The Bass, The River, and Sheila Mant - W. D. Wetherell
There was a summer in my life when the only
creature that seemed lovelier to me than a
largemouth bass was Sheila Mant. I was fourteen.
The Mants had rented the cottage next to ours on
the river; with their parties, their frantic games of
softball, their constant comings and goings, they
appeared to me denizens of a brilliant existence.
―Too noisy by half,‖ my mother quickly decided,
but I would have given anything to be invited to one
of their parties, and when my parents went to bed I
would sneak through the woods to their hedge and
stare enchanted at the candlelit swirl of white
dresses and bright, paisley skirts.
Sheila was the middle daughter—at seventeen, all
but out of reach. She would spend her days
sunbathing on a float my Uncle Sierbert had moored
in their cove, and before July was over I had learned
all her moods. If she lay flat on the diving board
with her hand trailing idly in the water, she was
pensive, not to be disturbed. On her side, her head
propped up by her arm, she was observant,
considering those around her with a look that
seemed queenly and severe. Sitting up, arms tucked
around her long, suntanned legs, she was
approachable, but barely, and it was only in those
glorious moments when she stretched herself prior
to entering the water that her various suitors found
the courage to come near.
These were many. The Dartmouth heavyweight
crew would scull by her house on their way upriver,
and I think all eight of them must have been in love
with her at various times during the summer; the
coxswain would curse them through his
megaphone, but without effect—there was always a
pause in their pace when they passed Sheila’s float.
I suppose to these jaded twenty-year-olds she
seemed the incarnation of innocence and youth,
while to me she appeared unutterably suave, the
epitome of sophistication. I was on the swim team
at school, and to win her attention would do endless
laps between my house and the Vermont shore,
hoping she would notice the beauty of my flutter
kick, the power of my crawl. Finishing, I would
boost myself up onto our dock and glance casually
over toward her, but she was never watching, and
the miraculous day she was, I immediately climbed
the diving board and did my best tuck and a half for
her and continued diving until she had left and the
sun went down and my longing was like a madness
and I couldn’t stop.
It was late August by the time I got up the nerve to
ask her out. The tortured will-I’s, won’t-I’s, the
agonized indecision over what to say, the false
starts toward her house and embarrassed retreats—
the details of these have been seared from my
memory, and the only part I remember clearly is
emerging from the woods toward dusk while they
were playing softball on their lawn, as bashful and
frightened as a unicorn.
Sheila was stationed halfway between first and
second, well outside the infield. She didn’t seem
surprised to see me—as a matter of fact, she didn’t
seem to see me at all.
―If you’re playing second base, you should move
closer,‖ I said.
She turned—I took the full brunt of her long red
hair and well-spaced freckles.
―I’m playing outfield,‖ she said, ―I don’t like the
responsibility of having a base.‖
―Yeah, I can understand that,‖ I said, though I
couldn’t. ―There’s a band in Dixford tomorrow
night at nine. Want to go?‖
One of her brothers sent the ball sailing over the
left-fielder’s head; she stood and watched it
disappear toward the river.
―You have a car?‖ she said, without looking up.
Scull – row, as in a rowboat.
Coxswain – person steering a racing shell and calling out the
rhythm of the strokes for the crew.
Epitome – embodiment; one that is representative of a type or
class.
2
I played my master stroke. ―We’ll go by canoe.‖
I spent all of the following day polishing it. I turned
it upside down on our lawn and rubbed every inch
with Brillo, hosing off the dirt, wiping it with
chamois until it gleamed as bright as aluminum
ever gleamed. About five, I slid it into the water,
arranging cushions near the bow so Sheila could
lean on them if she was in one of her pensive
moods, propping up my father’s transistor radio by
the middle thwart so we could have music when
we came back. Automatically, without thinking
about it, I mounted my Mitchell reel on my Pfleuger
spinning rod and stuck it in the stern.
I say automatically, because I never went anywhere
that summer without a fishing rod. When I wasn’t
swimming laps to impress Sheila, I was back in our
driveway practicing casts, and when I wasn’t
practicing casts, I was tying the line to Tosca, our
springer spaniel, to test the reel’s drag, and when I
wasn’t doing any of those things, I was fishing the
river for bass.
