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58 pages 1 hour read

The Schwa Was Here

Fiction | Novel | YA | Published in 2004

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Symbols & Motifs

Food

The motif of food informs the novel’s themes of identity and family. To the Italian American Bonano family, food is a form of self-expression and love. Antsy knows that “I might go unnoticed, but never unfed”—unlike the Schwa (66). Food is an important part of the family heritage, and how the family thinks about themselves.

Antsy uses food from his Italian culture as a metaphor to describe his character and to characterize others. Antsy is the “Italian ham” in the uneasy recipe combination describing the triangular relationship between him, Lexie, and the Schwa. Ham carries the extra meaning of a playful jokester, or someone who wants attention, which also suits Antsy. He compares himself to flavorful “Italian gelato” in contrast to the Schwa, whose identity is bland, like sweet-cream ice cream. Food helps inform Antsy’s sense of self.

Food preparation is a source of contention in the family because it is central to Antsy’s parents’ identities, especially that of Mom. On the surface, Mom and Dad’s pivotal fight “was all about food”—who makes the best fra diavolo sauce—but Antsy realizes later it was more about Mom’s feeling that she needs to live as much for herself as for her family (105). Her “place” in the kitchen was becoming stifling. The fight allows Mom to redefine herself. Food is still a passion and part of her identity; however, she broadens her food knowledge and shows her ability to grow and change by branching out to learn French cooking.

Dad is the acknowledged better cook in the family, and his focaccia is snapped up by Mr. Crawley—which likely inspires Crawley to bring Dad in as a partner in his restaurant. Food changes Dad’s professional identity from plastics developer to restaurant partner—a fulfilling dream job. Dad and Mom show personal growth and security in their new identities and in their ability to collaborate in the new restaurant. Food informs Mom and Dad’s life changes.

Names

Names play an important role in The Schwa Was Here, showing how Antsy and the Schwa perceive themselves, and how others perceive—or do not perceive—them. Names link individuals to their family and culture and contribute to one’s sense of self.

Antsy’s childhood nickname grew out of a shortening of his full name, “Anthony,” and in some ways, mirrors the shortening of the Schwa’s last name from Schwartz to Schwa. Like their names, both boys feel diminished, or less important than other people. Antsy introduces himself to the Schwa as Anthony but accepts that most people call him Antsy. The Schwa introduces himself as Calvin, and wants to be called by his first name, but everyone calls him the Schwa. The Schwa’s name also gets meaning from its phonetic namesake. Both boys are saddled with nicknames they feel do not fully express their identity, so names can negatively impact one’s sense of self.

Only Lexie calls both boys by their first names, revealing that she sees them as unique individuals. Antsy feels more mature when people call him Anthony though he shows that his coming of age has drawbacks. When he worries that Mom and Dad are getting a divorce, Antsy says that Dad “called him Anthony instead of Antsy, and for some reason that just made me cry even more” (143). Dad and Mom call Antsy by his given name after the family upset, showing they also feel he is leaving his childhood behavior, and childhood name, behind. The Schwa signs his final letter to Antsy as Calvin, asserting his identity again, this time with confidence. His letter and photo suggest he is happy and secure in his identity.

Names can also activate cultural prejudice. When he fractures his hip, Mr. Crawley calls Antsy a racial slur based on his Italian heritage. Lexie explains that her parents hate Antsy because “They’re convinced anyone with the last name Bonano has to have Mafia ties” (225). Names can foster misconceptions and discrimination.

Neal Shusterman also uses names to convey humor and irony. Readers can only envision a warthog when Antsy describes his science teacher, Mr. Werthog. The names for Mr. Crawley’s Afghan hounds are based on the seven deadly sins and seven holy virtues. As Antsy describes some of the dogs escaping Mr. Crawley’s room, he mentions “Prudence—who was always a loose cannon—” (113). Prudence, comically, does not embody the common sense and good judgment suggested by her virtuous name.

Paperclips

Paperclips fasten things like papers and photographs together. In the novel, paperclips symbolize small but critical components that hold even bigger intangible things together, like family. The Schwa’s paperclip collection started with the clip that held his mom’s missing person’s report together. It is the only physical memento that connects the Schwa to his mom. Antsy holds that paperclip reverently, knowing “that paper clip was the most valuable thing I’d ever held in my life” (151). It signifies the Schwa’s single tenuous bond with his mom. It is also the Schwa’s proof that she existed, and by extension, that he exists.

The Schwa’s paperclip collection also reflects his under-the-radar identity. People rarely notice a paperclip, but instead focus on the more important items that it holds together. A paperclip makes Antsy think of the Schwa; he comments, “only something that small, that unnoticeable, could remind me of the Schwa” (144). Though vital and useful, the paperclip is ordinary, unobserved, and undervalued—until it is gone.

Antsy feels like he is “the family paper clip,” the unnoticed glue holding things together by keeping his parents’ arguments from escalating (107). When he quits diverting their squabbles, he feels guilty, thinking he has irreparably damaged the family dynamic, saying, “The clip is gone […] The pages are flying like confetti. What a moron I am (108). In asserting his personality in the family and telling the truth, Antsy stops being the invisible connector. The Schwa connects his last letter to Antsy to the happy photograph of his mom with a special paperclip that Antsy knows has been in space, suggesting that the Schwa and his mom are united, and that his friendship with Antsy is also still connected.

Schwa

Shusterman uses the phonetic vowel sound, the schwa, to symbolize Calvin Schwa’s invisibility.

In phonics, the schwa is the name of an unstressed vowel sound that can be spelled with any vowel. The schwa is symbolized by an upside-down “e,” i.e., /ə/. The schwa sound is not a long or short sound, like other vowels. Instead, it is a weak sound like a soft u, /uh/, or a short i (/ĭ/). In the word “balloon,” the “a” is the schwa sound.

The schwa is called a “lazy” vowel sound because one does not have to open one’s mouth much to make its sound. In some words, like “chocolate,” and “camera” where the schwa is the middle syllable after the first stressed syllable, it may not even be pronounced. Even though people do not notice the schwa sound as much as other stressed vowel sounds, the schwa is the most common vowel sound in the English language.

Like his namesake vowel sound, Calvin Schwa goes through life largely unnoticed. He does not stand out like other kids or stressed vowels. He does not assert himself but is a bland presence like the schwa’s soft “uh” sound. He blends into his surroundings, like an unstressed syllable, and it takes effort to notice him, like the middle unstressed syllable of a word. Calvin Schwa is as average as the schwa sound. Shusterman’s linguistic comparison humorously adds to the depiction of Calvin Schwa’s invisibility.

With his graffiti, Antsy adds a schwa symbol onto his sketch of Calvin’s head, irrevocably connecting Calvin Schwa to his symbol—and the graffiti goes viral. Antsy comments that “[n]o one knows who draws them, or why, but now they’re a permanent part of the landscape” (226-27). Antsy ensures that the Schwa, although still anonymous, is as ubiquitous as the common schwa sound.

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