The One and Only Ivan

by

Katherine Applegate

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The One and Only Ivan: gone—the beetle Summary & Analysis

Summary
Analysis
gone. While some animals live private lives, Ivan does not. His life consists of flashing lights and lots of visitors. Humans put their small hands against the glass that keeps them apart. The glass says, “you are this and we are that and that is how it will always be.” The humans’ fingerprints get left behind until a tired man wipes them at the end of the day. Ivan sometimes puts his nose against the glass to make a nose print. When the man wipes the nose print away, Ivan is gone too.
Ivan is matter-of-fact about living a very public life, but it nevertheless seems to take a toll on him. Indeed, suggesting that he’s gone when the man wipes his nose prints off the glass suggests that Ivan feels like he’s being erased too—like he only exists when people are looking at him. So, even if Ivan said earlier that his identity as a roadside attraction isn’t really him, he nevertheless associates his worth with being an attraction.
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Quotes
artists. There isn’t much for Ivan to do in his domain. He can only throw so many me-balls (dried balls of dung) at humans before it gets boring. He always keeps some me-balls on hand, but visitors don’t seem to have any. In Ivan’s domain, there’s a tire swing, a baseball, a little pool with dirty water, and an old TV. Ivan also has a stuffed toy gorilla, which Julia, the cleaner’s daughter, gave him. The toy gorilla is floppy and looks empty, but Ivan sleeps with it every night. He calls it Not-Tag; Tag was his twin sister.
Again, the way that Ivan describes his domain suggests that it’s very small, and that his life in it isn’t particularly happy or healthy (especially since he describes the water in his pool as “dirty”). Further, the way that Ivan introduces Not-Tag and Tag is important—Tag was Ivan’s twin sister. Using the past tense here suggests that Tag isn’t alive anymore, though it’s unclear what, exactly, happened to her. Regardless, this begins to imply that Ivan’s past before he came to live at the mall wasn’t particularly happy.
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Julia is 10. She has black hair and a big smile, and she and Ivan have lots in common: they’re both great apes and artists. Julia gave Ivan his first crayon through the hole in his glass. Having watched Julia draw before, Ivan knew what to do with it. Julia draws lots of things that aren’t real, like smiling clouds and swimming cars. Ivan thinks that her pictures are “like pieces of a dream.” Ivan can’t draw pictures like hers, since he doesn’t remember his dreams. Sometimes he wakes up with his fists balled up and his heart pounding, though.
Ivan and Julia’s relationship shows what’s possible with animal-human relationships when both parties are willing to see each other more or less as equals. Ivan recognizes that as a member of the great ape family tree, Julia really isn’t so far removed from him. And as artists, they can connect with each other by sharing supplies and admiring each other’s work. Meanwhile, the aside that Ivan sometimes wakes up from what seems like bad dreams again suggests that his past was unhappy.
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Next to Julia’s drawings, Ivan’s are “pale and timid.” Ivan focuses on drawing things in his cage, like apple cores and banana peels. He draws the same things many times, but he never gets bored when he’s making art. He can focus on the act of drawing with a crayon in his hand. Humans often don’t recognize what Ivan draws. When they look at his pictures of bananas, they sometimes think he’s drawn an airplane or a wingless duck. Ivan doesn’t mind, since he’s drawing for himself, not for them. After a while, Mack realized that people would buy Ivan’s drawings. Now, Ivan draws every day. In the gift shop, his drawings go for $20—or $25 with a frame. When Ivan gets tired of drawing, he eats his crayons.
It's possible to see that Ivan’s drawings are so “pale and timid” compared to Julia because, unlike her, Ivan lives in a very small domain. In his domain, there’s not a lot to draw besides garbage, and he doesn’t seem to have enough mental stimulation to draw things out of his imagination. His captivity, in this sense, is stifling his creativity. But this doesn’t mean that his drawings aren’t still valuable: they sell for up to $25. But Ivan also implies that the drawings are valuable in part because many humans underestimate what Ivan is capable of, so a crayon drawing seems like a bigger deal than it really is. 