Too nervous to sit at home, I got in the canoe early
and started paddling in a huge circle that would get
me to Sheila’s dock around eight. As automatically
as I brought along my rod, I tied on a big Rapala
plug, let it down into the water, let out some line,
and immediately forgot all about it.
It was already dark by the time I glided up to the
Mants’ dock. Even by day the river was quiet, most
of the summer people preferring Sunapee or one of
the other nearby lakes, and at night it was a solitude
difficult to believe, a corridor of hidden life that ran
between banks like a tunnel. Even the stars were
part of it. They weren’t as sharp anywhere else; they
seemed to have chosen the river as a guide on their
slow wheel toward morning, and in the course of
the summer’s fishing, I had learned all their names.
I was there ten minutes before Sheila appeared. I
heard the slam of their screen door first, then saw
her in the spotlight as she came slowly down the
path. As beautiful as she was on the float, she was
even lovelier now—her white dress went perfectly
with her hair, and complimented her figure even
more than her swimsuit.
It was her face that bothered me. It had on its
delightful fullness a very dubious expression.
―Look,‖ she said. ―I can get Dad’s car.‖
―It’s faster this way,‖ I lied. ―Parking’s tense up
there. Hey, it’s safe. I won’t tip it or anything.‖
She let herself down reluctantly into the bow. I was
glad she wasn’t facing me. When her eyes were on
me, I felt like diving in the river again from agony
and joy.
I pried the canoe away from the dock and started
paddling upstream. There was an extra paddle in the
bow, but Sheila made no move to pick it up. She
took her shoes off and dangled her feet over the
side.
Ten minutes went by.
―What kind of band?‖ she said.
―It’s sort of like folk music. You’ll like it.‖
―Eric Caswell’s going to be there. He strokes
number four.‖
―No kidding?‖ I said. I had no idea whom she
meant.
―What’s that sound?‖ she said, pointing toward
shore.
―Bass. That splashing sound?‖
―Over there.‖
―Yeah, bass. They come into the shallows at night
to chase frogs and moths and things. Big
largemouths. Micropterus salmoides,‖ I added,
showing off.
Chamois – soft leather used for polishing.
Middle thwart – brace across the middle of a canoe.
Micropterus salmoides – the scientific name for a largemouth bass.
11 answers
In W.D. Wetherell's short story "The Bass, the River, and Sheila Mant," the narrator, a fourteen-year-old boy, reflects on a summer filled with youth and longing. The narrative is imbued with themes of teenage desire, the contrast between innocence and adulthood, and the tension between love and personal identity.
At the story's crux is the boy's infatuation with Sheila Mant, a seventeen-year-old girl who is the middle daughter of the family renting a cottage nearby. His admiration for Sheila is palpable as he describes the allure of her beauty and sophistication compared to the rough, natural beauty of the bass he loves to fish for. Through detailed observations of Sheila's moods, the boy's adoration emerges as a mix of fascination and insecurity. He yearns for her attention and approval, which he believes can be won through his prowess as a swimmer and fisherman.
As the summer progresses, the boy finally gathers the courage to ask Sheila out. He invites her to a concert, promising an adventure by canoe, which he prepares meticulously. However, as he embarks on this journey with her, the underlying tension between his passion for fishing and his desire for her companionship becomes increasingly pronounced.
The moment of tension peaks when the boy hooks a large bass while paddling with Sheila—he faces a choice between pursuing his passion for fishing or impressing Sheila. This internal conflict symbolizes the struggle between youthful innocence (embodied by his love for fishing) and the burgeoning complexities of romantic desire. Ultimately, he prioritizes Sheila over the fish and decides to ignore the bass, reflecting his desire to win her affection over his own passion.
In the story's climax, the boy is confronted with the bittersweet realization that adolescence encompasses the sacrifices we make for love and the disappointment that often follows. The tale captures the essence of youthful longing, the desire for acceptance, and the eventual understanding that growing up often involves making tough choices that shape our identities. Wetherell's writing vividly illustrates the emotional landscape of adolescence, leaving readers to ponder the complex interplay between love, passion, and self-discovery.
