47 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of bullying, sexual violence, rape, child abuse, child sexual abuse, animal cruelty, animal death, addiction, graphic violence, sexual content, cursing, death, physical abuse, and emotional abuse.
Not for the first time, the screams of young women keep 19-year-old Michael Morrow awake. He thinks about the phrase “bloody murder,” and he wishes Momma (Claudine Morrow), would kill the girls during the day instead of at night. To block out the screams, Michael’s young sister, Misty Dawn Morrow, plays music on her record player.
The Morrows live in a dilapidated farmhouse in Dahlia, a fictional area in the Appalachian Mountains in rural West Virginia. Michael looks out his dirty bedroom window and sees Momma, his father Wade Morrow, and his older brother Rebel, or Ray, surround the girl. She was a hitchhiker, and Michael and Reb violently abducted her to appease Momma’s “hobby.”
The girl flees, and Momma tells Michael to chase after her. On a hill, Michael considers letting her go. He wonders if the family would disown him and if the Morrows would get caught and receive death sentences like Ted Bundy and John Wayne Gacy—two serial killers whom Reb idolizes.
Not inclined to betray his family, Michael catches the girl, and after a violent struggle, he almost kills her with a rock. Wade congratulates him, and Reb critiques him for nearly killing her—Momma wants them alive. While carrying the girl back to the property, Michael tells her that he’s sorry.
After Michael dissects the girl’s dead body in the storm cellar, he sprays the floor with a hose. Reb chastises Michael for taking too long. Reb misuses alcohol, and he wants Michael to go with him on a “booze run.” In a stolen car—an Oldsmobile Delta—they drive to gas stations miles away, and Michael, who’s fast, steals alcohol while Reb waits in the car. Once, a worker pulled a shotgun on Michael but eventually let him escape.
The worker at the current gas station watches TV as Michael steals a bottle of Johnnie Walker Red. He confronts Michael, and Reb speeds away. Michael hits the worker with the bottle and catches up to Reb, who insincerely apologizes.
Back at home, Michael, following custom, gives Misty a ring from the girl who the Morrows just killed. In exchange for giving Misty the girls’ jewelry, Misty lets him use her record player. Misty makes clothes and accessories.
Wade berates Michael for going out in public with blood still on his boots. Reb laughs, and Wade knocks the bottle of alcohol out of his hands. Wade perceives that the rushed outing was Reb’s idea and protests that he doesn’t want Reb to attract the police. Misty giggles at Reb, and Momma attacks her. Wade forbids further alcohol runs, but Momma overrides him. Michael notes that they’ve been stealing hard liquor since they were 10 years old.
The chapter focuses on the past and the eldest Morrow child, Lauralynn. As with Momma, Misty, and Reb, Lauralynn had strawberry-blond hair. Lauralynn and Reb were close, with Lauralynn referring to him as Raybee. Lauralynn read books out loud to Reb and her siblings—Shel Silverstein’s collection of poems Where the Sidewalk Ends and A. A. Milne’s Winnie the Pooh stories among them. Momma would yell at Lauralynn, who thought their mother was angry due to sadness.
Reb worried that Lauralynn would run away to follow her dream of becoming a teacher and veterinarian. Upset, he killed a dog that they found by the road. Later, riding in Wade’s truck with his father, Reb spotted a four-year-old boy (Michael) selling rocks by the side of the road. He told Wade that he wanted Michael, who would become Lauralynn’s student.
In the present, Misty reads Harlequin romance novels. She has an adversarial relationship with Reb, but she and Michael are allies. In Michael’s room, Misty speculates that Wade won’t tolerate Reb’s wayward behavior much longer. She wonders why Michael doesn’t stand up to Reb. Michael claims Reb is “smart,” and he remembers Reb attacking him after he asked why Reb called his father Wade. In Michael’s view, neither Reb nor Wade outranks Momma. He just wants to keep Misty safe—postcards from other places, like Honolulu and New York, prompt dreams about living elsewhere, but he doesn’t want to leave Misty.
Michael and Reb drive to an elegant, peaceful little house with green shutters. They spy on the owner—an older woman whose “dumpy” style belies her attractiveness. Michael thinks the woman is too old for Momma. He asks Reb if they have the correct house. Reb says the woman is “perfect.”
The chapter returns to the past to focus on Michael’s first experiences with the Morrow family. When he first arrived, he cried often. Lauralynn wanted to name him Merrell. She also wanted to return him, but Momma said they couldn’t. Reb changed his name to Michael and told Michael that his first family didn’t want him, so he should appreciate his new family. Without the Morrow family, he’d be in the woods, where wolves or bears could eat him.
Reb’s narrative quieted Michael, and he and Lauralynn became close. They played with her bunnies together, and because of her closeness to Michael, Reb was confident that Lauralynn wouldn’t leave.
Now, Reb and Michael drive into downtown Dahlia and head into a counter-culture record store, the Dervish. Michael thinks about Misty’s record collection. As Michael steals albums for Misty, he thinks about her record collection, which is eclectic. She has the Beatles and more recent artists like Bonnie Tyler and the Bee Gees. Sometimes, Wade uses the player to listen to Creedence Clearwater Revival.
Reb flirts with Lucy, a young woman who works there and has strawberry-blond hair. He remembers watching Reb have sex with a different girl on the hood of the Delta. Michael bumps into another record store worker named Alice. She tells him the name of the band playing in the store, Stray Cats, but Michael doesn’t reply. She reminds Michael of Snow White, and that’s what he calls her, as he doesn’t know her name yet. He feels vulnerable and coaxes Reb out of the store.