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shapes in clouds. Ivan thinks he’s always been an artist. When he was a baby and still clung to his mother, he’d notice shapes in the clouds or sculptures in stones. He’d grab for colorful things, like birds or flowers. Ivan doesn’t remember much of his early life, but he does remember using mud to draw on his mother’s back. His mother was “a patient soul.”
Here, Ivan tells readers a little more about how he’d like others to see him: as an artist, and a lifelong one at that. Mack might be helping Ivan embody this identity by having him draw every day for the gift shop, but Ivan’s earlier descriptions suggest that he doesn’t find drawing for Mack quite so fulfilling.
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imagination. Ivan hopes that someday, he can draw like Julia; that is, he can draw worlds that don’t yet exist. He’s aware that most humans don’t think gorillas have imaginations, or they think that gorillas can’t remember the past or think about the future. Maybe they have a point. Ivan tries to think about what already is, not what might happen. He’s learned that he shouldn’t get his hopes up.
Ivan confirms that his drawings are appealing to people because they don’t expect a gorilla to be able to draw. But he implies that he’s unwilling to use his imagination because he might get his hopes up and then be disappointed. He thinks that in order to protect himself, it’s better to not think about the future or draw fantastical pictures, like Julia does.
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the loneliest gorilla in the world. At first, when the Big Top Mall was new, it smelled fresh and clean and humans visited all day long. Lately, though, there have been days when no one visits. Mack is worried and says that Ivan isn’t cute anymore. He tells Ivan that Ivan has lost his magic, and Ivan agrees—people don’t stick around to stare at him like they used to. Now, they say that Ivan looks lonely. Not too long ago, a little boy sobbed as he looked at Ivan and said that Ivan must be the loneliest gorilla in the world. Then, Ivan wished that humans could understand him. He wanted to tell the boy that it’s not so bad—you can get used to pretty much anything with enough time.
At this point, it’s unclear exactly how long Ivan has been in the mall, but charting how the mall has changed over time suggests that it’s been a while. Further, the fact that no one is visiting implies that the mall might be struggling financially—the fact that there are no visitors means that nobody is spending money at the mall. Importantly, Ivan doesn’t push back on the boy’s insistence that he’s the loneliest gorilla in the world—he just implies that he’s used to being lonely. This in and of itself illuminates how sad and unfulfilling Ivan’s life in captivity is.
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tv. Ivan’s visitors are usually surprised when they see the TV in his domain. They think it’s odd that a gorilla would stare “at tiny humans in a box.” But Ivan thinks that it’s just as strange that humans stare at Ivan, sitting in his own tiny box. The TV is old, and sometimes, nobody remembers to turn it on. Ivan enjoys cartoons most of all, since they’re brightly colored, and the people in them sometimes slip on banana peels.
Ivan seems to suggest that at least when one lives among humans, it’s not odd to stare at beings “in a box.” He realizes that both humans and gorillas need entertainment—and just because he’s entertainment for the visitors doesn’t mean that he doesn’t need his own entertainment.
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Quotes
Bob loves TV too, though he prefers watching bowling and commercials for cat food. Bob and Ivan also watch a lot of romance movies, with hugging and “face licking.” Ivan hasn’t seen a single romance starring a gorilla. They watch Westerns, too, which Ivan likes because it’s easy to tell who’s good and who’s bad—and the good guys always win. According to Bob, Westerns aren’t like real life.
As Ivan talks about Western films, he implies that he wants to live in a world where it’s easy to tell whether someone is good or evil. But to Bob, this just isn’t how life works. This also suggests that Ivan might have a more black and white view of the world around him; he might not see things for how they really are.
