All My Sons

Pdf fan dd71f526917d6085d66d045bd94fb5b55d02a108dd45d836cbdd4abe2d4c043d Tap here to download this LitChart! (PDF)

Chris Keller Character Analysis

One of Joe and Kate’s two sons, Chris survives the war and works in his father’s business, making a good deal of money. Chris always had a nagging sense of doubt about his father’s innocence in the manufacturing affair, and Chris resents that peacetime life does not follow the clear moral breakdown into good and evil of wartime (as Chris describes, using the anecdote of dry socks lent him by a soldier with none to spare). Chris ends the play telling his mother that he did not intend to guilt his father into killing himself—Kate recognizes this, and, absolving Chris of guilt for his father’s death, tells Chris to move away with Annie.

Chris Keller Quotes in All My Sons

The All My Sons quotes below are all either spoken by Chris Keller or refer to Chris Keller. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Family and Familial Obligation Theme Icon
). Note: all page and citation info for the quotes below refers to the Penguin edition of All My Sons published in 2000.
Act 1 Quotes

She was out here when it broke.
When?
About four this morning. I heart it cracking and I woke up and looked out. She was standing right here when it cracked.

Related Characters: Joe Keller (speaker), Chris Keller (speaker), Kate Keller
Related Symbols: Larry’s Tree
Page Number: 14
Explanation and Analysis:

Kate has trouble sleeping, and when she this is the case, she tends to go out into the front yard to observe Larry's tree. The tree is a complex symbol for Kate. On the one hand, it represents Larry, her beloved son who was lost at war. It is a memorial to him. On the other hand, Kate wants to believe that Larry needs no memorial at all—that he is still alive, waiting to be found somewhere in the Pacific.

Thus it is unclear what it means, for Kate and the other characters, when the tree is hit by lightning. Does this mean that Larry himself is dead, destroyed? Or does it mean that the idea of a memorial for Larry is no longer necessary—that Larry is still alive? Larry is in fact dead, but Kate still holds out hope for his return. Later in the play, Kate will learn more information about what has happened to her son—but at that point, Kate is not sure she wants to know that information. 

A+

Unlock explanations and citation info for this and every other All My Sons quote.

Plus so much more...

Get LitCharts A+
Already a LitCharts A+ member? Sign in!

The trouble is, you don’t see enough women. You never did.
So what? I’m not fast with women.
I don’t see why it has to be Annie.
Because it is.

Related Characters: Joe Keller (speaker), Chris Keller (speaker), Ann Deever
Page Number: 16
Explanation and Analysis:

Both Joe and Kate have trouble with the idea, later revealed in the play, that Chris will marry Ann. This is because Chris's relationship with Ann upsets the agreed-upon order of the families before the war, when Ann and Larry were together. Kate even praised Ann later for "waiting" for Larry for many years after he has gone missing.

But eventually Ann must move on with her life, and she does fall genuinely in love with Chris. Joe and Kate, for their part, however, have trouble accepting the idea that Chris and Ann could be together. Like the tree, this relationship would imply that Larry is really gone—that life has gone on without him after the war. Joe has great difficulty coming to terms with this. Indeed, many in the town have difficulty with the idea of Chris and Ann together, too. Miller has created a setting in which families, though independent, do seem to depend on one another's conception of what is normal and right. Thus Sue and Jim, and Frank and Lydia, speak in passing of Larry and Ann's relationship of years ago—as though any other relationship of Ann's could not be valid. 

See? We should have never planted that tree. I said so in the first place; it was too soon to plan a tree for him.
Too soon!
We rushed into it . . . .

Related Characters: Kate Keller (speaker), Chris Keller (speaker), Larry Keller
Related Symbols: Larry’s Tree
Page Number: 20-1
Explanation and Analysis:

This is an even more explicit reference, on Kate's part, to the idea that Larry might still in fact be alive. Chris understands that this really cannot be the case. Furthermore, Chris knows that Kate and Joe's unwillingness to accept Larry's death is a way for the family both to deal with the trauma of the war and to refuse to move beyond it.

Chris, however, does want to leave the war behind. He does not want to remain in Larry's shadow, and he does not want to be compared to his brother anymore. Larry is no longer alive, and so he can no longer marry Ann, or raise a family with her, or return to the town and take over the family business. For Chris, life really begins with the acknowledgement that Larry truly is gone. 

