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A recurring motif in the novel is the quoting of literary sources in dialogue, usually by Jack. This motif upholds the overarching theme of The Value of Stories. When used in dialogues, these quotes underscore the importance of words and the stories one tells oneself about oneself. Jack, for instance, uses Arthur O’Shaughnessy’s first stanza of his Ode to describe to Hugo the greatness and perils of being an artist (as they both are). The quote is meant to inspire him so that he may do Jack’s book covers his own way instead of tailoring them to someone else’s ideas: “We are the music makers / And we are the dreamer of dreams, / Wandering by lone sea-breakers” (75). The phrase “cite your sources,” which both Jack and Hugo use, therefore, becomes synonymous with weighing how a person speaks, as when Lucy calls herself an emotional orphan. As she speaks ill of herself, Hugo stops her and asks her to cite her source so that she can determine if such words are truly what she thinks or what she’s been told to believe about herself:
‘We [Lucy and Sean] were so screwed up we belonged together.’ ‘Cite your source. […] Jack says you must always cite your sources. Who said you were so screwed up you belonged together? Him? Or you?’ ‘Him. And I guess I believed him’ (217).
The text implies that direct quotes have the power to shape a person’s perspective, and thus it’s always important to know from where or whom that information comes.
In The Wishing Game, the scarves Lucy knits are symbols of love as well as her hopes and wishes made manifest, and thus they support the overarching theme of The Power of Wishes and the Need for Hard Work. Lucy’s scarves may seem superfluous, but they underscore the novel’s portrayal of art as a life-changing endeavor. Literary art is capable of granting Jack his life and the ability to help others realize their wishes, while Hugo’s visual art gave him the opportunity of a lifetime, to work with Jack. Although Lucy initially dismisses her scarves as mere craftwork, Hugo corrects her: “Craft is what they call artwork that’s useful to humanity” (215). In other words, the giving and selling of Lucy’s scarves is an art with an immediate purpose. Initially, the scarves were a source of extra income to adopt Christopher and were vitally important to their future: “She sold one or two scarves a week on Etsy. To most people, the extra thirty or forty dollars a week wasn’t worth the time it took to knit a four-needle scarf. But for Lucy, every penny of that money mattered” (16). The scarves she sells represent her commitment, effort, and hope that she can one day adopt Christopher. After she enters the contest, however, her scarves only make two more appearances: the scarves she gives away to Hugo and later, to Angie. They hold a different kind of wish and purpose then: for the former, a burgeoning love interest, and for the latter, a newly rekindled familial love.
Each part of the novel opens with a chapter describing an excerpt from Jack’s first book, The House on Clock Island. This motif supports the theme of The Value of Stories. These interludes create the illusion that the events of The Wishing Game are another of Jack’s carefully crafted narratives, mixing reality with literature to guide the reader and hint at Jack’s masterminding of events. Often, the interludes mimic the plot developments of the chapters that follow. In the interlude that opens Part 1, for instance, Astrid discovers that the lighthouse where the Mastermind lives is active again, and the following chapters show how Lucy (and the rest of the world) learn that Jack is writing again and is hosting a contest in all points similar to the challenges his characters meet in his novels.
In Part 5, the last two excerpts are individual chapters: Chapter 28 and Chapter 32. In Chapter 28, the text summarizes the events of The Secret of Clock Island and ends with a quotation implying that the Mastermind let Molly win. This implies that Jack’s plans for Lucy (whom Molly represents) have effectively followed the course he outlined, planned, and worked for, paralleling and echoing Lucy’s choice to accept his offer with a passage in one of his books. In Chapter 32, the only line reads, “Of course, the Mastermind had let Lucy win” (265). Combining Jack’s books into the novel, the text entwines both stories to reflect what Jack told Lucy and the other competitors: “‘All of us, I think, are hoping one of my books will change our lives again. The stories write us, you see’” (118). Jack’s new book changes Lucy’s life, but it isn’t a textual book in this case. It's the narrative that Lucy is meant to live out in her real life during the contest and “write” her into a new role: being Christopher’s mother.
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