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the nature show. Ivan has been in his domain for 9,855 days, totally alone. When he was young and naïve, he thought he was the last gorilla on the planet. He tried to think of other things, but it’s hard to stay positive if you believe you’re the last of your kind. But then, one night, a new kind of show came on after a Western. Ivan watched a forest on the screen—and then, he saw a male gorilla. The gorilla vanished, and Ivan watched a polar bear and a manatee. He thought about the gorilla a lot after that and wondered where he lived. Would that gorilla ever come to visit, and are there female gorillas out there too? Or are there just two male gorillas in the world, trapped in boxes?
Earlier in the novel, Ivan took great pride in being a gorilla and in looking how a gorilla should look. But it’s hard to take pride in being a perfect specimen, he suggests, when there’s no one like him to admire him and see him for who he really is. So, the gorilla on the TV here is helpful—Ivan now knows for sure that he’s not totally alone in the world—but it also shows Ivan what he’s missing. He’s not the only gorilla, but it doesn’t seem likely that he’ll ever get to meet another being like himself.
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stella. Stella is certain that one day, Ivan will see another real gorilla. Ivan believes her because she’s old and knows a lot. She’s like a mountain; Ivan is just a rock next to her, while Bob is as tiny as a grain of sand. Ivan and Stella talk every night after the stores close. Even though they don’t have a lot in common, they have enough to connect: they’re both big, alone, and love yogurt raisins. Stella sometimes talks about her childhood in a jungle. She remembers everything about her past, unlike Ivan. She loves the moon, while Ivan loves the sun. And though they talk, they don’t talk too much—both elephants and gorillas dislike “wasting” words.
Ivan makes the case that making friends doesn’t require having much in common—he might also share the things that he and Stella have in common with a number of other animals or humans. It’s significant, though, that Ivan is so insistent that he doesn’t remember his past, unlike Stella remembers hers—he says it like it’s something he’s proud of, or like it’s something he’s trying to convince himself is true.
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Stella used to work for a big, famous circus. She still sometimes does the tricks she learned there for the show here. She stands on her hind legs while Snickers jumps on her head. This is a difficult trick when you’re as big as Stella is. If a circus elephant does the trick right, they get treats. If they do it wrong, “the claw-stick comes swinging.” Though elephants’ skin is very thick, a claw-stick can pierce it easily. One time, Stella watched a trainer hit a bull elephant with a claw-stick. The bull tossed the trainer with his trunk. Stella told Ivan that the man flew—but she never saw the bull elephant again after that.
The claw-stick emerges as a symbol of human cruelty. It’s used to make animals who greatly outweigh humans comply and perform difficult maneuvers—which shows that it doesn’t take much for humans to exert their power over animals, even large ones. Indeed, Stella implies that the bull elephant who tossed the trainer was probably euthanized or disposed of in some way, suggesting that the circus prizes obedience over all else.
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stella’s trunk. Ivan thinks of Stella’s trunk as a miracle. With it, she can pick up single peanuts, tickle mice, and tap humans’ shoulders. However, it can’t open the door of her domain. Stella has scars on her legs from the chains she wore as a young elephant. She calls the chains her “bracelets.”
In calling her chains “bracelets,” Stella is using language much like Ivan does when he talks about his “domain” rather than his cage. It makes it seem like Stella was in control and wanted to wear the chains—she’s trying to make them seem desirable and beautiful.
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Back then, Stella had to balance on a pedestal as part of a trick. One time, she fell off the pedestal and hurt her foot. She never recovered, so the circus sold her to Mack. Her foot still hasn’t healed completely. Now Stella walks with a limp, and sometimes, her foot gets infected. Last winter, she got very sick for five days. Ivan isn’t convinced that she’s better now, but Stella never complains. Here, Stella doesn’t have to wear a chain. She’s tied to the floor with a rope. Stella believes that the humans think she’s too old to get into trouble—but “old age is a powerful disguise.”
The story of how Stella ended up living with Mack suggests that she’s been neglected for some time. While it’s unclear exactly what’s going on with her foot, the fact that it’s never been able to heal completely suggests that she likely hasn’t received the proper medical care for the injury. The fact that Mack ties her up with a rope instead of a chain implies that he expects Stella to behave since she’s a seasoned performer. But Stella’s insistence that her age “is a powerful disguise” suggests that she still has some spark to her—she’d disobey Mack if the situation called for it.