As in the quotation above, the tree is a complex, "overdetermined" symbol. On the one hand, it is a celebration of Larry's life. On the other, it marks the fact that he is truly gone, and thus requires a memorial. Thus as much as Kate is drawn to the tree, walking to it in the night, she also knows that the tree itself "replaces" Larry—just as Chris has "replaced" Larry as Ann's lover. 

. . . one time it’d been raining several days and this kid came to me, and gave me his last pair of dry socks. Put them in my pocket. That’s only a little thing—but . . . that’s the kind of guys I had. They didn’t die; they killed themselves for each other . . . .

Related Characters: Chris Keller (speaker)
Related Symbols: Dry Socks
Page Number: 35
Explanation and Analysis:

Chris's memory of a boy giving him a pair of dry socks is perhaps his lasting image of the war. For Chris, it contains both the brutality of battle—the fact that dry socks were at a premium in war-time—and the possibility of human generosity even during terrible circumstances. Chris seems to believe that the brotherhood of men at war was a real feeling, something he can hold onto even in the tragic aftermath of that conflict. That is why the image has remained so intensely in his mind—it is an indicator of the good that can come of a difficult, trying, and even traumatic circumstance.

Chris brings up this memory because he is trying, in his way, to wrestle with the demons of his past—his guilt, for example, over surviving the war while his brother Larry was killed. Chris knows that war can tear people apart, so he tries, in conjuring this image, to remind himself that war can also forge friendship and trust. 

Act 2 Quotes

. . . it’s very unusual to me, marrying the brother of your sweetheart.
I don’t know. I think it’s mostly that whenever I need somebody to tell me the truth I’ve always thought of Chris . . . . He relaxes me.

Related Characters: Ann Deever (speaker), Sue Bayliss (speaker), Chris Keller, Ann Deever, Larry Keller
Page Number: 43
Explanation and Analysis:

Sue makes no bones about telling Ann that her behavior—marrying Chris after being Larry's girlfriend during the war—is "strange" to her. Ann, for her part, admirably replies that she loves and admires Chris, and that the two themselves have had a long friendship, dating back even to when Larry and Ann were together. Ann thus parries Sue's attack—trying to brush off her concern while defending her choice to be with Chris.

Sue seems to want to sow discord between Chris and Ann. She, like Jim and some of the other neighbors, is heavily involved in the privates lives of those she lives near to. Miller creates an atmosphere in which private business, things that belong within a home or to one family, become instances of public drama. Joe, Kate, Chris, and Larry are public, tragic figures in their town, and their neighbors know nearly as much, or more, about their lives than they do. 

The man [Joe] is innocent, Ann. Remember he was falsely accused once and it put him through hell. How would you behave if you were faced with the same thing again? Annie believe me, there’s nothing wrong for you here, believe me, kid.

Related Characters: Chris Keller (speaker), Joe Keller, Ann Deever
Page Number: 47
Explanation and Analysis:

At this point in the play, Chris still tries to defend his father. He genuinely believes that Joe has been falsely accused; Chris can not reckon with the possibility that his father really did allow faulty parts to be put in American planes. In this way, Chris's inability to cope with a difficult truth is not dissimilar to his mother's. Chris, for his part, believes that Kate is the most deluded in the family—the least willing to come to terms with the past. But Chris himself has "dark spots" of his memory, with which he'd rather not become reacquainted. 

Chris explains this to Ann, even as he realizes that Ann's own father, who worked with Joe, has taken the brunt of the blame for the plane parts. Steve has suffered far worse than Joe has suffered. For while both have seen their reputations crumble, only Steve is actually in prison—and only because Joe allowed him to take sole responsibility for the negligence at the plant. Thus Chris, for all his good intentions, seems to be explaining to Ann a situation she understands better than he can possibly know. 

The court didn’t know your father! But you know him. You know in your heart Joe did it.

Related Characters: George Deever (speaker), Joe Keller, Chris Keller
Page Number: 55
Explanation and Analysis:

Here, George becomes even more explicit in his condemnation of Joe Keller, the man he has believed, all along, to be guilty. George references the idea that Chris could "know" that his father is guilty "in his [Chris's] heart," and that all Chris would have to do to understand the matter would be to think about it squarely, to approach it honestly. For George, trained in the law, the facts of the case are relatively straightforward, and Joe's alibi during the time of the crime does not make sense.

