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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, mental illness, addiction, substance use, graphic violence, sexual content, cursing, death, physical abuse, and emotional abuse.
The chapter returns to the Morrows’ childhood. After Lauralynn vanished, Michael moved into her room, which further enraged Reb. He hunted with Michael in the woods and bullied his little brother. Michael shot a bird, but he didn’t kill it, so Reb ripped off his wings.
Reb’s “bloodlust” created a firm bond with Momma. Wade gave him gin for his 13th birthday, and Wade and Reb abducted a girl who was addicted to heroin. Momma let her sober up before inciting Reb to torture her. Momma killed her, and Reb wanted Michael to cut her up in the cellar, but Michael cried, so Momma locked Michael in the cellar with the dead girl.
Misty plays music, but when she plays the song by The Cure, Michael becomes uncomfortable. She adds to his unease by crawling onto his mattress and exposing her thighs. She asks about Alice and why he chose Alice over her. She complains that Michael gets to leave while she’s stuck at home, where Momma threatens her. Michael remembers how he and Misty became close after Lauralynn’s murder. He gives her the M pedant. He says the M stands for Misty, but she says it stands for Michael.
Reb returns and wants to go to the Dervish with Michael. In the car, they argue over whether Michael should bring back The Cure single. Feeling guilty about Misty, Michael claims he doesn’t want to go to the record store anymore. Reb claims Misty is “sick” and calls her a “whore” again. Michael admits that he wants to talk to Alice, but Reb realizes he has something to do, so he drives home.
Michael rushes out of the car and tells Misty that they must leave. Using dialogue from The Shining, Reb announces his presence. He violently pulls Misty’s arm and punches her ribs. Before Michael gathers the courage to intervene, Momma appears, and Reb tells Momma that Misty is a “disease,” so she’s “gone.”
Reb reveals that Misty tried to have sex with Michael. Michael denies it, but Momma accuses Michael of lying. Misty declares that she’s a “filthy whore.” She wants Momma to kill her, and Momma does. Later, alone, Michael embraces his dead sister.
The chapter returns to the past and focuses on Reb’s relationship with the unnamed woman who lived in the little house with green shutters. The woman’s name was Bonnie Rasmussen. Once beautiful, she was a “depressed widow,” her life centered on reading, lowbrow TV, and birds.
Reb entered her life when he pretended to run out of gas near her house. He returned with flowers he bought at the gas station. The visits continued for a year and included gifts for her birthday and holidays. The night he killed her, Bonnie offered him cheesecake before going into her bedroom to change. Reb followed her into her bedroom. Bonnie didn’t want to have sex with him. If she knew he wanted sex, she would have ended the relationship. Reb rapes Bonnie, referring to her as his “project” and “masterpiece.”
Instead of dissecting Misty in the cellar, Michael buries her on her favorite hill. Using wood, he makes a cross. He sleeps near the grave and feels like a failure. He went along with Momma and Reb to be a good family member and keep Misty safe. He realizes Misty was always in danger until now.
Back at the farmhouse, Momma and Wade are indifferent to Misty’s death. Reb teases him with references to The Shining. Michael asks Reb if he cares, and Reb alludes to Lauralynn through Winnie the Pooh. Michael calls Reb a “psycho,” and Reb applies the label to Michael.
In the Delta, on the way to Dervish, Reb says Misty was someone else. He compares Misty to the possessed girl in The Exorcist. Michael forgot to bring The Cure single, but Reb claims it doesn’t matter. He says that nothing matters to Michael because Michael lacks “free will.”
Reb brings up Misty, and Michael suggests visiting Lauralynn in North Carolina. Reb ridicules the idea and reinforces Grandma Jean and Grandpa Eugene’s brutality. Michael wonders if Momma kills the girls to deal with the trauma caused by her parents. He considers Momma a “victim” and returns to the idea that the Morrows protect him. Nevertheless, he feels trapped.
Outside the Dervish, Alice notices Michael’s bleak look. He tells her to leave Dahlia, but Alice doesn’t want to abandon Lucy. They kiss again, and Alice gives him a birthday present—a little book of her comics. By Misty’s grave, Michael reads the story, which features him and the phrase, “I should really quit my job” (392).
The chapter details Reb’s relationship with Lucy. Unlike the hitchhiking young woman, Lucy wasn’t the kind of person who could easily disappear. She had friends and family, and she was uncommonly attractive. He pretended to like Paul McCartney and Billy Joel, and he embraced the role as her boyfriend. He closely watched Alice and told Alice about Michael. Lucy grew tired of having sex in the storage room, so Reb invited her and Alice to his home for Michael’s surprise birthday party.
Returning to the present, Reb arrives at Lucy and Alice’s apartment. Lucy wears blue jeans and a halter top, but Alice wears a punk outfit. Lucy thinks Alice is overdoing it, but Reb claims the clothes are perfect.
Ahlborn continues to center women characters in these chapters with the scene of the first murder. The process is a well-established hierarchy with Momma at the top, controlling the grisly outcome. She orders her family to wait until the young woman is sober, and then she manages Reb and Michael’s activities. Reb doesn’t autonomously torture the woman: He does so with Momma’s permission. When Michael can’t kill her, Momma punishes him by locking him in the cellar with the dead girl. Throughout this scene, Momma decides the actions and roles. She remains the ultimate authority.
However, the feminist framework is also evident in the fact that, like Lauralynn, Misty stands up to Momma. She confronts both Reb and Momma, in contrast to the Morrow men, who never disagree with Momma. Misty hisses, “It’s true. Misty Dawn is gone. I’ve come for Michael. I’m a no-good filthy whore. Now kill me, you stupid bitch” (355). By using the term “whore,” which Reb called her, on herself, Misty wrests control away from Reb. The reappropriation adds to Misty’s strength and power as she gains agency and takes charge of her fate. Momma kills her, but because Misty dared her to do it, she retains the power and control over the situation, even in her death. With her actions, Misty also breaks The Cyclical Nature of Trauma by taking control of her fate.
In these chapters, Michael also makes progress along his character arc but shows that he has some way to go in understanding The Difference Between Loyalty and Complicity. With his actions after Misty’s death, Michael counters the continuation of trauma and the nefarious influence of his family: He doesn’t stop Misty’s death, but he limits its ghastliness and treats her body differently than those of the other victims. Instead of taking Misty to the cellar and dissecting her like an animal, he gives her a human burial. Michael injects civility into the process and also hints that he is beginning to be willing to defy the Morrows. He also begins to understand the roots of the family’s trauma as he understands that “Momma had lived through her own personal hell as a girl [….] Was that why she was so angry, so hungry for blood?” (383). To deal with her “hell,” she creates “hell” for others, including her own family. As the matriarch, Momma is the source of the trauma and responsible for its continuous flow.
Music continues to symbolize escape, but Alice and Misty complicate the meaning of escape. Misty plays “A Forest,” and Michael is uncomfortable because it makes him think of Alice and moving away from Dahlia with her. Wanting to break free makes Michael feel guilty since he’d presumably leave behind Misty. The Cure song encapsulates the conflicting priorities of Alice, Michael, and Misty: They are in a love triangle, and Michael doesn’t know how to excise himself from it without hurting someone he cares about. “A Forest” reminds Michael that he can’t separate himself from his family and keep both Alice and Misty safe.



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