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a plan. Nobody has visited the mall in two days, so Mack is in a bad mood. He grouses that he’s losing money and is going to sell every animal. Thelma, the macaw, screeches “Kiss me, big boy” for the third time, so Mack throws a can at her. She hops away just in time (she can’t fly since her wings are clipped). Mack goes into his office and closes the door. Ivan wonders if the visitors are tired of him. Perhaps he should learn a trick. Fortunately, humans always seem to like watching Ivan eat, and Ivan is always hungry. Silverbacks have to eat 45 pounds of food every day to stay a silverback. Ivan vows that tomorrow, he’ll try to eat 50 or even 55 pounds of food. That will make Mack happy.
Mack doesn’t seem to realize that Ivan, at least, can understand every word he says. This means that he says hurtful things about his animals without knowing that he might be hurting their feelings or scaring them. Ivan shows that he cares for Mack by insisting that he’s going to eat more food to improve the mall’s situation, even though readers may infer that this will only make things worse for Mack—if Ivan eats more food, it’ll cost Mack more money. So, Ivan’s plan also shows how limited he is in his ability to understand the humans around him, just as their limited in their ability to understand him.
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bob. Ivan shares his plan with Bob, but Bob isn’t convinced. He insists that Ivan’s appetite isn’t the issue, hops onto Ivan’s chest, and inspects his chin for extra food. Bob is a stray; he’s so fast and clever that the mall workers don’t even try to catch him anymore. He eats hot dogs out of the trash and spilled ice cream cones. Ivan sometimes offers to share his food with Bob, but Bob declines.
The way Ivan talks about Bob suggests that he approves of the way Bob lives, at least in some aspects. Bob reads as free and able to move and eat what he wants, while Ivan is stuck in his domain and has to make do with whatever Mack gives him. Bob also seems to have a better handle on what humans want from Ivan, perhaps because, as a stray dog, he has more experience in the outside world than animals in captivity do.
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Bob is very tiny. He’s like a brown “barking squirrel,” and his tail is always moving. His tail conveys all sorts of emotions and phrases, like human words. Ivan finds it confusing sometimes. Gorillas don’t need tails because their feelings aren’t complicated. Bob used to have brothers and sisters, but humans tossed all six puppies onto the freeway when they were little. Bob rolled into the ditch, but his siblings weren’t so lucky.
Ivan demonstrates that he’s capable of learning all sorts of communication methods, since he seems to have a good grasp of what Bob’s various tail movements mean. Bob’s origin story shows how cruel humans can be to animals. He implies that his siblings died on the freeway, and that this is what the humans intended—Bob was simply lucky to have survived the ordeal.
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That first night, Bob slept in the mud and was so cold that he could barely get up. The night after that, he snuggled into the dirty hay near the Big Top Mall’s garbage bins. Then, the night after that, Bob climbed into Ivan’s domain through the hole in the glass. When Ivan woke up, there was a puppy asleep on his belly. Ivan didn’t know what to do; it had been so long since he’d touched another being. He stayed still all night so he wouldn’t wake Bob up.
The hole in Ivan’s glass might read as an indicator that Mack doesn’t care about upkeep on his animals’ cages, but it also offers Ivan an important opportunity to connect with another being. Ivan’s desire to comfort and take care of Bob shows how caring and loving he is—he isn’t the terrifying beast portrayed on the billboard.
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wild. Ivan asked Bob once why he doesn’t want a home. Ivan knows that humans love dogs and, to be fair, puppies are easier to cuddle with than gorillas. Bob insisted that his home is everywhere and that he’s a “wild beast.” When Ivan suggested that Bob work like Snickers the poodle, Bob responded by snarling and pointing out that Snickers eats nasty meat from a can. And poodles, according to Bob, are “parasites.”