But George is also pointing to perhaps the most powerful desire in the town after the war—the desire to proceed as though nothing happened, to state that everything is still normal, just as it was before. Chris is willing to participate in this to a degree—at least insofar as wanting to marry Ann, to continue working for his father, and to begin his own life after the war. For her part, Ann is also torn between Chris's perspective and her brother's—she too seems to sense that something is wrong with the Keller family, although she is unwilling to blame Joe, at this point, for his alleged crime.

And now you’re going to listen to me, George. You had big principles, Eagle Scouts the three of you [Larry, George, Chris] . . . Stop being a philosopher, and look after yourself. Like Joe was just saying—you move back here, he’ll help you get set, and I’ll find you a girl and put a smile on your face.

Related Characters: Kate Keller (speaker), Joe Keller, Chris Keller, George Deever, Larry Keller
Page Number: 61
Explanation and Analysis:

Kate more explicitly addresses what she perceives to be George's "problem." Kate believes that everything can be solved by the creation of an intact family unit. This is perhaps why she is most haunted by Larry's loss—because Larry was not able to return, marry Ann, and begin his own family. Although Kate also wants Chris to have a family, she is cooler on the prospect of Chris's marrying Ann, who is "Larry's girl," and who belongs therefore to a different family unit.

Kate ignores, then, what George is really saying—that Joe is a criminal and a liar, and that he has been living his lie for some years. That is a fact Kate cannot approach—just as she cannot tell herself that Larry is really gone. It is much easier for Kate to believe, instead, that the problem is George's—that George has not recovered from the war, and that he just needs a wife and family to set him straight. 

Act 3 Quotes

My dear, if the boy was dead, it wouldn’t depend on my words to make Chris know it . . . .The night he gets into your bed, his heart will dry up. Because he knows and you know. To his dying day he’ll wait for his brother!

Related Characters: Kate Keller (speaker), Chris Keller, Ann Deever
Page Number: 78
Explanation and Analysis:

Kate's bitterness over the loss of Larry knows no bounds. She is even willing to compromise Chris's happiness in order to "prove" that Ann ought to wait for Larry, and that Chris is merely moving in on "his brother's girl." Kate appears to need this illusion—that of Larry's safe return—in order to keep living. But she does not seem to realize, or does not care, that her insistence on Larry's lingering presence is ruining the happiness of those around her, even her own son.

Kate's argument here, too, echoes what she and Joe feel all the time: a deep-down, half-conscious guilt. Each character in the Keller family—those who have survived—nurses a different form of guilt. Joe knows that he has negligently killed Americans. Kate knows that Joe is guilty, and that she has helped him to cover up his guilt. And Chris feels, rightly or wrongly, that perhaps he is achieving happiness at Larry's expense—a happiness Larry did not survive to feel.

What are you talking about? What else can you do?
I could jail him! I could jail him, if I were human any more. But I’m like everybody else now. I’m practical now. You made me practical.
But you have to be.

Related Characters: Kate Keller (speaker), Chris Keller (speaker), Joe Keller
Page Number: 80
Explanation and Analysis:

"Practicality" is an important concept for all those in the Keller family, as well as for George and Ann. Joe believes it was "practical" to cover up his guilt and let Steve take the fall for the parts. After all, Joe thought, Steve was guilty of not standing up to Joe—and someone had to keep going and keep the firm alive. Kate is "practical" in her belief that Larry will return—even though this "practicality" is actually an irrational unwillingness to accept the overwhelmingly likely scenario that Larry is really gone.

And Chris's "practicality" takes on many forms. He knows that it is "practical" to get married and start a family. But love is also not a practical consideration in its fullest form—and Chris really does love Ann. He is not marrying her because he is just "standing in for" Larry—he is doing so because he loves Ann and wishes to start a family of his own. The only practical consideration for turning Joe in, then, would be to expiate the family's guilt, and to atone for their sins. 

If you can’t get used to it [the Keller family money], then throw it away. You hear me? Take every cent and give it to charity, throw it in the sewer. Does that settle it? . . .

Related Characters: Joe Keller (speaker), Chris Keller
Page Number: 81-2
Explanation and Analysis:

Joe wonders whether the guilt that Chris feels is related to the money that the firm has made. Of course, this is a part of it—Chris has expressed, here and elsewhere, that the company's profits, if indeed they are tied to a willingness to overlook the faulty plane components, would be stained with the blood of those who died in the airplanes during the war. Joe, in his qualified willingness to expiate the family's guilt, argues that the money can be refused—and that, in taking the money, Chris is complicit in the family's crimes.

