Brother

In these chapters, the narrative switches between the present and past to develop the novel’s themes of The Powerful Influence of Family and The Cyclical Nature of Trauma. Ahlborn creates a web that shows how the Morrows’ history shapes their present. As Momma teaches Reb how to steal, Momma puts her son on a wayward path when he is young. Wade pushes Michael into violence by giving him a gun for his seventh birthday, which allows Michael to shoot Lauralynn’s bunny rabbits. The rabbits’ death, in turn, is the catalyst for events in the present, as they lead to Lauralynn’s death, which motivates Reb’s complex plan. Through the scheme, Reb brings the trauma he felt in the past into the present and, eventually, onto Michael, Alice, and Bonnie.

The dynamic between Misty and Michael, which parallels the earlier relationship between Reb and Lauralynn, also develops further in these chapters. Like Reb tried to arrange things so that Lauralynn would never leave, Misty, fearing that Michael would leave her for Alice, wants to have sex with him to keep him close. Reb uses the scene to inflict further trauma, enforcing their separation as his and Lauralynn’s once was. He enforces his control over both his siblings, telling Michael, “Misty Dawn is my sister. You don’t touch her unless I say you can touch her. You don’t even look at her unless I say you can” (177). Reb sees both Misty and Michael as objects under his control, and his idea of people being “tools” is introduced here, as he comments, “Michael was a means to an end. A tool. That was it” (180). The dehumanization bolsters Reb’s antagonistic traits, but Ahlborn balances them with the reminder of his love and loyalty to Lauralynn, complicating his character development.

The Dervish and its employees continue to affect Michael in both good and bad ways. The ongoing interactions with Alice strengthen his connection to the outside world and weaken his connection to the Morrows, changing his feeling that life with them is his inevitable fate. The narrator explains, “[Michael’s] heart twisted up on itself, and suddenly the last thing he wanted to do was leave. He didn’t want to go back home, didn’t want to go back to his old life” (142). Alice unknowingly alludes to the violent family structure when she references Deliverance and quips, “Just making sure it, like, doesn’t run in the family” (132). She’s talking about Reb’s sexual behavior, but Michael applies the phrase to Reb’s other characteristics, which are an extension of the Morrow family’s general traits.

The novel’s title, Brother, and its constant use by Reb highlights his ongoing manipulation of Michael. Reb uses it as a part of his psychological abuse, constantly reminding Michael of the connection between them. It makes Michael feel like he’s obliged to obey Reb due to a higher concept of family. When Michael steals alcohol for Reb, he rewards Michael with an apology for his earlier abuse, telling him, “You’re a good brother, you know. I’m sorry” (182). Reb rewards Michael’s risky behavior with a label that misrepresents the dynamic. What spurs Reb isn’t love or genuine remorse but Michael’s theft of several bottles of alcohol. The theme of The Difference Between Loyalty and Complicity is highlighted here as Reb blends the two to ensure Michael’s ongoing devotion. Michael gets to be Reb’s “good brother” only if Michael follows his cruel orders. The word “brother” unites symbolism, diction, and a key theme, illustrating its power as the title of the novel.