―I think fishing’s dumb,‖ she said, making a face. ―I
mean, it’s boring and all. Definitely dumb.‖
Now I have spent a great deal of time in the years
since wondering why Sheila Mant should come
down so hard on fishing. Was her father a
fisherman? Her antipathy toward fishing nothing
more than normal filial rebellion? Had she tried it
once? A messy encounter with worms? It doesn’t
matter. What does is that at that fragile moment in
time I would have given anything not to appear
dumb in Sheila’s severe and unforgiving eyes.
She hadn’t seen my equipment yet. What I should
have done, of course, was push the canoe in closer
to shore and carefully slide the rod into some
branches where I could pick it up again in the
morning. Failing that, I could have surreptitiously
dumped the whole outfit overboard, written off the
forty or so dollars as love’s tribute. What I actually
did do was gently lean forward, and slowly, ever so
slowly, push the rod back through my legs toward
the stern where it would be less conspicuous.
It must have been just exactly what the bass was
waiting for. Fish will trail a lure sometimes, trying
to make up their mind whether or not to attack, and
the slight pause in the plug’s speed caused by my
adjustment was tantalizing enough to overcome the
bass’s inhibitions. My rod, safely out of sight at last,
bent double. The line, tightly coiled, peeled off the
spool with the shrill, tearing zip of a high-speed
drill.
Four things occurred to me at once. One, that it was
a bass. Two, that it was a big bass. Three, that it was
the biggest bass I had ever hooked. Four, that Sheila
Mant must not know. ―What was that?‖ she said,
turning half around.
―Uh, what was what?‖
―That buzzing noise.‖
―Bats.‖
She shuddered, quickly drew her feet back into the
canoe. Every instinct I had told me to pick up the
rod and strike back at the bass, but there was no
need to—it was already solidly hooked.
Downstream, an awesome distance downstream, it
jumped clear of the water, landing with a
concussion heavy enough to ripple the entire river.
For a moment, I thought it was gone, but then the
rod was bending again, the tip dancing into the
water. Slowly, not making any motion that might
alert Sheila, I reached down to tighten the drag.
While all this was going on, Sheila had begun
talking, and it was a few minutes before I was able
to catch up with her train of thought.
―I went to a party there. These fraternity men.
Katherine says I could get in there if I wanted. I’m
thinking more of UVM or Bennington. Somewhere
I can ski.‖
The bass was slanting toward the rocks on the New
Hampshire side by the ruins of Donaldson’s
boathouse. It had to be an old bass—a young one
probably wouldn’t have known the rocks were
there. I brought the canoe back into the middle of
the river, hoping to head it off.
―That’s neat,‖ I mumbled. ―Skiing. Yeah, I can see
that.‖
―Eric said I have the figure to model, but I thought I
should get an education first. I mean, it might be a
while before I get started and all. I was thinking of
getting my hair styled, more swept back? I mean,
Ann-Margret? Like hers, only shorter.‖
She hesitated. ―Are we going backward?‖
We were. I had managed to keep the bass in the
middle of the river away from the rocks, but it had
plenty of room there, and for the first time a chance
to exert its full strength. I quickly computed the
weight necessary to draw a fully loaded canoe
backward—the thought of it made me feel faint.
―It’s just the current,‖ I said hoarsely. ―No sweat or
anything.‖
UVM or Bennington – University of Vermont or Bennington
College, Bennington Vermont.
Ann-Margret – (1941- ) Movie star, very popular at the time of this
story.
4
I dug in deeper with my paddle. Reassured, Sheila
began talking about something else, but all my
attention was taken up now with the fish. I could
feel its desperation as the water grew shallower. I
could sense the extra strain on the line, the frantic
way it cut back and forth in the water. I could
visualize what it looked like—the gape of its mouth,
the flared gills and thick, vertical tail. The bass
couldn’t have encountered many forces in its long
life that it wasn’t capable of handling, and the
unrelenting tug at its mouth must have been a
source of great puzzlement and mounting panic.
