100 pages • 3 hours read
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This section summarizes Poem 29: “Hope in a Drizzle,” Poem 30, “Dionne Quintuplets,” and Poem 31: “Wild Boy of the Road.”
It rains a slow drizzle that adds up to a quarter inch, giving some much-needed water to the seeds and plants. Ma enjoys the drizzle by standing naked outside letting the rain wash the dust down her pregnant body: “My dazzling Ma, round and ripe and striped / like a melon” (56). Ma cries when she hears of a Canadian woman’s quintuplets. She gives biscuits to a young man traveling to California. He offers to work for the food, and when he and Daddy come in from the fields, he also accepts a haircut and fresh clothing. When he leaves, Billie Jo dreams of walking away to a somewhere green and full of life.
This section summarizes Poem 32: “The Accident,” Poem 33: “Burns,” Poem 34: “Nightmares,” Poem 35: “A Tent of Pain,” Poem 36: “A Night of Drinking,” and Poem 37: “Devoured.”
Billie Jo reveals a terrible accident in July. Daddy placed a pail of kerosene by the stove; Ma assumed it was water and poured it into the coffee-making pot on the lit stove. The flame jumped up to ignite the whole pail, and Ma ran out for Daddy. Billie Jo thought to throw the flaming pail of kerosene out the back door but did not know Ma turned to come back. The flaming kerosene engulfed Ma’s clothing and body. Billie Jo tried to beat the flames out with her bare hands. Burns cover Ma’s entire body. Billie’s Jo’s hands are severely burned too. The pain is agonizing after Doc Rice treats her: “He cut my skin away with scissors, / then poked my hands with pins to see what I could feel” (62).
In “Nightmare,” Billie Jo dreams that she comes home in a dust storm to find the piano ruined. She is angry at Ma for letting the dust in. When she tries to play, it sounds like “shrieking” (64). She brings Ma a fiery pail to drink from. Ma births “a baby of flames” (64). Billie Jo goes to the Eatons’ in her dream and takes their piano home, but when she tries to play, she cannot because of her burned hands.
Ma’s burns are not treatable; she can only lay under a tented sheet and moan. Daddy finds money Ma hid and uses it to go out drinking. While he is gone, Billie Jo tries to squeeze water from a rag into Ma’s mouth, but she cannot manage the task with her burned hands. In “Devoured,” a cloud of grasshoppers descends on the farm, destroying the wheat and Ma’s apples. Billie Jo climbs the trees despite her hands and tries beating the pests away, but the grasshoppers are a swarm with which she cannot contend. There is no need to tell Ma: “Ma died that day / giving birth to my brother” (69).
This section summarizes Poem 38: “Blame,” Poem 39: “Birthday,” Poem 40: “Roots,” and Poem 41: “The Empty Spaces.”
Aunt Ellis, Daddy’s sister, arrives to take the baby, but the infant boy dies. Aunt Ellis does not stay nor talk to Billie Jo. Neighbors come to bury Ma and the baby together on the property “on the rise Ma loved” (70). Reverend Bingham performs the burial. His words are empty, though, as he did not know Ma well. Daddy is silent when the Reverend asks for the baby’s name, so Billie Jo says his name is Franklin, like the president. She overhears women neighbors: “‘Billie Jo threw the pail / […] an accident’” (71).
On her birthday in August, Billie Jo walks to Arley’s house and hides out back where she can hear his piano music. In “Roots,” Billie Jo thinks President Roosevelt’s advice to plant trees on the plains will not work; she thinks neither trees nor people are destined to survive there. Billie Jo and Daddy grow increasingly distant with one another by September. In his grief, Daddy stares at Billie Jo’s hands. She does not want to be near him but has no one else.
This section summarizes Poem 42: “The Hole,” Poem 43: “Kilauea,” Poem 44: “Boxes,” Poem 45: “Night Bloomer,” and Poem 46: “The Path of Our Sorrow.”
