The Willoughbys

“Jane began to cry a little, but very quietly, so that no one would notice. She vowed, through her quiet little tears, that one day she would prove Tim wrong.”

This passage demonstrates that the problematic family dynamics exist not just between the parents and the children but among the Willoughby siblings as well. Jane’s oldest brother, Tim, always tells her that she will never amount to anything because she is a girl, but rather than accepting this criticism, Jane uses it to fuel her desire to become more outspoken. She grows up to become a feminist writer, proving Tim wrong.

“‘I have a plan,’ Mr. Willoughby said, putting his paper down. He stroked one eyebrow in a satisfied way. ‘It’s thoroughly despicable.’”

Lowry tosses in more complex, less frequently used words surrounded by rich context to engage younger readers in critical thinking and expand their vocabulary. The reader already knows at this point that the Willoughby parents are antagonistic, and the passage delivers cues of body language and tone to imply the meaning of the word “despicable” in this context. Objectively, the unusual juxtaposition of the words “despicable” and “satisfaction” creates the immediate impression that the Willoughby parents take pleasure in cruelty and unethical behavior.

“We are like children in an old-fashioned book.”

The children maintain a stolid faith in literary conventions and tropes, often regarding themselves as though they are characters in a story and comparing themselves to other popular characters in children’s literature. By highlighting this quirk of the characters, Lowry imbues her novel with a metafictional subtext that elevates the humorous tone even as it encourages young readers to seek out other titles. Additionally, the main purpose of referring to the characters as “old-fashioned” is to show that modern standards and rules do not apply in this story.

“Tim, feeling thwarted, kicked the cat under the table.”

Tim is outspoken and argumentative, and dislikes being patronized or told what to do. When Tim’s father makes him feel small, Tim becomes angry enough to want to achieve the same effect with someone or something smaller than he is. This dynamic explains his tendency to take his anger out on the cat and on his siblings as well.

“She has now removed her hat. She has largeish ears. And gray hair badly arranged in a disorderly way.”

This practical, straightforward, and largely unflattering description reflects Tim’s skeptical attitude toward the new nanny. However, the imagery also foreshadows the nanny’s unusual character. With her “disorderly” appearance, the nanny eventually reveals herself to be just as rebellious as the children, and she sides with them in the attempt to kill their parents and thwart prospective homebuyers.

“The children fell silent. They glanced apprehensively at Tim, who was sulkily moving his spoon around in his oatmeal.”

Tim struggles to adapt to the presence of a nanny and a new authority at first, but once this crucial scene has shifted the balance of power and persuasion among the characters, Tim soon benefits from the nanny’s caretaking and focuses on his own development rather than on corralling his siblings. Through this initially rocky relationship with the new nanny, Tim and the other children learn The Importance of Logical Rules and structure in their lives.

“Squalor has nothing to do with money. Squalor happens when people are sad. And Commander Melanoff was very sad.”

The author takes a step back from the characters in this moment to deliver a universal truth in a more serious tone. By explicitly describing the nature of squalor and the reasons it occurs, Lowry ensures that the story does not implicitly condemn Mr. Melanoff for the state of his household. The explanation delivers new vocabulary and also promotes understanding of how people might end up in such circumstances.

“‘So,’ Tim mused, ‘while we’re getting rid of them, they’re getting rid of us.’”

Tim points to the parallel that exists between the Willoughby children’s intentions toward their parents and vice versa. While their parents never try to kill them, they do attempt to abandon them in the hopes that the children will simply go away. Meanwhile, the children plot to have their parents die in a fatal accident. The matter-of-fact tone of the narrative normalizes the hatred and cruelty that the characters have for one another, creating a darkly whimsical effect and implying that the rhythm of this particular story will not be limited to realistic events.

“No, dodo. You will be a lamp.”

Tim often talks down to Jane, and the nanny starts to recognize this problem and correct it whenever she is there to do so. In this moment, however, Tim takes advantage of the nanny’s absence to continue bossing Jane around, and Jane has no choice but to follow his instructions, however nonsensical they may be. The nanny later concedes that the word “dodo” may have appropriate uses if chosen carefully, but that like all words, it should not be used in excess or without purpose. Thus, the novel delivers lessons on the harmful effects of name-calling even during the broader action.

“‘Statues are never naked,’ Nanny said in a somewhat shocked voice. ‘They are nude.’”

The nanny points to the subtle difference between the words “naked” and “nude,” providing yet another form of vocabulary enrichment while using a humorous idea to do so. The nanny’s admission that she stands as a nude statue to ward off potential buyers is a clue toward her rebellious side and one of the reasons she gets along so well with the Willoughby children.

“Finally he carried the creature into the kitchen and laid it carefully on the drain board beside the sink.”