Me, I had problems of my own. To get to Dixford, I
had to paddle up a sluggish stream that came into
the river beneath a covered bridge. There was a
shallow sandbar at the mouth of this stream—weeds
on one side, rocks on the other. Without doubt, this
is where I would lose the fish.
―I have to be careful with my complexion. I tan, but
in segments. I can’t figure out if it’s even worth it. I
wouldn’t even do it probably. I saw Jackie
Kennedy in Boston, and she wasn’t tan at all.‖
Taking a deep breath, I paddled as hard as I could
for the middle, deepest part of the bar. I could have
threaded the eye of a needle with the canoe, but the
pull on the stern threw me off, and I
overcompensated—the canoe veered left and
scraped bottom. I pushed the paddle down and
shoved. A moment of hesitation . . . a moment
more. . . . The canoe shot clear into the deeper water
of the stream. I immediately looked down at the
rod. It was bent in the same tight arc—
miraculously, the bass was still on.
The moon was out now. It was low and full enough
that its beam shone directly on Sheila there ahead of
me in the canoe, washing her in a creamy, luminous
glow. I could see the lithe, easy shape of her figure.
I could see the way her hair curled down off her
shoulders, the proud, alert tilt of her head, and all
these things were as a tug on my heart. Not just
Sheila, but the aura she carried about her of parties
and casual touchings and grace. Behind me, I could
feel the strain of the bass, steadier now, growing
weaker, and this was another tug on my heart, not
just the bass but the beat of the river and the slant of
the stars and the smell of the night, until finally it
seemed I would be torn apart between longings,
split in half. Twenty yards ahead of us was the road,
and once I pulled the canoe up on shore, the bass
would be gone, irretrievably gone. If instead I stood
up, grabbed the rod, and started pumping, I would
have it—as tired as the bass was, there was no
chance it could get away. I reached down for the
rod, hesitated, looked up to where Sheila was
stretching herself lazily toward the sky, her small
breasts rising beneath the soft fabric of her dress,
and the tug was too much for me, and quicker than
it takes to write down, I pulled a penknife from my
pocket and cut the line in half.
With a sick, nauseous feeling in my stomach, I saw
the rod unbend.
―My legs are sore,‖ Sheila whined. ―Are we there
yet?‖
Through a superhuman effort of self-control, I was
able to beach the canoe and help Sheila off. The rest
of the night is much foggier. We walked to the
fair—there was the smell of popcorn, the sound of
guitars. I may have danced once or twice with her,
but all I really remember is her coming over to me
once the music was done to explain that she would
be going home in Eric Caswell’s Corvette.
―Okay,‖ I mumbled.
For the first time that night she looked at me, really
looked at me.
―You’re a funny kid, you know that?‖
Funny. Different. Dreamy. Odd. How many times
was I to hear that in the years to come, all spoken
with the same quizzical, half-accusatory tone Sheila
used then. Poor Sheila! Before the month was over,
the spell she cast over me was gone, but the
memory of that lost bass haunted me all summer
and haunts me still. There would be other Sheila
Mants in my life, other fish, and though I came
close once or twice, it was these secret, hidden
tuggings in the night that claimed me, and I never
made the same mistake again.
Jackie Kennedy (1929-1994)First Lady during the administration of
President John F. Kennedy; greatly admired by the public for her dignity
and sense of style.
After reading The Bass, The River, and Sheila Mant, summarize the story in 5-7 sentences. In your summary, identify the main characters, the setting, and the conflict. At the end of your summary, explain a possible theme from the story and how it relates to your own life or society. (4 points)
In W.D. Wetherell's "The Bass, the River, and Sheila Mant," a fourteen-year-old boy navigates his infatuation with Sheila Mant, a seventeen-year-old girl who embodies the allure and sophistication he yearns for. Set during a summer on a tranquil river, the boy grapples with his passion for fishing while trying to impress Sheila, who finds fishing boring and dumb. The main conflict arises when he hooks a large bass during a canoe trip with Sheila, forcing him to choose between reeling in the fish and maintaining Sheila's attention. Ultimately, he sacrifices the bass, cutting the line to prioritize his romantic aspirations. The story encapsulates the bittersweet struggle between youthful desire and personal identity. A possible theme is the tension between passion and love; the narrator's choice reflects a universal coming-of-age dilemma—often we must navigate our own desires while balancing romantic relationships, a challenge that resonates in both personal experience and society at large as individuals learn what to prioritize in their lives.
