Inkling

As a motif, ink plays a significant role, for at different points in the novel, it symbolizes art, creativity, and the pervasive power of all artistic media. It represents different art forms, like drawing and writing, and because the story revolves around a living ink splotch, Oppel uses this image to suggest that art, once created, takes on a life of its own and can never be fully controlled by its creator. However, the fact that Inkling cannot absorb information from screens suggests the author’s own judgment that physically putting pen to paper is a superior version of artistic expression that is essential for fostering true creativity and breathing life into art. Likewise, he implies that physical copies of works hold more meaning because they are more accessible and easier to digest.

Additionally, the motif of ink represents media as a whole. Oppel implies that it is beneficial for everyone to consume a variety of media to obtain a well-rounded perspective. Likewise, the character of Blotter, who is fixated on a single genre, is used to represent the idea that too much of certain media, particularly violent media, can be harmful. While Inkling thrives on a diet of mixed media, Blotter only eats violent comic books, and his personality and values suffer accordingly. Thus, while Inkling produces various styles of art, Blotter draws “dark and gruesome” things that are “more violent than the comics he’d eaten” (204). Therefore, while the motif of ink shows how art comes to life, it also demonstrates how art can positively and negatively impact its audience.

In Inkling, if someone asks the characters how they are doing, they will often reply with a noncommittal one-word response such as “fine” or “okay.” These words become a recurring motif that is designed to highlight the characters’ communication challenges. When characters use these words in the story, it signals that they are probably lying. Ethan, Karl, and Peter, especially, tend to say things like “It’ll be fine” or “Everything’s okay” in order to avoid talking about complex issues (10, 138). For instance, instead of telling Soren that he cannot draw, Ethan says that everything will be fine. Similarly, Karl reassures Vika that everything is fine when she worries about money. When Ethan brings up concerns about Peter’s writer’s block, Peter tells Ethan that things are okay. In reality, however, engaging in more honest communication could help with these problems. Instead, the characters use words like “fine” and “okay” as shields to avoid confronting uncomfortable issues. Throughout the novel, Oppel portrays these words as obstacles that prevent genuine communication.

In Inkling, beds serve as powerful symbols of grief. Whenever he is overwhelmed by grief, Peter finds himself unable to leave his bed. Similarly, Ethan’s grief makes him yearn to retreat to his bed, “[l]ike if he made himself small enough, it wouldn’t hurt as much” (105). Oppel portrays beds as comforting yet isolating spaces in which characters grapple with their grief in solitude. However, this comfort becomes a trap, contributing to the pervasive feeling of being stuck that winds throughout the story. While beds offer solace, the narrative suggests that facing and overcoming grief requires embracing discomfort.

For Peter, the bed becomes both a source of comfort and a haunting reminder of his grief. In his dreams, Peter is persistently confronted by the image of Olivia in her hospital bed, intensifying his feelings of grief and guilt. This recurring memory hinders Peter’s healing, preventing him from moving beyond this moment. The image of the hospital bed not only delays Peter’s recovery, but it also obstructs his ability to function. Fixated on this bed, Peter loses sight of his children, his work, and his artistic goals. Thus, while beds symbolize grief, they also reinforce the theme of stagnation. Grief confines the characters to their beds, clinging to familiar comforts rather than confronting the discomfort that accompanies the process of moving forward.