It's ironic that Bob—a domestic animal—describes himself as a “wild beast” when, by all metrics, Ivan is the wild animal in this scenario. This suggests that identity isn’t necessarily dependent on what others think—people (or animals) can decide what their identity actually is.
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picasso. Mack passes Ivan a fresh yellow crayon and 10 pieces of paper. He tells Ivan to earn his keep and calls him “Picasso.” Ivan wonders if Picasso has a tire swing and eats his crayons. Since Ivan knows he “lost his magic,” he tries hard to think of what to draw. He looks around his domain for something yellow and draws a banana. When he’s done, he leans back, and Mack grabs the drawing. Mack sighs that it’s “another scribble” and prompts Ivan to do the next nine drawings. Ivan draws nine more bananas.
Mack’s insistence that Ivan has “lost his magic” seems to be having a major effect on Ivan, since Ivan feels compelled to try harder to draw to make up for his lost magic. Calling Ivan “Picasso” also seems intended as sarcasm, implying that Mack doesn’t take Ivan’s art seriously. But since Ivan doesn’t know who Picasso is, this goes over his head for the most part.
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three visitors. There are three visitors staring at Ivan: a woman, a boy, and a girl. Ivan performs for them, strutting, dangling from his swing, and eating banana peels. But the boy spits at the glass, and the girl throws some pebbles. Sometimes, Ivan is glad that there’s glass to separate him from the humans.
These visitors don’t seem to respect Ivan at all. To them, he’s something to stare at and torment—not a fellow “great ape.” In this situation, Ivan’s glass protects him from abuse, even as it keeps him trapped.
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my visitors return. Once the show is over, the rude children come back. Ivan bares his teeth for them, grunts, and eats some more. In response, the children “pound their pathetic chests” and throw more pebbles at Ivan. Ivan throws a me-ball toward them and calls them “slimy chimps,” wishing that the glass wasn’t there.
Baring his teeth, grunting, and throwing dung at the kids suggests that Ivan is trying to counter their rudeness with aggression—and sometimes, he wishes that he could actually hurt the people who torment him. But again, the glass traps Ivan and keeps him from defending himself.
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sorry. But Ivan is sorry he called the children “slimy chimps”—his mother would be ashamed.
Ivan’s mother was clearly a major guiding force in his life—he wants to make her proud, wherever she is.
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julia. Julia is a child, like the other rude children, but it’s not her fault she’s a child. Her father, George, cleans the mall every night, and Julia sits by Ivan’s domain. She could sit anywhere, but she chooses to sit with him. Ivan thinks that this is because they both love drawing. Julia’s mother, Sara, used to help clean the mall, but she stopped coming when she got sick. Now, Julia offers to help George clean, but he tells her to do her homework instead. Ivan knows that homework means pencils, big books, and sighing. He likes chewing pencils, so he thinks he’d be great at homework.
Because Ivan and Julia are good friends, Ivan doesn’t lump Julia in with other rude kids—she’s her own person. Julia’s choice to sit close to She makes Ivan feel special, and his understanding of why she sits with him shows that the two connect over their shared love of art. Ivan’s perspective on homework is humorous, as he doesn’t fully understand what Julia is doing or why. As a gorilla, his perspective is limited.
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Julia sometimes falls asleep or reads, but most of the time, she draws and talks to Ivan about her day. This isn’t unusual; lots of people talk to Ivan. This might be because people don’t realize that Ivan can understand them, or maybe it’s because he can’t respond. Julia tells Ivan about how she likes science and art, but she doesn’t like the bullies at school. She wants to be a famous artist. Julia sometimes draws Ivan. In her pictures, Ivan looks elegant, never angry like he does on the billboard. But in Julia’s pictures, Ivan always looks a little sad.
Ivan implies that he hears all sorts of things from various people—but this is because they see him as a being they can talk to without any consequences, good or bad. Nevertheless, Ivan seems to enjoy when Julia talks to him because she levels with him and treats him like a thinking, feeling being. It’s interesting, though, that Julia’s pictures of Ivan depict him as being sad, as this implies that his sadness is more obvious than he’s letting on to the reader.
