61 pages 2-hour read

Thomas Olde Heuvelt

Hex

Fiction | Novel | Adult | Published in 2013

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Part 2, Chapter 26-EpilogueChapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death, child death, death by suicide, graphic violence, suicidal ideation, illness, and self-harm.

Part 2: “2NITE? #death”

Part 2, Chapter 26 Summary

On a Thursday morning in December, a large crowd gathers at St. Mary’s Cemetery for Tyler Grant’s funeral. Griselda, ostracized since her son’s punishment, watches from a distance. Robert Grim is also there, haunted by his encounter with Katherine and certain that she is executing a plan. After the funeral, Griselda returns home to her traumatized son, Jaydon. She recalls nearly murdering him with sewing scissors as both a mercy killing and a sacrifice.


When Griselda reaches the butcher shop, which she must pass through to get to her living space, she discovers that her meat has supernaturally spoiled. As the funeral bells toll, Matt awakens in the hospital. He screams a warning that an unnamed “him” must not ever cut open Katherine’s eyes.

Part 2, Chapter 27 Summary

That afternoon, Steve isolates himself at home in his grief while Jocelyn leaves to be with Matt at the hospital. As he recalls the suicidal ideation he experienced immediately after the viewing, he visits Fletcher’s grave and tries to avoid thinking about the possibility that Katherine brought the dog back to life. Lawrence finds Steve there and confesses his suspicion: Jaydon may have used their recording of Katherine’s whispers to drive Tyler to suicide. Steve realizes that if Lawrence is right, he contributed to Tyler’s death by ensuring that Jaydon, Justin, and Burak took all the blame.


The revelation causes him to throw up. Using Tyler’s laptop, Steve then finds the video of Tyler and Lawrence searching for Fletcher; as the boys run away, the video captures what appears to be the dog. The video convinces Steve that Katherine can raise the dead.


As Steve watches, owls gather outside, and one crashes through a window. Both the owls’ presence and a choking sensation cause Steve to panic and run; after partially falling downstairs, he vomits what looks like an owl pellet made of Tyler’s hair. Desperate for his son’s return, Steve begs Katherine to bring Tyler back. In response, she materializes in his house.

Part 2, Chapter 28 Summary

Steve follows Katherine to the stables. There, she directs him to a pair of bolt cutters. Steve recalls Tyler’s question about whether he would save his son’s life over the lives of everyone else in town and suppresses the last of his misgivings: He cuts the chains from Katherine’s body, causing an immediate disturbance felt throughout Black Spring.


Katherine then leads Steve back inside the house, where he retrieves scissors and tweezers. Before cutting the stitches on Katherine’s mouth and eyes, Steve attempts to get her to promise to resurrect Tyler, but she merely points to the thread. Two more psychic shockwaves ripple through Black Spring and beyond as Katherine opens first her mouth and then her eyes, causing a failure of all power and communications. The final shockwave also inflicts overwhelming despair and suicidal impulses on any resident outside the town’s borders. Once her eyes are open, Katherine gestures for him to move away. Horrified, Steve flees into the woods.

Part 2, Chapter 29 Summary

In Newburgh, Jocelyn feels the shockwaves and is overcome with a suicidal urge. After calling Steve and receiving no answer, she experiences the same vision she had in Thailand, including images of dead children—Matt among them. A phone call from her father, Milford, jolts her back to reality, and she tells him that she needs to return to Black Spring. She prevents Matt from harming himself before fleeing the hospital with him and Milford. As they drive toward Black Spring, their despair intensifies; to Milford’s confusion, both Jocelyn and Matt begin hitting their heads against the car doors. At the town line, the curse’s power repels Milford, an outsider, forcing him to abandon them. Jocelyn carries the catatonic Matt into a town plunged into supernatural darkness.

Part 2, Chapter 30 Summary

Meanwhile, the HEX team discovers all utilities and communications are down. Townsfolk attempting to leave are driven back by suicidal compulsions, realizing they are trapped. Panic is already brewing even before someone announces that Katherine has been seen with her eyes open. Though there are no signs of Katherine taking revenge—in fact, her whereabouts are unknown—riots break out, people barricade themselves in their homes, and a wave of suicides begins. Councilman Colton Mathers jumps to his death from his balcony.


Late that night, Katherine appears in the Hoffman home and gives their children, Joey and Naomi, ancient vegetables before leading them away. They are later seen with her, dressed in old-fashioned clothing. Near dawn, Katherine appears to Griselda in a dream, delivering a cryptic message about sacrifice and love. Griselda misinterprets the vision, believing that she must sacrifice Jaydon to appease the witch and save the town.

Part 2, Chapter 31 Summary

The HEX team debates what to do now that Katherine’s eyes are open; Marty Keller advocates for shooting her, but the others feel that the situation is likely hopeless. They’re discussing who could have cut her stitches—Grim wonders if it was Steve—when a rat that looks diseased bites Marty.


