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Content Warning: This section of the guide includes discussion of bullying, sexual violence, rape, child abuse, child sexual abuse, child death, animal cruelty, animal death, addiction, graphic violence, sexual content, cursing, death, physical abuse, and emotional abuse.
At the movie theater, Reb, Lucy, Alice, and Michael watch The Shining. Michael wonders where Reb got the money to pay for the tickets. He admits he’s never seen a movie in a movie theater before. Reb claims he’s been in movie theaters before, and he mentions the actor (Sigourney Weaver) in Alien to prove his point.
Alice buys Michael snacks, and they sit away from Lucy and Reb. Michael has seen movies on TV, and he gives Alice a cheery interpretation of The Wizard of Oz. Alice sees it as unsettling. The Shining begins, and Alice and Michael hold hands as they watch the movie. Afterward, Reb claims the end is unrealistic. Michael wants to see it again.
Alice thinks Michael is “shy,” making him “special.” Michael imagines Alice as one of the dead girls in the storm cellar. Reb thinks Alice likes Michael, and Michael admits that he likes Alice.
Michael hangs out in Misty’s room while she repeatedly plays Neil Diamond’s “Cherry, Cherry.” Reb enters the room drunk, causing Michael to remember how his brother acts when he drinks alcohol. Once, during dinner, Reb stood on his chair and claimed the family treated him like an abused “slave.” Momma told him to get his boots off the chair. Reb says Michael doesn’t have a chance with Alice because he lacks Reb’s romantic skills.
After grabbing duct tape, the brothers drive to the house with green shutters. Reb goes in alone, and Michael imagines the woman’s tough husband easily neutralizing Reb. He also pictures the woman fending off Reb, and Michael letting her escape if she kills Reb.
Michael wanders outside for 10 minutes before entering the home. He hears the woman call Reb “Michael,” and he sees Reb sexually assaulting her. The woman has reddish-blond hair, and she wears a necklace with a golden “M” on it. As they drag the woman to the car, she fights. In the car, Michael asks why she called Reb “Michael.” Reb laughs.
The chapter returns to the siblings’ childhood. When Lauralynn discovered her missing rabbits, Reb acted ignorant. The siblings helped Lauralynn look for them, and at dinner, Lauralynn boldly blamed Momma. Reb thought about exposing Michael but kept it a secret. He didn’t think his parents would punish Michael, and he could use the knowledge to manipulate Michael.
Momma violently assaulted Lauralynn. Wade told the other siblings to go to their rooms. Reb tried to intervene, but Momma dismissed him. Later, Momma said they sent Lauralynn to live with the grandparents in North Carolina. Reb knew the truth—he looked out his window and saw proof that Wade and Momma killed her. Reb stared at his reflection. He suppressed his grief and saw a “sinister smile” appear. He vowed never to “forgive” Momma.
After, Momma tells Michael to bring her a “flank.” Michael takes the woman, now dead, into the storm cellar. He counts 18 stab wounds and notes Momma’s fondness for knives. He also remembers Reb telling him that Grandpa Eugene did “bad things” to Momma while Grandma Jean ignored the abuse. Michael thinks of the Morrows as “angels.” They made him a member of their family and shielded him from danger.
As Michael cuts the woman’s underwear, he has sexual feelings. He imagines Alice as the dead woman and Reb sexually assaulting Alice. As he dissects and disembowels the body, he goes on “autopilot.” The process used to take him six hours; he now does it in less than three. He saves a thigh for Momma but doesn’t imagine what Momma will do with it. Once again, he notes that the Morrows don’t have many resources. After he’s finished, he uses a nail to make a mark on his bedroom wall; there are almost 30 notches, so he’s participated in around 30 murders.
Reb and Michael drive to the Dervish, and Michael becomes anxious that Alice will discover his brutal life. Michael wonders if Reb thinks about stopping. He mentions Alice’s desire to move. Reb says people like them stay where they are and claims he wouldn’t leave his family. He reminds Michael that no shackles or handcuffs prevent Michael from cutting ties with the Morrows.