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drawing bob. Ivan adores the pictures that Julia draws of Bob. She draws him in all sorts of poses: running, hiding, or sleeping on Ivan’s belly. Sometimes she draws him with wings or a tortoise shell. In Ivan’s opinion, the best thing Julia has done for Bob was to give him his name. Bob was nameless for a long time. But one afternoon, Ivan watched Julia draw Bob while he was sleeping. Julia looked at Bob “the way an artist looks at the world when she’s trying to understand it.” When she was done, there wasn’t just a picture of Bob—she’d written the name “Bob” under it. George commented that he didn’t realize the dog’s name was Bob, and Julia responded that she had to draw him to figure out his name.
Ivan suggests that art can help a person understand their world and the other beings in it. Julia doesn’t just imagine all the fantastical things Bob could be if he had a shell or wings; she can also help him form his identity. That Ivan describes this as the best thing Julia has done for Bob suggests that a being’s identity is a very important part of them—and Bob’s identity wasn’t fully formed until he had a name to go with it.
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bob and julia. Bob doesn’t let humans touch him, insisting that the smell of humans “upsets his digestion.” Occasionally, though, Ivan spots him sitting at Julia’s feet, letting her scratch his ears.
Bob has every reason to dislike or distrust humans, given that humans threw him onto the freeway when he was a puppy. But even Bob seems to acknowledge that not all humans are evil—some, like Julia, are extremely kind.
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mack. Mack usually leaves the mall after the last show. Tonight, though, he’s working in his office. After a while, he comes out and stares at Ivan while drinking out of a brown bottle. When George comes up to him, they talk about what they always do—the game, how business is slow, and the trash. Then, Mack asks Julia what she’s drawing. Julia explains that it’s a flying dog for Sara, since she likes airplanes and dogs. Mack makes a noncommittal noise and then asks George how Sara is. George says that not much has changed; Sara has good days and bad days. Mack turns to leave and then gives George a green piece of paper. He tells George to buy Julia more crayons and leaves before George can thank him.
This passage positions Mack as a complex character who’s possibly struggling—it’s implied that the dark bottle he’s drinking out of is alcohol. He may be somewhat neglectful and casually cruel to his animals, as Ivan has noted previously—but at least when it comes to people, Mack can be surprisingly caring and kind.
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not sleepy. After George and Julia go home, Ivan tells Stella that he can’t sleep. She notes that he’s “the king of sleepers,” and Bob tells Ivan to be quiet—he’s dreaming about chili fries. Ivan says he’s tired, but he’s not sleepy, so Stella asks what he’s tired of. Ivan thinks for a bit. Gorillas don’t complain much; they’re more “dreamers” and “poets.” Kicking his tire swing, Ivan says he might be tired of his domain. Tactlessly, Bob says that’s because it’s a cage, not a domain. Stella admits it’s a small domain, and Bob adds that Ivan is quite large.
Ivan has been in his domain for 9,855 (27 years), which explains why he’s tired of it. And when Bob says “tactlessly” that this is because it’s a cage, it suggests that Ivan is very purposefully calling his enclosure a domain to make himself feel better about his captivity. He’s trying to put a positive spin on a sad, difficult situation—but it’s hard to keep this up after doing it for so long.
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Ivan asks Stella if her leg is hurting, since he noticed her limping earlier. Stella admits it hurts a little. Everyone sighs, and Bob drools. Stella suggests that Ivan eat something, since that always makes him happy. Ivan eats a brown carrot, but it doesn’t help. He doesn’t admit that to Stella, though, since he knows she needs to sleep. Stella suggests that Ivan remember a happy day, which is what she does when she can’t sleep. But Stella remembers everything—and Ivan reminds her that his memory isn’t as good.