Choose two of the underlined words from The Bass, The River, and Sheila Mant. For each of your choices, provide a definition of the word, then explain how you could determine the definition of the word in the story without using a dictionary. Next, write two sentences of your own creation, each using one of the words that you picked. At least one of the sentences should also include an example of figurative language (e.g. simile, metaphor, or personification). (4 points)
Here are two chosen underlined words from "The Bass, The River, and Sheila Mant":
Antipathy
Definition: A deep-seated feeling of dislike or aversion.
Determining Context: In the excerpt, when Sheila expresses that fishing is "boring and all" and "definitely dumb," her strong negative response indicates her antipathy toward fishing. The context in which she makes this statement suggests that she has little interest in or a strong dislike for the activity.
Original Sentences:
The dislike between the rival teams was clear, with players from both sides showing antipathy toward each other's every move.
Like thunderclouds gathering on a summer day, the antipathy in the room grew as tensions flared during the debate.
Epitome
Definition: A person or thing that is a perfect example of a particular quality or type.
Determining Context: When the narrator refers to Sheila as "the epitome of sophistication," it shows that he views her as the perfect example of sophistication. The surrounding descriptions of her beauty and demeanor reinforce this definition without needing a dictionary.
Original Sentences:
As the sun set over the horizon, painting the sky in shades of pink and orange, she was the epitome of grace, dancing like a leaf caught in a warm breeze.
The library, with its towering shelves of books and quiet ambiance, was the epitome of tranquility, drawing in readers like a moth to a flame.
Write a different conclusion to The Bass, the River, and Sheila Mant. This new conclusion should be written in either the third-person or from the first-person perspective of Sheila Mant. Your new conclusion should be at least seven sentences long and include at least one dialogue exchange. The conclusion will be evaluated based upon its use of precise word choice and the strength of its resolution. (4 points)
As Sheila stepped out of the canoe and onto the soft riverbank, she felt a mix of exhilaration and confusion. "This was fun! I didn’t know canoeing could be so relaxing,” she said, brushing a loose strand of hair behind her ear. The fair was alive with laughter and music, but her mind was still on the boy who had taken her on this unexpected adventure. She caught a glimpse of the anxious expression that had crossed his face when she labeled fishing as "dumb." Something about his eagerness to please her, and the way he had cut the line, intrigued her.
"Why did you let that big bass go?" Sheila asked, her tone teasing yet genuine. She seemed to find amusement in the thought of his sacrifice, yet deep down, curiosity gnawed at her.
"Sometimes, it's about what matters more in the moment," he replied, eyes glinting under the moonlight. “Maybe I realized connections are worth more than the catch,” he added, a hint of vulnerability in his voice.
As they walked toward the fair, the scent of popcorn wafting through the air, Sheila couldn’t help but admire his spirited determination. Though she still felt detached from the world of fishing, she recognized something genuine in him—a sweetness that transcended her initial indifference. Perhaps there was more depth to this boy than met the eye, and perhaps they were closer than she had assumed. The pang of her own complexities stirred within her, as she pondered if they could bridge the gap between their disparate worlds. In that moment, with the fair’s lights twinkling above them, she felt an unexpected spark of connection—one that could transform the upcoming summer into something more than just a fleeting memory.
Imagine that you are a teacher designing a Speaking & Listening assignment related to The Bass, the River, and Sheila Mant. Come up with four possible discussion questions. One of these questions should be an Analysis question. One question should be a Compare/Contrast question. One question should be a Cause/Effect question. One question should be a Clarification question. Provide your own answer to each of these questions.
Discussion Questions for "The Bass, the River, and Sheila Mant"
Analysis Question: How does W.D. Wetherell use imagery to convey the emotions of the narrator throughout the story? Answer: Wetherell employs vivid imagery to illustrate the narrator's longing and insecurities, especially when describing Sheila and the natural beauty of the river. Phrases like "the stars chose the river as a guide on their slow wheel toward morning" evoke a sense of romanticism and highlight the narrator's deep emotional connection to the setting. The contrast of serene natural imagery with the narrator's internal turmoil enhances the reader's understanding of his youthful infatuation and the bittersweet nature of his experience.
