Regeneration

by

Pat Barker

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Regeneration: Chapter 14 Summary & Analysis

Summary
Analysis
Rivers sits in a church, listening to the congregants sing a hymn while he gazes at a stained glass portrayal of Abraham sacrificing Isaac. Rivers considers that this is the sacrificial bargain every patriarchal society is built on: if the young will consent to sacrifice themselves to the old, those few who survive will someday inherit society and get to offer their own sons to be slaughtered in war rather than themselves. As Rivers sits with Charles, his brother, gazing at the “flag-draped altar,” he thinks back to the simplicity of their childhood and mourns the fact that those days will never return.
Once again, the narrative gives a dark portrayal of Christianity’s ideological support of war, present both in Abraham’s sacrifice as well as the flag-draped altar, which signifies that patriotism is regarded as something sacred. Rivers’s description of the patriarchal bargain suggests that war is, in its own way, a selfish pursuit, a fight for the right to someday profit off of other people’s deaths.
Themes
Masculinity, Expectations, and Psychological Health Theme Icon
War, Duty, and Loyalty Theme Icon
Male Relationships Theme Icon
Quotes
Rivers is staying on his brother’s chicken farm with Charles and his wife Bertha. The farm had been Rivers’s idea, believing the open air would do his brother good and turn a profit, though they were barely breaking even. Hens seem determined to die. After spending the afternoon helping Charles move hens to another pen, Rivers promises to balance their accounts while Charles and Bertha go out for the evening. Rivers also needs to write Burns, who’s invited him to visit for a few days, and he has a half-finished letter for Sassoon waiting, as well. He spends the evening sitting in an armchair by the fireplace and wandering from room to room, but doesn’t get much done.
Charles and Bertha both play a very minor role in the story, functioning primarily to provide a setting for Rivers to exist in outside of Craiglockhart and providing the opportunity for him to reflect on his relationship with his father. Rivers’s apparent fatigue and listlessness despite having things he wants to accomplish contrasts with his ordinarily decisive manner. It reveals just how exhausted the last stretch of months at the hospital has made him, which certainly contributes to his war neurosis.
Themes
Trauma and Mental Illness Theme Icon
Much of the furniture in Charles’s house is from their childhood home in Knowles Bank. Rivers thinks back to his father, who was a speech therapist. Mostly, Rivers remembers their house full of teenage boys with various degrees of stammer like his own, as his father paced up and down the room with them, trying to teach them to regulate their breathing. Rivers even remembers his father coaching their minister, Reverend Dodgson, as 12-year-old Rivers snuck beneath the window of his father’s study to eavesdrop. That same summer, Rivers gave a stammering speech on Darwinism, which infuriated his father since it contradicted their family’s Christian beliefs, but Rivers only felt proud to have “forced his father to listen to what he had to say, and not merely to the way he’d said it.” In spite of those memories, Rivers regrets that he has no son.
Rivers forcing his father to hear “what he had to say” rather than just the manner he said it reveals not only that he had an inadequate relationship with his own father, but it also foreshadows Dr. Yealland’s own masculine method of psychiatric treatment. This further suggests that, like many men in the story, Rivers’s father was bound by society’s masculine ideals and thus not adept or interested in truly listening to his own son. By the way that Sassoon regards Rivers as a father figure, it is quite possible that Rivers likewise views Sassoon as something like a son, especially since he regrets not having his own.
Themes
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Male Relationships Theme Icon
Rivers looks at the unfinished letter to Sassoon on the table. All he’d managed to do thus far was talk about the weather, and he cannot understand why it is so difficult in a letter to always do what he does in person, nudging the conversation gently along. Rivers starts the letter over again: “My dear Siegfried…”
Rivers’s use of Sassoon’s first name suggests that his fondness for the young officer has continued to grow, and he sees him not only as a patient but as a dear and personal friend, perhaps even a son.
Themes
Masculinity, Expectations, and Psychological Health Theme Icon
Male Relationships Theme Icon
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In Craiglockhart, Sassoon sits with Owen as they workshop another of his poems. As they do, Sassoon notes that Owen seems to be getting better. His stammer is hardly present and he is far more confident than when he first introduced himself. Sassoon tells Owen he wants to try to get his work published, starting with Owen’s piece, “Anthem for Doomed Youth.”
