When I was a kid, I loved A Series of Unfortunate Events, and now I’ve reread all thirteen books. This final post is about The End, book 13. This post will contain spoilers for The End and probably other books preceding it, so if you don’t want plot information given away, then to paraphrase Lemony Snicket, “I would drop this [review] at once, so THE END does not finish you.”
Finally, we arrive at The End. Violet, Klaus, and Sunny Baudelaire are at sea with Count Olaf, and a massive storm shipwrecks them on an island. Pretty soon they encounter the inhabitants of the island, an easygoing colony of castaways, lead by the “facilitator” Ishmael. Count Olaf is forbidden from entering the colony, and while the colony is undoubtedly dull and unambitious, it seems the Baudelaires have finally found a place where they can be safe. Of course, it turns out the island is full of as many mysteries and confusing conflicts as the world the Baudelaires left behind, and the siblings come to realize that they can never really escape these issues.
The End is also the end. (Surprise.) It is Book the Last, and it knows it. Where The Penultimate Peril felt climactic in terms of surface-level story elements—bringing together characters from all throughout the series, putting the Baudelaires in the middle of a direct conflict between the two factions of VFD—The End feels climactic in terms of theme. The book is exploding with meaningful imagery, literary and biblical allusions, thematic discourse, and symbolic scenes. I’m only going to talk about some of them though, the ones that interest me, but there’s all sorts of overlap, so hopefully I’ll be able to cover all the main threads by doing this.
“What’s the deal with all this super specific junk in the general store?”—that’s the note I made when this motif first cropped up in The Hostile Hospital. In the opening of that book, the Baudelaires are in a general store waiting for a telegram, and multiple times Handler lists out in hyper-specific detail the items surrounding them, none of which seem to fit with each other:
“They were surrounded by nylon rope, floor wax, soup bowls, window curtains, wooden rocking horses, top hats, fyber-optic cable, pink lipstick, dried apricots, magnifying glasses, black umbrellas, slender paintbrushes, French horns, and each other, but as the Baudelaire orphans sat and waited for a reply to their telegram, they only felt more and more alone.” (18-19)
Is this a comment on materialism? Something about greed maybe? I had a hunch about what it could be, but Handler didn’t distinctly make the connection, so I just continued to note the motif whenever it popped up. In The Grim Grotto, when the Baudelaires are in the grotto, they each list out all the worthless items they’ve found while searching for the Sugar Bowl. Again, it’s hard to tell if Handler is just having fun or actually doing something.Read More »