Compare/Contrast Question: Compare the narrator's feelings about fishing with Sheila's feelings about the activity. How do these differing perspectives affect their relationship? Answer: The narrator views fishing as a beloved passion and as a means to connect with nature, while Sheila dismisses it as boring and "dumb." This contrast illustrates their differing priorities and values—a manifestation of their age difference and contrasting interests. The narrator's desire to impress Sheila leads him to sacrifice his fishing aspirations, indicating that his feelings for her overshadow his love for fishing. Ultimately, this tension highlights the challenges of bridging differing perspectives in relationships, emphasizing how personal passions can clash with romantic pursuits.
Cause/Effect Question: What effect does the narrator’s decision to cut the fishing line have on his character development by the end of the story? Answer: The decision to cut the fishing line signifies a pivotal moment in the narrator's growth, showcasing his willingness to prioritize his romantic feelings over his passion for fishing. This sacrifice leads to a deeper self-awareness—that he is capable of making difficult choices for the sake of affection. Consequently, this marks a loss of his childhood innocence, illustrating the complexities of adolescence as he learns that love sometimes requires giving up what one deeply cares about. His choice ultimately crystallizes the theme of the bittersweet nature of growing up and the melancholic realization that passions can be sacrificed in pursuit of love.
Clarification Question: What does the bass symbolize in the story, and how does its significance change by the end? Answer: In the beginning, the bass symbolizes the narrator's childhood innocence and passion, representing something pure and uncomplicated that he yearns to catch. Throughout the story, this symbol evolves; by the end, the bass also embodies his longing and desire for connection with Sheila. When he sacrifices the chance to catch the fish, it transforms into a representation of the narrator's choice between youthful desires and the complexities of adult relationships. Ultimately, the fish signifies the bittersweet nature of growing up, where one often must learn to navigate conflicting desires and the responsibilities that come with emotional attachments.
Consider one of the books you finished for independent reading this semester. Pick one of the four previous questions you answered on this exam and substitute this book in place of The Bass, the River, and Sheila Mant. Now answer the question using the book your chose. For example: If you picked question one, summarize your book and explain its theme. If you picked question two, identify and define two vocabulary words from your book and use them in sentences of your own. (These should be words that you didn't know before reading the book) If you picked question three, write a new conclusion to your book using a different perspective and at least one dialogue exchange. If you picked question four, write and answer four speaking & listening questions related to your book. In all cases, make sure that you follow all of the original directions, including sentence length requirements.
I will choose Analysis Question: "How does W.D. Wetherell use imagery to convey the emotions of the narrator throughout the story?" and substitute it with the book "The Great Gatsby" by F. Scott Fitzgerald.
Analysis Question for "The Great Gatsby"
How does F. Scott Fitzgerald use imagery to convey the emotions of the narrator throughout "The Great Gatsby"? Answer: In "The Great Gatsby," F. Scott Fitzgerald skillfully employs imagery to express Nick Carraway's complex emotions as he navigates a world of wealth, love, and disillusionment. One striking example is when Nick describes Gatsby's extravagant parties: "The lights grow brighter as the dancing starts," which paints a vivid picture of excess and excitement, yet underneath the surface, there is a sense of emptiness and superficiality. This contrast between the vibrancy of the parties and the bleak emotional landscape hints at Nick's growing disillusionment with the American Dream. The imagery of the green light at the end of Daisy's dock serves as a poignant metaphor for Gatsby’s unattainable dreams, highlighting Nick's empathy and longing for his friend's happiness, but also the futility of that longing. Fitzgerald’s rich imagery functions to envelop readers in the emotional complexity of the characters' experiences, ultimately enhancing the overall themes of ambition, love, and the hollowness of wealth in the Jazz Age. Through this use of imagery, the reader is drawn into Nick’s perspective, allowing an intimate understanding of his oscillating emotions of hope, admiration, disillusionment, and regret.
5 answers