Owen’s growing confidence suggests that he is moving beyond the hero-worship he felt when he first met Sassoon and is learning to regard him as a friend and an equal, even though Sassoon still clearly sits in the role of a teacher or mentor regarding poetry.
Themes
Male Relationships Theme Icon
Sarah and Madge visit the hospital to see Madge’s lover, recently wounded and recovering in one of the wards. Madge was nervous, so Sarah came as emotional support, but once Madge finds her man in reasonable health and with all his limbs, Sarah wanders off to allow them some level of privacy. Unable to find the exit to the grounds, Sarah wanders accidentally into a conservatory behind the hospital, which she realizes is full of amputees. The men in the ward go silent, and she realizes they are afraid of her; afraid both that she will look at their mutilation or not look at it. She is a “pretty woman,” and they are ashamed to be seen by her in their new state. Sarah realizes she unwittingly brought pain into the ward with her, and she leaves, furious with herself, the war, and the world.
The amputee ward’s placement behind the hospital, out of sight of the public, suggests that society seeks to hide the grim costs of war even from itself, treating it as an inconvenient truth. The pain that Sarah realizes she causes simply by being present tragically suggests that the amputees no longer believe they will have a normal life. Society’s attempt to hide the amputees, who do not fit society’s valorous view of combat veterans, parallels the general disregard society holds toward soldiers suffering mental breakdowns.
Themes
Masculinity, Expectations, and Psychological Health Theme Icon
War, Duty, and Loyalty Theme Icon
Trauma and Mental Illness Theme Icon
Alienation vs. Belonging Theme Icon
In the same hospital, Prior is having his lungs re-examined, although the physician Rivers had called already checked them once. The current doctor obviously believes that Prior’s psychiatric condition is a ploy to get out of combat, and he treats Prior as bitterly and roughly as it is possible while wielding a stethoscope. Irritated and ashamed, Prior leaves and finds Sarah standing outside the hospital, the first time they’ve seen each other since the beach. Sarah tells him about the amputees she saw, hidden away so the world wouldn’t have to look at them. She is still upset. Prior convinces her to leave with him, since Madge is still with her lover, and they set off.
The physician embodies the general public’s opinion that mental illness and war neurosis do not truly exist and are only a coward’s ploy to escape combat duty. Especially for Prior, who is already insecure about his masculinity, this implication that his psychological injury makes him a coward is especially shameful, even if it is not at all true, since Prior wants to return to combat. Sarah’s sympathy for the amputees and anger that they are hidden is thus extended to Prior’s mental breakdown, which she treats as a serious injury.
Themes
Masculinity, Expectations, and Psychological Health Theme Icon
War, Duty, and Loyalty Theme Icon
Trauma and Mental Illness Theme Icon
Alienation vs. Belonging Theme Icon
Rivers walks down a country road with Head’s wife Ruth, as she tells him about what life has been like in Cambridge while he’s been away in Craiglockhart. When they pass a war hospital full of wounded soldiers, Ruth remarks that she thinks Sassoon and his declaration are right; she agrees wholeheartedly with it. Rivers asks if that means he should let Sassoon destroy himself then, but Ruth argues that it needs to be Sassoon’s choice one way or the other, not Rivers’s.
Ruth, though only appearing in this instance, seems to play an important role in encouraging Rivers to let Sassoon make his own choice, whether bad or good, productive or self-destructive. Rivers’s concern for Sassoon in this manner again reflects a father’s concern for his son, again suggesting a paternal relationship between them.
Themes
War, Duty, and Loyalty Theme Icon
Male Relationships Theme Icon
That evening, after dinner, when Rivers speaks of missing London, Head tells Rivers that there is a job in London waiting for him, as a psychologist with the Royal Flying Corp. Rivers could be closer to family, and he could work with Head again. Rivers is interested, but also does not want to abandon Bryce at Craiglockhart, though there is rumor that Bryce will be replaced soon anyway.
Rivers’s choice whether to remain at Craiglockhart where he is obviously more needed or return to Cambridge where he will be happier and still useful reflects, on a very small scale, Sassoon’s choice to return to combat duty or remain with his protest at Craiglockhart.
Themes
War, Duty, and Loyalty Theme Icon
Male Relationships Theme Icon