But the guilt runs much deeper than this, and Joe and Chris both appear to realize it. The only way to atone for what has happened in the past is to admit it. This means, for Chris, that Joe would have to acknowledge and take responsibility for his actions. Yet Joe still seems incapable of doing this—which is what frustrates and saddens Chris most of all.

Chris, a man can’t be a Jesus in this world!

Related Characters: Joe Keller (speaker), Chris Keller
Page Number: 83
Explanation and Analysis:

Joe's statement is fraught with meaning. "Chris," the name of Joe's son, echoes "Christ," itself a tragic pun when joined with the "Jesus" of his following exclamation. Joe believes that he cannot behave perfectly—that no man can. But, of course, Chris has not asked that his father be perfect. Chris would naturally have preferred that the past didn't take place—that Larry would instead be alive, and that Joe would not have been responsible for the crimes he has committed. But given all that, Chris only wants Joe to admit his guilt.

This does not mean that Joe would have to be a perfect man, or an example to others. Rather, Chris is just asking that his father be a moral man, one capable of, and willing to, acknowledge his flaws. This, Chris believes, will help the family to move forward. This is the only way to deal with the traumatic past—by admitting what really did take place and facing it directly. 

The war is over! Didn’t you hear? It’s over!
Then what was Larry to you? A stone that fell into the water? It’s not enough for him [Joe] to be sorry. Larry didn’t kill himself to make you and Dad sorry.
What more can we be!

Related Characters: Kate Keller (speaker), Chris Keller (speaker), Joe Keller, Larry Keller
Page Number: 84
Explanation and Analysis:

Kate's statement—The war is over!—means that the past is really in the past, that there is nothing anyone can do to change it. Kate believes that, whatever crimes Joe committed, whatever guilt the family bears, they must be ignored if the family is to continue on into the future. This is why the Kellers remained in the neighborhood and lived their lives as though nothing had happened.

But Larry also remains the reason why the Kellers cannot fully let go of the war. Because Kate holds out hope that Larry will, in fact, return, the war is never truly relegated to the past in the Keller household. Instead, Larry's continual "possibility" of reappearance, though it really is no possibility, forces Kate to relive the war each day. She cannot, and will not, move beyond it.

Chris points out that Larry did not die to hurt anyone. Indeed, Larry was a victim of Joe's sins, and Joe must acknowledge this in order for everyone's lives to continue. The past must be addressed. Joe finally does this, quickly and summarily, before killing himself, and only then does Kate tell Ann and Chris to move away, to begin new lives apart from the Keller family.

