cameras can be an instrument of surveillance and oppression, they are also a means of making art. In George’s hands, a camera demonstrates The Power of Art to Transform and Preserve. Francescho admires photography as a modern form of art, and George eventually transforms her photographs of Lisa’s house into a collage. The art project ultimately brings her and H closer together and provides George with some closure over the loss of her mother. H’s admiration for the obsessive project speaks to her own artistic sensibilities. Cameras are presented as a tool to preserve valuable memories and moments, such as in the film footage of a young Carol dancing the twist, or in the many photos of her that George keeps on her wall. Although the trend in George’s school of recording the sounds of girls urinating is a gross invasion of privacy, George also recognizes that the footage captured the first moment of connection between her and H.

Eyes

Eyes are a motif representative of the unsettling power of art. Following the wisdom of the great art masters, Francescho acknowledges his eyes along with his hands as his most important tools as an artist. The part written from his point of view therefore abounds with detailed visual descriptions. Eyes are traditionally considered the windows to the soul, and in Francescho’s artwork it is often the eyes that convey the true heart and soul of the work. Francescho’s eyes painted on the fresco in Piazza Schifanoia provide satisfaction to those affected by the Duke’s injustices, and are as divisively ambiguous in terms of gender as Francescho himself. Eyes feature prominently in his portrait of Saint Lucia, disturbing Ercole, and contributing to the extraordinariness of the final piece. Eyes are linked with an almost divine and spiritual power, especially with Francescho’s relation of a religious story about a boy sacrificing his eyes to see the Virgin Mary. Even George produces a painting of eyes on the wall across from Lisa Goliard’s house. The eyes are a culmination of George’s stalking and surveilling efforts, providing closure for her and a final catalyst for Francescho’s release from “purgatorium.”

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