The use of the word “creature” to refer to the child helps illuminate Mr. Melanoff’s emotions and thoughts about the appearance of a baby after spending so many years in isolation. Baby Ruth is like some strange creature to him because it has been so long since he has had to care for someone else.

“I am an old-fashioned gentleman.”

Mr. Melanoff makes direct reference to himself as old-fashioned, which leads the person he is speaking with to alter their language to make it more understandable for him. This creates a humorous moment when Mr. Melanoff does not know what diapers are but is quite familiar with nappies. Additionally, the reappearance of the term “old-fashioned” connects him with the Willoughby children and implies that he is a like-minded person.

“He looked at the torn words and phrases and groaned, remembering those early days when he had still had hope.”

Mr. Melanoff stares at one of his wife’s letters, not knowing that she and his son are still alive, and ironically grieves their loss upon seeing it. He is not aware that he need not grieve at all, and it is not until the story’s conclusion that Mr. Melanoff discovers his error.

“I believe that we would all benefit, actually, if they were to be eaten by crocodiles.”

The forthright tone of this statement marks the nanny as the children’s ally, placing her firmly on their side in their rebellion against their parents. The ruthlessness that they all share is part of what brings them together, and also the reason they name the abandoned baby Ruth.

“Helloschlimhofen. Neisch day, isn’t itzenschlitz?”

Mr. Melanoff’s son does not speak German; instead, he mixes vaguely German-sounding phrases with English words and syntax, creating his own nonsense language. This quirk emphasizes his resistance to conforming to Swiss culture, and his tendency to speak this way is his most notable trait. Such awkward attempts at conversation also serve as a main source of humor during his scenes. This habit is also the main reason that the postmaster dislikes him.

“How he loved a woman who was so precise, just like a Swiss train coming into a station!”

In this simile, the postmaster compares Ms. Melanoff to a train coming in on time to emphasize her attention to detail and her rigidity. Ironically, however, these traits are highly desirable in his eyes; he is attracted to her for her meticulous nature, which is exactly what caused the problems in her marriage to Mr. Melanoff, whose temperament is the opposite of hers. However, upon finding the postmaster, who shares her view of the world, Ms. Melanoff loses all interest in her son, who reminds her of the qualities she dislikes most in her husband.

“Exactly. A bereaved benefactor with a ward. Like the uncle in The Secret Garden. What was his name? Oh yes: Archibald Craven.”

In this passage, Mr. Melanoff compares himself to a character in a well-known story, adding familiarity and context to the situation and poking fun at the clichés that are scattered throughout the plot. These open comparisons to existing literature mark one of the novel’s most prominent attributes, and the author simultaneously instructs readers in the wider world of literature even as she playfully critiques its conventions.

“What would good old-fashioned people do in this situation?”

When the Willoughby children discover that the house has been sold, they ask themselves what stereotypical people in old stories would do. They are consistently self-aware of their own positions as clichés and follow a predictable and familiar plot with the addition of humorous twists.

“‘I can’t see the bodies,’ she whined. ‘I want to see the frozen bodies.’”

Mrs. Willoughby reveals the true extent of her selfish and sadistic nature when she is disappointed that she cannot see dead bodies on the mountains from below. Ironically, this scene represents a form of macabre foreshadowing, for Mrs. Willoughby will soon end up as one of those frozen bodies herself.

“I’m going to wear torn, patched clothing and sell newspapers on cold, windy street corners, saving every hard-won penny, in hopes that someday a well-to-do businessman, maybe with a beautiful daughter, will recognize my worthiness, like Ragged Dick in that book by what-was-his-name, Horatio Alger?”

Horatio Alger’s novels often featured boys who rise from rags to riches and achieve the stereotypical “American Dream.” In many ways, his novels idealized and solidified this concept in American culture. Here, Lowry pokes fun at these novels and at the prospect of achieving success this way.

“Yes, dear. It’s the way that old-fashioned boys become robust and mature. Especially ones who have become wasted and weak, like you, and pathetic and disorganized.”

Ms. Melanoff abandons her son, coldly banishing him from the home with little explanation or time to prepare. Both she and the Willoughby parents share a disdain for their children, and their children rebel against them as a result, embracing their own found family to experience the love and care that their parents never provided for them.

“Here in the open hills he found that the sound of the cowbells, which had previously caused his head to ache, was now a charming background to the scenery: the blue sky, the green blossom-strewn meadows, the snowy Alps.”

Now that Barnaby is away from his mother and on his way home, his perspective toward Switzerland changes. It no longer seems as threatening or oppressive as it was when he was being forced to fit into the local culture. Now, he can simply enjoy its beauty as he passes by, knowing that he does not have to return.

“This house has changed greatly in the past months. All because of you. Each one of you.”

Mr. Melanoff notes the difference between a house and a home and emphasizes that a loving family can be that difference. At this point in the novel, his life has been transformed, and he is renewed with hope after years of believing that he had nothing left to live for.