Get the entire All My Sons LitChart as a printable PDF.
All my sons.pdf.medium

Chris Keller Character Timeline in All My Sons

The timeline below shows where the character Chris Keller appears in All My Sons. The colored dots and icons indicate which themes are associated with that appearance.
Act 1
Family and Familial Obligation Theme Icon
Wealth and Its Accumulation Theme Icon
...the paper alongside his friend and neighbor Dr. Jim Bayliss. Keller has two sons: one, Chris, who works with him in the family business, and one, Larry, who died flying a... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris comes downstairs, and Joe greets him, asking how Annie’s doing; Chris says she’s doing fine... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris and Joe look at the shorn tree that once memorialized Larry. Chris tells Joe, to... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris continues talking to his father, saying that they (he and his father) have “made a... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris pulls closer to his father and continues talking. He tells Joe that he invited Annie... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Joe is nervous about how this news will affect Kate, and he refuses to tell Chris, in a straightforward manner, how he feels about Chris marrying Annie—Joe is primarily worried that... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
At the high point of their argument, Chris threatens to marry Annie and run away to New York City—where Annie currently lives—in order... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
Wealth and Its Accumulation Theme Icon
...maid, and that today is her day off. Joe sits off to the side, and Chris helps Kate peel green beans for dinner. Kate complains of a bad night’s sleep and... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Chris becomes upset with his mother, indicating to her that, perhaps, Annie is no longer mourning... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris is shocked to hear that Kate believes it is “too soon” to be mourning Larry.... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
Wealth and Its Accumulation Theme Icon
Just then, Annie comes out with Chris to say hello to Joe and Kate. Joe is happy to see Annie and tells... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
Annie tells Chris, in front of Joe and Kate, that she’s surprised he has so many clothes, but... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
Annie turns to Chris and asks him if the neighborhood is still talking about her father’s trial and imprisonment.... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
...in prison, and Annie says she does not; she thinks he is a murderer, and Chris appears to agree, saying that Steve “killed” 21 American pilots in the war. Again, this... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
...not a bad man, that he just made a mistake, and that he’s no murderer. Chris becomes angry with his father for even bringing up this whole mess, which seems to... (full context)
Family and Familial Obligation Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
Joe goes inside, leaving Chris and Annie alone. Annie tells Chris he’s been acting strange so far on her visit,... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris tells Annie that he’s not “ashamed” to be courting his brother’s girl, but that he... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
At that, however, Chris turns to Annie and says that he will make her a fortune—Annie replies that she... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
Annie goes inside to answer George’s phone call. Chris tells his father that he and Annie are getting married, and Joe seems unaffected by... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
After Chris insists that Annie’s visit would have nothing to do with George, and that Annie harbors... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
...something important he wants to discuss regarding his father with Joe. Annie, clearly shaken, tells Chris she wants to go for a drive, and the two exit to do so. Kate... (full context)
Act 2
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
The Act opens on the evening of the same day. Chris is outside, in dress pants but no shirt, clearing away the brush from Larry’s sheared... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris forcefully but still politely objects, to Kate, to the idea that Annie has anything to... (full context)
Family and Familial Obligation Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Annie brushes off this criticism, but Sue continues, saying that, if Annie and Chris do marry, Sue and Jim want them to move somewhere far away. Annie is shocked... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
...she says she hates living next to the “Holy Family,” the Kellers, and she finds Chris’s “phony idealism” to be immensely frustrating. Annie cannot believe what she’s hearing, but as Sue... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
After Sue leaves, Chris begins saying how much he likes her, and that she’s a good nurse, but Annie... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
Annie tells Chris that he must be prepared to “leave his family behind” if it is revealed that... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
Joe comes outside and seems happy at the idea, now, that Chris and Annie are in love—he seems them together and assumes they are once again sharing... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
...George up at the train station—and, leaving George in the car, Jim walks up to Chris and Annie, still outside, to tell Chris that he ought to drive George somewhere farther... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
...grape beverage Kate has set out for him—an old favorite—but announces sourly to Ann and Chris that he’s been to see his father, who looks “smaller” now in prison; George also... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
George then asks Annie, gruffly, if she’s married yet to Chris; Annie says she’s not yet married, and George announces that Annie will not marry Chris... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
George tells Annie and Chris, in the yard, that Joe ordered Steve, on the phone three years ago, to weld... (full context)
Family and Familial Obligation Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris tells George that his father is a timid man who wants to shift the blame... (full context)
Family and Familial Obligation Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
...they will have a dinner at the house that night, instead of going out; but Chris tells George that, if he stays for the evening, there will be no more arguing.... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
Liability, Culpability, and Guilt Theme Icon
...out to announce that she’s packed Annie’s bag, and that Annie can leave with George. Chris and Annie both say that Annie will only leave when Chris wants her to, but... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
Kate then screams to Joe and Chris that Chris has to understand something: if Larry is dead, then Joe “killed” him, and... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris can’t believe that his father is responsible for the murder of 21 pilots, and though... (full context)
Act 3
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
...by the backyard, at two in the morning. Kate tells Jim she is waiting for Chris to come back; he took the car, after his argument with Joe, and drove to... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
Liability, Culpability, and Guilt Theme Icon
Jim alludes to the possibility of an argument between Chris and Joe over Annie, but Kate tells him, flat-out, that the argument was about George... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
...goes offstage, saying he will take his car and drive around the park looking for Chris. Joe and Kate have a small argument, in which Kate says Joe always get angry... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
...to handle the family’s trauma, and so he does not learn of the letter immediately. Chris asks Annie and Kate, who is in morbid shock, to sit down: he announces to... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris also announces that he would not want his father to go to jail; that jail... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Wealth and Its Accumulation Theme Icon
Liability, Culpability, and Guilt Theme Icon
Annie takes the letter and, though Kate tries to intercept her, shoves it in Chris’s hands, telling Chris it was the last thing Larry sent her—Annie does this, it seems,... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
...deaths of some pilots, he was not responsible for Larry’s. Joe tells Annie, Kate, and Chris that, although he always thought he didn’t kill his own son, he has now realized... (full context)
Family and Familial Obligation Theme Icon
Loss and Memory Theme Icon
War, Morality, and Consequences Theme Icon
Liability, Culpability, and Guilt Theme Icon
Chris tells his mother that, finally, the family is confronting the reality that they have obligations... (full context)