Reb gives Michael 10 dollars, so Michael takes Alice to McDonald’s for her lunch break. Alice orders a Happy Meal and wears the Ronald McDonald sunglasses that come with it. They discuss The Shining, leaving Dahlia, and Michael’s David Bowie shirt. Alice thinks the Bowie shirt matches Michael’s personality: Michael is the strangest person she’s met and makes her think of Bowie’s song, “Space Oddity.” They kiss, and Michael wishes he could tell Alice about the time he was 10 and had to “field dress” a dead body.
Back at the record store, Reb notes Michael’s birthday, and because he’s adopted, the uncertain date. Upset that Reb brought up his adopted status, Michael leaves. In the car, Reb suggests making Alice a part of the family—that’s what he’s doing with Lucy, who has the strawberry-blond hair favored by Momma. Reb also admits that he likes Lucy.
At home, Momma serves beef stew, but it’s summer, so Michael is too hot to enjoy it. Reb excuses himself and goes someplace secret.
The narrative’s feminist framework is established with the Morrow family’s matriarchal structure and the fact that Momma is at the center of the violence, highlighting The Powerful Influence of Family. Reb and Michael work for her and serve her needs. She has the power, and she always kills the young women—or, in Bonnie’s case, older women. Momma stabs Bonnie 18 times, reinforcing her vicious power. Reb tyrannizes Michael and Misty, but, inevitably subverting his nickname, he doesn’t rebel against Momma. Wade, too, is under Momma’s control: While Wade hits Reb, he doesn’t have the authority to kill him. His sidekick status manifests in Lauralynn’s death. He enables Momma to kill Lauralynn by sending the other children to their room. As he’s subordinate to his wife, he can’t kill Lauralynn. This centering of woman characters in the narrative continues with Lauralynn’s confrontation with Momma, something none of the men in the family are willing to do. She screams, “YOU killed my bunnies, you bitch!” (246). Unlike Michael and Reb, Lauralynn isn’t afraid of Momma. Though she loses her life, she musters the courage to face her. However ghastly and problematic the characters may be, the narrative centers on empowered women.
Ahlborn continues to feature the novel’s horror/thriller genre through references to the film The Shining. Unlike Brother, however, the film focuses on a patriarchal model of horror. Jack Nicholson plays Jack Torrance, whom the Overlook Hotel hires to look after it while it’s closed during the winter. Jack brings his wife, Wendy, and their son, Danny, to the isolated setting, only to gradually become more dangerous and murderous. In a famous scene, Jack tries to kill Wendy and Danny, who hide in the bathroom. Jack uses an axe to smash the door and, alluding to the catchphrase of The Tonight Show Starring Johnny Carson, he announces, “Here’s Johnny.” Ahlborn highlights Reb’s connection to Jack when he says, “Here’s Johnny,” before he sets up Misty’s death. As the Overlook Hotel haunts Jack and turns him evil, the wicked Morrow family environment transforms Reb into a villain. After Reb witnesses Momma and Wade kill Lauralynn, he willfully eradicates his feelings and replaces them with a “sinister smile” that represents his new, unfeeling identity.
The chapters also address the theme of The Cyclical Nature of Trauma through the development of Momma’s history with Grandma Jean and Grandpa Eugene. Reb tells Michael “something about Momma, about Grandpa Eugene doing bad things and Grandma Jean looking away” (265-66). As a young person, Momma was a victim, and now she is a predator, redirecting the abuse that she once suffered onto the young women she kills. This theme is also addressed through Reb’s desire to bring Alice and Lucy into the family—he likes Lucy and wants her near, but he also wants to injure them by exposing them to the family’s trauma. He also wants to extend the family or enlarge its span of malign influence. The more members it has, the greater power it possesses.
The third theme, The Difference Between Loyalty and Complicity, is also explored in these chapters. In Chapter 17, Michael and Reb have a conversation that illuminates both characters’ perspectives on this issue. Trying to connect to Reb, Michael asks Reb if he thinks about “quittin’” or leaving the family. Reb replies with the cliché that “blood is thicker than water” (279). Once again, Reb disguises complicity as a noble concept. Using abstract, misleading ideas about family, Reb manipulates Michael into believing he has an ethical obligation to stay with the Morrows. Michael tries to convince himself that Reb is right. He thinks, “The Morrows had swept down from heaven like angels and plucked him out of harm’s way” (266). Yet Michael’s romance with Alice and the possibility of leaving with her reveals that he’s not convinced that sticking with the Morrows is the right choice.



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