![]() Treegap is based on a real place! We want to go to there. In the end, though, it's not about the house, but about the people inside. And Winnie notes that "he Foster women had made a fortress out of duty" (10.1). For instance, the welcoming mouse at the Tucks' shows us how welcoming they are as a family. These differences can represent the differences between the two families. So she was unprepared for the homely little house beside the pond, unprepared for the gentle eddies of dust, the silver cobwebs, the mouse who lived-and welcome to him!-in a table drawer. he cottage where she lived was always squeaking clean, mopped and swept and scoured into limp submission. One is obsessively neat and tidy, the other is messy and full of life: We get to see two very different homes in Tuck Everlasting: the Fosters' and the Tucks'. All night long it's been moving, coming in through the stream back there to the west, slipping out through the stream down east here, always quiet, always new, moving on." (12.4)Īmong all this life that keeps on keepin' on, the spring is pretty deceiving, don't you think? Is a House a Home? This water, you look out at it every morning, and it looks the same, but it ain't. Dive in to an enticing vision of paradise - a never-ending summer of diamonds that glisten in tandem with the emerald waters. Moving, growing, changing, never the same two minutes together. "Know what that is, all around us, Winnie? Life. That's a pretty stark contrast from all the natural imagery in the book: Heck, it grants eternal life to all that drink from it. No matter how natural it looks, the spring is anything but. A clearing, lots of sunshine, that big tree with all those knobby roots" (7.3). ![]() "It was real nice," said Jesse with a sigh. When they came to the part that was now the wood, and turned from the trail to find a camping place, they happened on the spring. They sure looked normal to the Tucks when they arrived there for the first time, nearly ninety years before meeting Winnie: The WoodsĪt first, the woods seem pretty normal. Okay, so were going to pay attention to "the first house, the road, and the wood." Got it. The first house only is important the first house, the road, and the wood. But the village doesn't matter, except for the jailhouse and the gallows. So the road went humbly by and made its way, past cottages more and more frequent but less and less forbidding, into the village. How much more quaint can you get?Īlso right away, we know what we're supposed to focus on: Why? The town is called Treegap, for crying out loud. ![]() Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti’s exploration of the timeless, universal language of female intimacy and friendship.We know right off the bat that this story (which goes down in 1880) is going to take place in a quaint little area. Similarly, we can sense a shift in Sanguinetti’s relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood – all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. ![]() This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams. Alessandra Sanguinetti: The Illusion of an Everlasting Summer quantity Add to cart ![]()
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