51 pages • 1 hour read
Penelope DouglasA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Although Birthday Girl is a romance, it portrays serious issues such as the impact of a neglectful upbringing. Both Pike and Jordan deal with less-than-ideal parenting in different capacities. Jordan’s mother left the family when Cam and Jordan were children, and their father, Chip, is not a present parent. Jordan frequently refers to the fact that Chip is known around town for his addiction to alcohol and his spendthrift habits. Chip’s wife and Jordan’s stepmother, Corinne, treats Jordan with apathy.
While Pike is a responsible father, his ex, Lindsay, is lax. Cole might love Lindsay very much, but Pike suggests that she often ignored Cole as a child, preferring to party rather than take care of her son. Because of Lindsay, Pike has had to be the overtly responsible parent, ignoring his personal happiness in the process. In this way, the novel suggests that neglectful parenting impacts not just children but also parents and adults.
Jordan and Cole have troubled relationships with themselves and others because of the neglect they have experienced. At the beginning of the novel, Cole is depicted as irresponsible, thoughtless, and unfocussed, often leaving Jordan to her own devices or even in dangerous situations, such as when he sends Jay McCabe to pick her up. Pike observes Cole’s neglect of Jordan and suggests that Cole has modeled himself after Lindsay. He notes, “I see hints of how his mom was with me in how he treats Jordan now. He’s neglectful” (85). This suggests that patterns of neglect have a lasting impact on families. Although Pike feels that he has been a responsible father, Cole feels alone. Jordan states that she and Cole stuck together because “at one time, [they] were all the other one had” (2). This suggests that both Pike and Lindsay may have inadvertently neglected Cole because of their interpersonal conflict.
Jordan’s neglectful childhood is more apparent and extreme. Her mother left when Jordan was four, in what Jordan ironically notes was a move to find herself. She has been in little contact with Jordan ever since. Chip and Corinne did not leave, nor did they actively abuse Jordan. However, Jordan notes that neglect is a variation of abuse: “I was never hit or starved or verbally abused. Just kind of forgotten, I guess” (75). Once Cam left home, Jordan felt like a “nobody” in her father’s trailer. Jordan has no financial or emotional support from her parents, which has made her fear abandonment. After she learns of Cole’s infidelity, Jordan notes, “My mom, Jay, Cole […] I keep wishing the lousiest people wanted me” (177). She admits that she has been wanting to break things off with Cole for a while but could not because of her fear of rejection.
In this way, the novel suggests that parental neglect continues to impact children through adulthood. Jordan is attracted to the older Pike in part because he offers her the security and warmth that her own parents did not. Further, Pike and Jordan desire each other because they subconsciously sense that they would be good, involved parents to future children. This is apparent in the sequence in which they babysit the neighbor’s kids.
The text sets up foils to “good” fathers and mothers. At the beginning of the novel, Pike observes that he does not like his neighbor Kyle Cramer because Kyle is a less-than-ideal husband and father. Pike hates how “he constantly hires babysitters when his kids are supposed to be spending time with him for the weekend” (57). Kyle is thus a foil to the more responsible Pike.
The novel’s happy resolution gives the characters a chance to evolve despite their parental trauma and be better parents themselves. Cole rebuilds his relationship with Pike, joins the Navy, and becomes a responsible father. Pike and Jordan have a child whom they bring up mindfully. Having witnessed the trauma of parental neglect, these characters ensure that they do their best by their children.
Romance novels, such as Birthday Girl, show how characters end up with their soulmates despite the obstacles placed in their way. For Pike and Jordan, barriers exist in the form of Cole, the significant difference in their ages, and their internal conflict and turmoil. Pike and Jordan are constantly aware that to an outsider, their relationship might appear sordid and exploitative. This makes the two, especially Pike, hold back. Not only does Pike fear the censure of the larger world, but he also fears that he might lose Cole over his love for Jordan. Being a responsible, involved parent is one thing that Pike is unwilling to deviate from. Jordan fears that Pike will abandon her or that he may use his power as an older, financially secure male against her. She resents his controlling nature at times. The novel sets up hurdles in the path of true love while simultaneously offering hope that love has the power to demolish these hurdles.