In the car, Reb ridicules Michael and promises to take him into town more often. Reb thinks Alice is probably “freaky.” As Reb and Michael pass a McDonald’s, Michael grows sad. He wants a Big Mac, not Momma’s meat and potatoes.
For dinner, Momma serves just steak. Wade wonders why his sons were gone for so long. Reb says they were observing the “new mark,” and Michael fell asleep. Misty makes fun of Reb’s alcohol use, and Momma pulls Misty’s hair.
Reb warns Misty that she might get sent to their grandparents’ house, like Lauralynn. The mention of Momma’s parents and the eldest child quiets the table. Momma breaks her plate and yells at Reb before leaving him with a blistering “glare.” Michael tries to console his older brother, but Reb rebuffs him.
The chapter returns to the past, centering on a memory of the Cabell County Fair. Grandma Jean and Grandpa Eugene, both of whom were abusive, were visiting. Reb saw Grandpa Eugene sexually assaulting Lauralynn on the back porch. He also noticed that Misty’s skirt was so short that her underwear showed when she bent over.
At the fair, the siblings went on a variety of rides, and Reb stole a dill pickle. Inside the funhouse, Reb “terrorized” Michael. Nearby teens wondered if they should summon an adult, but Lauralynn comforted Michael. Reb felt like the mirrors “erased him.” Misty teased Reb for feeling scared, so Reb hit her arm.
The narrative immediately conforms to the horror-thriller genre when the third-person omniscient narrator opens with the line “A girl was screaming bloody murder outside” (7). The unnamed woman establishes the violent, deadly environment of the Morrows’ home, but Ahlborn quickly clarifies that the brutality is enacted on the family members as well, bringing the horror inside the house. They, too, face violence: Reb physically and psychologically abuses Michael; Momma abuses Misty; Wade mistreats Reb; and the grandparents abused Momma before moving on to the grandchildren. These early chapters establish the Morrows as terrifying, both to their victims and to each other.
These chapters also immediately juxtapose Michael, the protagonist, with his brother Reb: Michael is quiet and introspective while Reb is viciously cocky. Michael demonstrates remorse about killing and cutting up the girls; Reb doesn’t appear bothered by the brutal family environment. The conflicting characterization creates a tyrannical dynamic in which Reb controls Michael, telling him, “I decided to save you, you got it? That makes me your boss” (74). Reb denies Michael’s agency by reframing his abduction as a rescue that makes him beholden to Reb, introducing the theme of The Difference Between Loyalty and Complicity. However, Michael’s thoughts are revealed through the narrator’s omniscience, exposing Michael’s disquiet over the Morrows’ horrible behavior. However, the narrative also immediately subverts the idea of Reb as an unmitigated villain. He adored Lauralynn and went to great lengths to prevent her from running away. The kidnapping of Michael represents Reb’s cruelty; at the same time, it underscores his love for Lauralynn.
The Powerful Influence of Family also connects with this theme as the family illustrates their compulsion to trauma, which derives from their inability or unwillingness to separate loyalty from complicity. Reb’s psychological manipulation of Michael makes Michael feel obligated to stay with his family. Yet Michael can’t erase feelings of complicity: He knows what he’s doing is wrong; he doesn’t want to perpetually follow the ghastly Morrow model. However, the family acts as a prison, and Michael can’t muster the will to break free of it. A central part of the confining family dynamic is trauma. The Morrows can’t stop injuring one another or the young women, and Michael’s character arc is established with these two themes; over the course of the novel, he will work to break away from the family, both psychologically and physically.
With the introduction of the little house with the green shutters, Ahlborn plants the seed of what will be the final catalyst in Michael’s journey. He is immediately suspicious of their latest mark, the woman (Bonnie Rasmussen) who lives there. He remarks, “She was pretty, but definitely not Momma’s type. Momma liked her girls young. The woman who was crossing the front yard to the bistro table appeared to be in her early fifties” (67). Michael’s doubts suggest that something else is going on. The woman isn’t exclusively for Momma, but an oblique scheme related to Reb.
The Dervish is an important setting in the novel, representing the world outside the Morrow family farm. It exposes Michael to people outside of his odious family, but at the same time, his and Reb’s presence there connects Alice and Lucy to the violent Morrow family. The precariousness of Alice and Lucy’s position, of which they are unaware, is underscored by Michael’s comparison of Alice to Snow White. She’s an endangered princess, threatened not by an evil stepmother but instead by Momma. However, the Dervish also introduces the motif of music, which represents escape. Music’s connection to escape is established early on by Misty’s love of it: “On cue, the muffled chords of an ABBA song sounded through the wall separating Michael’s room from Misty Dawn’s. Misty didn’t like the screaming either, but she absolutely loved Swedish pop” (11). Playing records blocks out the brutality and acts as a defense against the cruel atmosphere. Her diverse record collection highlights the force of the Morrows’ terror. Michael, too, finds escape in Misty’s music, and that translates to his attachment to the record store and Alice, as she introduces him to new music that he brings home.
The first chapters establish the time period of the 1980s through contemporary music and the prevalence of hitchhikers. Although the narrative itself never provides an exact date, in an interview, Ahlborn says that the story is set in 1981 (“Exclusive Interview: ‘Brother’ Author Ania Ahlborn.” paulsemel.com. 28 Sept. 2015). While the characters briefly worry about the police, the time period and rural setting make the lack of discovery plausible. The young women lack phones or devices that would track their location. Further, distrust of police is a common stereotype of people in Appalachia, illustrated by how the workers don’t call the police on Michael and Reb when Michael steals alcohol. Even if someone heard or saw something suspicious on the Morrow property, they’d—based on the stock suspicion of government authority—be wary of involving police. This setting allows for the Morrow family to continue their murderous activities over years, something that would be less plausible in today’s world.



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