58 pages • 1 hour read
The conflicts between mothers and daughters in Mrs. Everything are core elements that create and propel the plot. The first conflicts in the plot occur between Sarah and Jo, as Sarah doesn’t approve of her daughter’s rough, nonconformist ways. Sarah simply wants Jo to act like a lady and live a conventional life. Jo perceives this as consistent disapproval:
No matter what Jo did, her mother was angry at her. Jo was always doing something wrong, like leaving her clothes on the floor or pinching her sister, or talking too loudly, or making too much noise when she chewed or even when she walked. Jo lost her library books and broke her toys. She ripped her clothes, she got gum stuck in her hair (25).
Unlike Ken, Sarah doesn’t show Jo empathy or try to understand her sexuality. Instead, she pushes Jo to follow female norms, such as wearing dresses and marrying a man. As Bethie and Jo both note, Sarah doesn’t say “I love you” but shows her love in different ways. Whereas Ken tells his girls he loves them, Sarah demonstrates love by providing food, giving them money, or counting on Jo to help Bethie after she’s pregnant. When she becomes a single mother, Sarah works many hours to keep their home and provide for her daughters, living a life of sacrifice with little room for playfulness or showing affection to her girls. Instead, she focuses on work as fulfillment to help her daughters, and she feels satisfied when Jo and Bethie finally settle down with husbands.
Love is shown in different ways, as embodied by Sarah’s methods of motherhood compared to Jo and Bethie with their daughters/nieces. Though Jo is living a lie in her marriage to Dave, she adores her daughters and specifically doesn’t want to force them to conform, instead teaching them all to be feminists and allowing them to follow their dreams: Jo does her best with her daughters, as Sarah did with hers, but finds the repeated pattern of impatience with Lila, her wild child. The cyclical repetition of having “problem” children and feeling guilty about letting one’s children down is obvious through Jo asking sulky Lila what is wrong with her, like her mother did when Jo was a teenager too. Besides Bethie’s sexual trauma, the main conflicts in the novel revolve around mothers, daughters, and sisters—Sarah’s and Jo’s misunderstandings, Bethie’s mission to free Jo from her marriage because she owes her as well as her acceptance that she won’t ever be a mother with Harold, Lila’s feud with Jo for abandoning her to be with Shelley, and Missy and Lila’s conflict over defending Lester, her sexual-predator boss.
Every character is part of a family dynamic. Ken is an essential mentor and affectionate father for Jo and Bethie. Harold is a symbol of true love for Bethie and overcoming racism. Everyone is part of a family unit even when they try to escape it, as Bethie and Lila do through traveling. With such a large cast of family across time, from Sarah to her great-grandchildren, the unique relationships create complex ties among the characters. For instance, Kim and Jo are close, but Kim mistakenly chooses to leave work to give her daughters her full attention, believing staying home will make her a better mother. Jo offers to help Kim as often as possible, but Kim doesn’t accept her help until she divorces Matt, returns to work, and needs childcare. On the other hand, Jo and Lila are never as close as Jo is with her other two successful, academic daughters. Lila is angry and judges Jo for breaking apart their family (though Dave cheated) and marrying a woman. In contrast, Bethie and Lila have a solid connection due to their shared experience of being lost, feeling abandoned, and finding themselves after sexual traumas. Lila opens up to Bethie over anyone else. Bethie and Harold must face discrimination because they are an interracial couple, and Jo and Shelley confront discrimination for being lesbians. The layers of relationships expand and enrich the novel in intricate, realistic ways that create a believable family dynamic on both a smaller scale, such as between spouses, and a larger scale, such as between sisters, mothers, and grandparents. Family dynamics are often the catalyst for change because they prompt conflict, travel, and pain, but they also bring positive change as families reunite, form tight bonds, and support one another.
Jo embodies the theme of Sexual Orientation and Societal Pressure. When she’s younger, she wants to follow her heart, to love and be intimate with women. Though she keeps her teen relationship with Lynnette secret because she worries about her mother’s disapproval and others’ intolerance, Jo admits she is gay to her mother at Thanksgiving. She will never be the daughter Sarah wanted, never be “normal,” but she doesn’t hide her truth. In college with Shelley, she grows to want to be openly gay and spend her life with Shelley. Jo doesn’t want to live in secret any longer—but, just like Lynnette, Shelley isn’t as bold as Jo and doesn’t believe they will ever be accepted. Because she can’t publicly acknowledge her sexuality, Shelley marries a man. The reality of discrimination, of making a romantic life with a woman when many won’t tolerate her—especially her traditionalist mother Sarah—scares Jo off coming out before she’s much older. Still, before Shelley rejected her, Jo wanted to follow her heart and make a life with Shelley someplace where they’d be accepted. Only after Shelley gets married does Jo change her mind. She gives up, exhausted by never being chosen by the women she loves, and marries Dave. Her capitulation to a conventional life pleases her mother, and it takes many years before Jo can escape and live life on her terms.