Other characters exist as a chorus representing the censure of the outside world. Dutch, Shel, and Cam warn the romantic leads against a possible relationship. When Shel learns about Jordan’s romance with Pike, she is concerned enough to ask, “[W]hat have you gotten yourself into?” (314). On discovering Pike’s feelings for Jordan, Dutch tells Pike that their relationship is bound to fail since, in 10 years’ time, “she’ll wake up […] and think about how she’s saddled with two kids in this small town […] married to a man nearly fifty years old” (331). Cam warns Jordan against placing too much hope in Pike since, in her experience, hope is almost always dashed. With well-meaning people in their lives functioning as naysayers, it is up to Pike and Jordan to prove them wrong and affirm the power of their love.
The text foreshadows love’s ability to conquer all. It focuses on the similarities between Pike and Jordan, as well as their thoughtfulness when it comes to the other. Pike tells Jordan that he had no desire to have multiple children with multiple different women, and Jordan observes that she agrees with him. Having a baby with someone she doesn’t love is a “consequence [she] never wanted to experience, not even once” (38).
The novel foreshadows that Jordan and Pike will get their “happily ever after” by countering readers’ potential objections to the relationship. It does this by depicting their relationship as more equitable than meets the eye. Though Pike often acts the macho, possessive romantic hero, he always apologizes to Jordan for his actions. Jordan asserts her agency and autonomy, such as when she tells off Pike after he blames her for the men’s ogling. At one point, Pike shows that he embraces equality between men and women, noting that the most successful relationships are those where no one wears the pants or where no partner has more rights than the other. While heroes in romance novels are sometimes promiscuous until the heroine tames them, Pike is restrained and relatively chaste.
These instances of foreshadowing suggest that Pike and Jordan’s love is radical enough to succeed. The Epilogue is set 10 years after Dutch’s prophecy. In spite of what he’d predicted, Jordan is very happy with Pike and her life with him. Jordan always wished that she would have a life from which she would not need a vacation, and her wish has come true. Thus, the novel suggests that love conquers all and gives Pike and Jordan the sanctuary they have always craved.
A key conflict driving the narrative is that between women’s sexuality and male control. Jordan and Pike eventually form an equitable relationship, with Pike supporting Jordan through pregnancy, motherhood, and career development. However, this support occurs within the circle of domesticity and social propriety. When Jordan is not married to Pike and expresses her sexuality in a manner that he considers inappropriate, he lashes out against her. Jordan sees his controlling behavior as proof of his attraction, but it arguably remains problematic.
Women with uncontrolled sexuality, like Cam, become part of Pike’s circle. However, in the Epilogue, Pike describes Cam as having “the latest in a string of wealthy boyfriends” (368). This reveals his discomfort with her sexual behavior. In this way, the novel explores the tension between women’s sexual autonomy and restrictive patriarchal control without full resolution.
Battlegrounds for this conflict are the bodies of young women like Jordan and Cam. Jordan is pragmatic about her beauty, knowing that dressing a particular way will attract more tips at her job. She is aware that the world’s attitude toward the sexuality of young women is troubling but also that she has to use the flawed system to her advantage. Jordan changes her dress code depending on context. For instance, before stepping out of the bar, Jordan pulls on a flannel shirt over her tank top. This shows that Jordan has firm situational awareness of the worlds she inhabits. However, Pike constantly questions Jordan’s judgment about her choice of clothes and even blames her for attracting the unwanted attention of men. This undermines Jordan’s agency. When Jordan dresses in a corset at work, Pike tells her that “men will get ideas […] they’ll think they have a free pass” (168). Pike is self-aware enough to know that his attitudes are outdated and the result of his possessiveness since he thinks of Jordan’s body as being for him. However, he continues to cling to these attitudes.
Cam is hypersexualized, as are Lindsay and April. Cam dresses provocatively, with both Jordan and Pike judging her. Unlike Jordan, whose shorts and tank tops are described as wholesome, Cam’s clothes are described as gaudy and artificial. Jordan says that Cam hates her job as an erotic dancer, but it can be argued that Jordan infantilizes Cam and her choices.
Pike and Jordan have conservative views about women’s sexuality. However, Pike is hyperaware of Jordan’s youth and body and thinks of it in explicit terms. He even suggests that he would like Jordan to put on a sexual performance with him as the solo audience member, a wish that is eventually fulfilled.
In the novel, women’s sexuality is portrayed as a positive force when contained within the parameters of a partnered, private relationship. When it has a public face, the text is ambiguous about women’s sexual expression.
By Penelope Douglas