Daddy decides to dig a pond 40 feet by 60 feet. Neighbors think it is a pointless endeavor, and so does Billie Jo. She also does not care if he is seeking to make things right: “But as long as I live, / no matter how big a hole he digs, / I can’t forgive him that pail of kerosene / left by the side of the stove” (78). Billie Jo mentions how the eruption of the Kilauea volcano in Hawaii is like a dust storm with its suffocating smoke. In “Boxes,” Billie Jo tries to go through some trinkets and keepsakes from early childhood as she told Ma that she would but gives up on the task. The poem title “Night Bloomer” refers to Mrs. Brown’s cereus plant, a flower that blooms only for a few hours. Billie Jo goes in the middle of the night for the blooming, but when the sun rises and the flower wilts, she cannot bear to see it.
Billie Jo’s teacher Miss Freeland summarizes how the conditions on the Great Plains became so bad in “The Path of Our Sorrow.” Economic prosperity was easy during the Great War because America sold wheat to Europe. When the price of wheat fell after the war, farmers planted many more acres to try to make up for losses. Livestock overgrazed the fields, and farmers plowed under the good sod that kept the prairie grass and underground moisture in place; the exposed soil dried in the sun, and now powerful winds cause dust storms. (84). Billie Jo compares this “sorrow” to her family’s tragedy.
Misfortune and heartbreak come unexpectedly and overwhelmingly in Part 3. The author drops “The Accident” on the reader without warning, and Billie Jo’s introduction to the disaster belies the worst: “I got burned bad” (60) only hints at the horrific details that follow. “Nightmare” suggests that Billie Jo is barely conscious from pain and fear afterwards. The “shrieking” piano notes she hears in her dream are Ma’s or her own cries. In the hazy dream-state, Billie Jo already associates her own actions with the accident: “I brought up a pail of fire and Ma drank it. She had / given birth to a baby of flames. The baby / burned at her side” (64). It takes the words of the neighbor women, though, to put the blame in clearer language; “Under their words a finger pointed” (71). While the dust, the drought, and the general loneliness and isolation all contribute to Billie Jo’s conflict, she now meets the antagonists with whom she will struggle for the duration of the story: blame, fault, and grief. Her coming-of-age will directly connect to her ability to overcome the loss of Ma and the baby.
Sad and somber ironies fill Part 3. Daddy gets the boy he wanted, but the baby dies. The dust makes living daily life difficult, but Billie Jo wants its presence when Ma moans and cries from pain: “I wish the dust would plug my ears / so I couldn’t hear her” (66). Billie Jo injures her hands so badly trying to help Ma that she can offer no help in giving Ma water. Graphic imagery conveys the sights, sounds, and smells during and after the accident. Additionally, the reader finds stark contrasts when comparing images before and after the accident. Ma stands “bare as a pear” (55) in the drizzle, the wet tracks on her body reminding Billie Jo of a melon. This imagery juxtaposes with the next time Billie Jo sees Ma standing outside, “a column of fire” (61).
Billie Jo and Daddy move uneasily about one another in the month after the accident. The emotional distance between father and daughter creates an even greater mood of isolation for Billie Jo: “I don’t know my father anymore” (76). She blames him but will never say so. Daddy’s feelings are unclear; either in tribute to Ma’s wishes or in penance for his stubbornness, he begins to dig.
The section ends with like a sermon-like lesson from Miss Freeman that plays several roles: It is a speech that serves as a section cap, a summary that traces the causes of the Dust Bowl, a symbolic confessional on the greed of man in battle with nature, and a more honest and fitting eulogy for Ma and Franklin than the one Reverend Bingham delivered. The teacher’s words relay the simple facts that lay responsibility for the dust squarely at the feet of humans: “Without the sod the water vanished, / the soil turned to dust. / Until the wind took it, / lifting it up and carrying it away” (84). These lines also invoke notions of mortality through a religious connotation of dust; in the Christian church, for example, a common metaphor expresses that our bodies came from dust and to dust we will return when we die.
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