Jo doesn’t officially come out until much later in the novel, showing a building conflict across time with this theme. Despite Dave’s charm and her connection with him, Jo only gives in to his advances because she’s tired of fighting against prejudice and trying to convince other women to be brave. She wants to be fully, openly gay and accepted with someone who isn’t afraid to be with her, rather than having to push and convince a woman to be with her, so Dave leading the way instead is appealing:
To not be the one making plans, to not be the one attempting to propel an unwilling partner forward, to not have to push through a hostile world. If she married a man, she could let him plan, let him push, let him maneuver; and the world they inhabited would welcome them. [...] It would be easy, and Jo was so tired. She closed her eyes, leaning into Dave, letting him take her weight (232-33).
Her reaction to Dave and subsequent marriage show that Jo loses herself and her will to fight against society’s pressure, though she learns to love Dave in a different way. She will never be a straight woman, but she can at least fake it and feels a special happiness raising children she loves. Interestingly, Bethie eventually convinces Jo to return to her truth; she finally gets through to Jo and urges her to realize Shelley was her true love. Without Bethie’s support, Jo wouldn’t have found the courage to find Shelley and spend the last decade of her life happy with her true love. Though they still face injustice, such as intolerance from people and Lila’s disgust and mockery, Jo and Shelley battle against the norm and choose to love whom they love without fear.
Feminism and women’s rights (along with equal rights for all races) form a foundation for pivotal scenes and struggles, as well as values many characters hold dear. Throughout the novel, feminist ideals and women’s/Black people’s struggles are important parts of the characters’ stories. Jo protests segregation with Black friends; Bethie lives on an all-women’s commune to find safety and leads Jo’s friends in a discussion on female issues; and Missy confronts her role in protecting her boss, who has sexually harassed and abused employees and authors. As a teenager, Jo learns to fight for equal rights, demonstrating with her sports teammates/friends in secret against segregation at the local pool. Jo cherishes equality and tries to bring the issues up to others, including her mother: “Do you think you can win a marathon if someone moves your starting line five miles back? Jo would ask, and Sarah would stick out her chin and say, Life isn’t fair” (330). Though she fails to influence Sarah, Jo influences Bethie to become a feminist, as well as others in her life, such as those she pickets with. She tries to explain her reasoning for fighting for social justice to Lynnette: “‘I believe in fairness.’ She kissed one cheek. ‘I believe in equality.’ She kissed the other. ‘And I think that people should be able to eat, or swim, or go to school wherever they want to’” (108). In college, Jo finds Shelley’s shared feminist ideals highly attractive as well. As another educated, plucky woman, Shelley shares Jo’s ideals and stands with her until she cannot face a life of ridicule and rejection as a lesbian, which reveals that this theme also causes life-altering conflicts for characters. Over the course of the novel, Bethie and Jo learn how to live their feminist ideals in their own lives through the paths they choose or don’t choose.
Jo becomes an activist as a young woman, though her activism fades during her marriage. Jo may have chosen the traditional lifestyle of wife and mother, but she remains a feminist at heart, values she teaches her children, Kim, Missy, and Lila. It’s evident Jo’s teachings inspire her girls to be strong, brave, and independent, especially in Missy’s case. Missy is a hardworking professional who feels guilty over not standing up for fellow women against Lester, including her victimized sister Lila:
‘And when those women would go to hotels so Lester could edit them, I’d think they were dummies. I’d think, What do they expect to happen with a man in a hotel room?’ She gave a short bark of laughter. ‘Some feminist you raised. The only woman I was looking out for was me. […] You know that thing you used to tell us? That quote about how all it took for evil to flourish was for good men to stand by and do nothing?’ Missy asked. Jo nodded. ‘That was me. A good person who stood by and did nothing.’ Missy’s voice cracked. ‘A good person who stood by while her sister got hurt’ (455).
Missy not only feels extreme regret but also thinks she let down her sister, her mother, and all women. Her situation relates to the #MeToo movement, in which women have stood together against men who have assaulted, harassed, or otherwise abused them. As Jo says to Missy, the fight isn’t over, and women and men must trying to be better, keep protesting, discussing, and bringing awareness to the injustices. In the end as well, Jo and Shelley are happy to see a woman, Hillary Clinton, campaigning for presidency. Growing up, they never believed a woman could have such prestigious opportunities outside the home, but they’ve lived to see a day of progress.
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