Small Things Like These Literary Elements

Historical Fiction

The novella takes place in New Ross, Ireland in the weeks approaching Christmas of 1985.

Keegan writes from Furlong's perspective in a close third-person point of view. Furlong's reticence is apparent in how the prose leaves certain things unsaid. The use of past tense reinforces the importance of reflection in the novella.

Conflicted, Tender, Hopeful, Reflective

The protagonist is Furlong. The antagonist is the Mother Superior and the convent, and more broadly the institution of the Catholic Church.

The major conflict at the heart of the novella is the question of how to treat those who do not conform to social norms. The specific context is how Irish society (backed by both the church and the state) abused and exploited young unmarried mothers. After witnessing the inhumane treatment of girls at the convent's supposed training school, Furlong deliberates about what to do. His personal conflict exists both internally and externally as he reflects on memories of his own unmarried mother and on the consequences his choices could have on his family. Furlong has to choose between staying silent and complicit or taking actions that could legitimately harm his daughters' futures.

The climax occurs in the final chapter on Christmas Eve when Furlong approaches the convent and resolves to free Sarah from the coal shed and bring her home with him.

The second chapter ends with the information that Furlong's daughters attend St. Margaret's, "the only good school for girls in the town." Furlong's determination to keep his head down and ensure that his daughters receive a quality education foreshadows the troubles that lie ahead.

In general, Keegan is known for brevity and restraint in her writing. What is not said can be just as important as what does get said. For example, the detail of the nun coughing and shaking her frying pan when Furlong attempts to question Sarah about her life indicates that the girl could face severe consequences for speaking out.

The name "Magdalen" or "Magdalene" alludes to the biblical figure Mary Magdalene, who for centuries was falsely portrayed as a repentant prostitute.

Many of the chapters open with strong images of the scenery, such as how strong November winds strip yellow trees bare in the first chapter. Other examples include "It was a December of crows" in the fourth chapter. These images ground the story in a sense of place by helping the reader imagine New Ross.

Furlong's question "Why were the things that were closest so often the hardest to see?" in Chapter Seven expresses a paradox of proximity and understanding. One would think that proximity would lead to a greater understanding, but in Furlong's case, he was too close to the situation to realize that Ned could be his father. Ned's constant presence led Furlong never to question it.

The image of wind stripping leaves or flowers off of trees repeats in the first and third chapters. This portrays nature as an active and powerful force that can operate at any point, no matter the time or context.

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Furlong personifies his work truck as a "she" in the first chapter.

Furlong sees a resemblance between the "dapper" crows that stride along inspecting their surroundings and a young member of the clergy who "liked to walk about town with his hands behind his back" in Chapter Five.