Noting that the carrot is brown suggests that Ivan doesn’t get food that’s particularly fresh, another indicator (along with Stella’s foot) that Mack is neglecting his animals. When Stella suggests that Ivan remember a happy day, she proposes that remembering can be a good thing—it can provide comfort during difficult times. Because Ivan can’t remember, he isn’t able to comfort himself in the same way Stella is.
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Quotes
Gently, Stella notes that there’s a difference between not being able to remember and refusing to remember. Ivan admits that this is true. Not remembering is difficult sometimes, but Ivan has been practicing for a long time. Stella adds that memories are important, since memories help remind them of who they are. She suggests that Ivan remember all his keepers, especially Karl. Ivan remembers Karl; he once gave Ivan a coconut.
Here, Stella implies that Ivan is purposefully repressing his memories—and Ivan confirms that she’s correct. This, in turn, presents the question of why Ivan is trying so hard to forget his past, especially since Stella insists that memories are a major part of a person’s identity. Without memories, Stella suggests that people (and animals) can’t have a full understanding of who they are. This is an especially interesting idea given that Ivan doesn’t feel like he’s totally in charge of his identity; he might feel more in control if he were to remember his past.
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Ivan thinks about his other keepers who cleaned his domain, sat with him, and fed him. Gerald was his favorite; he once brought Ivan a box of strawberries. Ivan hasn’t had a keeper in a long time, since Mack doesn’t want to pay for “an ape babysitter.” George cleans Ivan’s cage, while Mack feeds him. When it comes to people who have taken care of him, Ivan remembers Mack most of all. Mack bought Ivan and raised him—and now he says that Ivan isn’t cute anymore. Silverbacks, though, aren’t cute. As the moonlight hits the carousel and the popcorn stand, Ivan listens to Stella’s breathing and waits to fall asleep.
Referring to keepers as “ape babysitters” suggests that Mack sees Ivan as a young child in need of constant supervision—he doesn’t see Ivan as he actually is, an adult gorilla with a rich inner life. Ivan’s recollections of his former keepers suggests that they help him feel connected to other beings and more okay with living in captivity. The fact that Ivan isn’t cute anymore—but that, according to Ivan, he’s not supposed to be cute—suggests that he and Mack have differing ideas about who or what Ivan should be.
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the beetle. Mack gives Ivan a black crayon and a stack of paper. Ivan rolls the crayon in his hands—he loves new crayons more than anything—and looks for something black to draw. He’s eaten all his old banana peels, and everything else in his domain is some other color. Then, something in the corner moves. It’s a shiny beetle. Ivan greets the beetle, which freezes. The beetle is pretty and black, so Ivan decides to draw him. Ivan doesn’t often get to draw new things, so it’s difficult. But he tries his best and draws the beetle’s body, antennae, and face.
Though drawing is an activity that makes Ivan feel more confident and in-control, his search for something to draw nevertheless speaks to how mundane and sad his life really is. There’s not enough for him to look at to find something black to draw—and it seems like it’s only luck that this beetle happens to crawl through Ivan’s domain at the right time.
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Luckily, the beetle stays all day. Most bugs move on from Ivan’s domain quickly, so Ivan wonders if the bug is okay. Bob offers to eat the beetle, but Ivan declines. As Ivan finishes his last picture, Mack, George, and Julia come over. Mack picks up a drawing and says that Ivan draws pictures of nothing. Julia asks to see the picture. She studies it, looks around, and says that Ivan drew the beetle in the corner. Mack grouses that he just sprayed for bugs and heads over to squish the beetle, but the beetle hurries away. Mack grudgingly accepts Julia’s insistence that Ivan’s drawing is of a beetle. Ivan thinks it’s nice to have another artist around.
Again, Ivan shows readers how caring he is when he expresses concern for the beetle’s well-being. In contrast, Mack’s choice to try to squish the beetle shows how little regard he has for other beings’ lives. It’s also hurtful for Ivan when Mack insists that Ivan hasn’t drawn anything, since he worked hard on the drawing. But having Julia around makes Ivan feel like he’s less alone. She’s willing and able to see Ivan as an artist trying to make sense of the world around him.
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