Symbolism is an aspect of literature that makes a lot of people groan. Perhaps it takes us back to those days of high school English class when we were told about symbols that seemed to exist only in the mind of our teacher. For instance, I loved THE GREAT GATSBY, but I snickered when my teacher told us that Gatsby was a Christ figure. Really? I scoffed. Only an over-analyzing English teacher would come to that absurd conclusion! (By the way, I now realize that Gatsby is, in fact, a Christ figure, and I apologize wholeheartedly to my English teacher, who will remain anonymous.)
Just to demonstrate how symbolism can enhance widely varied books, let’s look at two books that employ symbols to the great advantage of the story. The first is THE LORAX, by Dr. Seuss. The second is THE HUNGER GAMES, by Suzanne Collins.
In THE LORAX, Dr. Seuss tells us about a fantastical place where the beautiful Truffula Trees grow. Soon the Once-ler arrives, and begins to chop down the trees to use their foliage to knit “Thneeds,” a product that is apparently incredibly versatile. The Lorax is a creature who takes up an argument with the Once-ler, in an attempt to stop him from destroying the Truffula Tree forest with his efforts to make innumerous Thneeds.
If anyone ever attempts to convince you that symbolism only exists in the minds of English teachers and literature professors, steer him or her directly to Dr. Seuss’s THE LORAX. The symbolism is fairly impossible to miss. The Once-ler symbolizes industry, the Thneeds he makes (Thneed=The Need?) represent consumerism, and the Lorax symbolizes the environment. Despite the heavy use of symbolism, THE LORAX succeeds as a piece of fiction (just ask any pre-schooler!) because it is an entertaining story first and foremost. The symbols are there; the theme is there. But you don’t have to “get it” to enjoy the book.
THE HUNGER GAMES is another book that is enjoyed by many readers regardless of the theme or the symbols that enrich it. I’ve discussed the theme of the HG trilogy with many writers and readers, and some have stated the theme and the symbols made the book richer, while others have said they’d rather not analyze the books, because it takes away from their enjoyment of the story at the trilogy’s core. I won’t argue that analysis makes the books better or more interesting, (although looking at the symbolism does increase my own appreciation of the books,) but I will argue that symbolism is undeniably present in the series.
With great pains to not “spoil” the story for any readers who haven’t gotten around to reading THE HUNGER GAMES yet, I think I can mention a few symbols that Suzanne Collins employs in the first book. One of these symbols is right on the cover – an arrow. The book’s main character, Katniss, is very skilled with a bow. Arrows and archery are a major component of her character. Looking at an arrow as a symbol, it can be argued that they are only effective if they are straight, and shot with accuracy at the proper target. Those of you who have read the book will see that this symbol certainly fits Katniss. Another symbol exists in Katniss’s own name. She tells the reader that her name, Katniss, is also the name of a wild, edible plant that her father taught her to recognize when foraging for food. Her father told her that, as long as she can find “herself,” she’ll always survive. Lastly, I’ll mention the oppressive President of the country of Panem, President Snow. Katniss describes how she realized, one early spring day, that her family could survive on her skills at hunting and foraging when she saw the yellow of an early dandelion (another edible plant,) emerging from the snow. The fact that this memory contains a reference to the name of the President is more than coincidence and is arguably quite symbolic.
Symbolism is a fantastic tool for enhancing and clarifying your story’s theme. It can weave subtle shades of meaning into your writing, turning what began as a simple rug into a rich tapestry. So why does it seem so difficult to incorporate symbolism into your own writing? Perhaps the answer is in the fact that most of us start a new project based on a new character we’ve created or a plot idea that we feel compelled to explore. I would venture that few of us start a new project because a theme is keeping us awake at night.
By the way, this is a good thing! Starting with theme rather than character or plot sets you on a path toward a moralistic, preachy story faster than almost any other technique. That’s not to say it would be impossible to start with theme and finish with a wildly entertaining and fascinating story; I’m just saying you may be taking the more difficult road with that method.
So how does a writer incorporate meaningful symbols into a piece of fiction? By being patient. By waiting out the first and maybe even the second draft. By getting a piece of writing to the point where the theme begins to emerge and resonate louder with each new revision. Perhaps for the first time, you, the writer, might have that moment of epiphany where the real meaning of a piece of your own writing becomes clear to you. Finally you know why your subconscious pushed you to write this story to begin with. A theme has revealed itself. Now, with the next round of revisions, you have the tools to add the symbolism you didn’t have when you started the first draft.
You may find that symbols that had lain unseen until your theme became clear are already present in your piece. If you realize that the theme of renewal is woven into your work, you may discover that you already, perhaps subconsciously, have included references to the leaves budding on the trees in spring. You may decide to incorporate more specific references according to the progress of your main character’s journey, perhaps mentioning the drips falling from melting icicles, the greening of the grass, and the return of songbirds to the trees. You may decide to alter the names of characters during a revision that is focused on symbolism.
In my own novel, FIREFLY, I originally had only one scene that mentioned the insect referenced in the title. At that time, the novel was called STAR-CROSSED. When I had to find a new title, I immediately looked at the theme. I settled on FIREFLY because, like one of my main characters, fireflies stay for only a short time each summer, and they are impossible to keep. This realization inspired me to re-work the existing scene that mentioned a firefly, and to build extra layers of symbolism into the text.
Does symbolism in the books you read interest you or turn you off? Do you use symbolism in your own writing? Have you ever discovered a symbol you hadn’t consciously intended to include?