Grim decides to drive to West Point with Claire and Warren. However, they barely make it outside of town before being hit by intense despair and having to turn around. Standing near the town limits, they make noise and shoot off flares and fireworks in the hopes of attracting outside help.


By the next morning, an armed mob has gathered in the square near the church. Marty, who looks visibly sick, forces his way over to Grim and reports that riots are breaking out everywhere and that Mathers has died by suicide. Grim tries to calm the gathered residents, but people continue to shout and jostle one another. John Blanchard incites the crowd, demanding that they sacrifice whoever opened Katherine’s eyes. When the mob turns on Jaydon, Griselda locks her son out of their home, abandoning him to the mob. The crowd attacks and lynches Jaydon. Marty Keller fires his gun into the air to stop the violence.


At that moment, Katherine appears with the two Hoffman children, looking peaceful: “There was no trace of malice: just a mother and her children” (356). However, when she sees Jaydon’s body, her expression turns sorrowful. As people begin to beg her for mercy, a panicked Marty shoots at her but misses, killing both children. Katherine curses Marty, who dies instantly of supernatural smallpox. She then pounds her fists on the ground, causing the earth to crack open as the townspeople flee. Grim realizes that the town has “created the evil that was Katherine” and that they are now doomed (359).

Part 2, Chapter 32 Summary

Three days later, on Christmas Eve, Steve awakens in the woods after being delirious. Dreading the results of freeing Katherine and still unsure whether Tyler is alive, he begins to head back toward town. As he does, images from the last few days come back to him: people scourging themselves, dying from the plague, and lighting the church on fire. Katherine stood by throughout, at one point seeming to gather all the children into a domed structure, “On top of [which] was Katherine […] pouring warm milk from a silver jug. It trickled down on all sides like a perfectly symmetrical fountain and was licked up by hundreds of eager children’s tongues” (384). However, this image then changed into a grotesque vision of Griselda giving birth to pâté that stuck to the children in “globs.” As Steven realizes that the town sees what it wants to see, he recalls the end of the vision: the townsfolk hurling rocks at Katherine, toppling her from her perch and causing the whole structure to collapse, the children “crashing down […] in a rain of broken bones and clattering limbs” (365).


When Steve reaches Black Spring, he finds that it has descended into fire and mob violence. Katherine appears on Temple Hill: He begs her to put an end to the chaos but then realizes that she is not causing it. She directs his attention to the burning church, and Steve realizes Jocelyn and Matt are trapped inside. When he asks where Tyler is, she continues to point. As Steve makes his way through the crowd, the mob recognizes Steve, whom Bammy Delarosa accuses of opening Katherine’s eyes. The crowd beats him and throws him into the burning building, shouting “Witch!”


Inside, Steve’s anger mounts: He feels everyone in the town is guilty but Tyler. As he finds a hidden cellar door, he hears Matt calling to him and turns to see Jocelyn trying to protect their son from the flames. As Matt runs toward him, Steve reflects on Katherine’s decision to kill one child to save the other. He then escapes through a hidden cellar passage, locking the door and leaving his family to die. He falls down a set of stairs into darkness, thinking about Tyler before he passes out.


On Temple Hill, Katherine, weeping, performs a final incantation. The remaining townspeople become entranced, walk to the Hudson River, and drown themselves in a mass suicide.

Epilogue Summary

On Christmas morning, Steve awakens alone on his dining room floor with a broken jaw. He looks out at a silent town and discovers a gray stitch from Katherine’s eye on the table. He realizes his selfish actions have repeated the centuries-old cycle of cruelty and breaks down: “Sacrificing one child to save the other hadn’t been Katherine’s choice, it had been the decision made by the judges […] Did he really believe that he deserved to welcome Tyler with hands that were filthy with the blood of his wife and second son” (379). He hears a knock and sees the silhouette of a boy he believes is the resurrected Tyler. Terrified of facing the consequences, Steve finds a suturing kit and, as the knocking continues, begins to sew his own eyes shut.

Part 2, Chapter 26-Epilogue Analysis

The novel’s catastrophic climax orchestrates the complete failure of modernity. The sudden, supernaturally induced collapse of all power and communication serves as the catalyst for the town’s reversion to a pre-modern state, directly engaging with the theme of The Inescapable Past in a Modern, Technological Age. Robert Grim’s high-tech HEX control center, the novel’s central symbol of humanity’s attempt to rationalize and contain ancient horror, becomes useless. The satellite phone, a direct link to the outside world, is rendered inert, signifying that the curse operates on a plane beyond the reach of contemporary scientific principles. This technological regression is not merely a plot device to isolate the characters; it is a thematic argument that modern tools cannot mitigate the town’s foundational sins. The return of diseases like smallpox and the plague, which the townsfolk try to combat with folk remedies like juniper berries and open flames, underscores the impotence of contemporary science. The narrative forces a confrontation with the past as a living, insurmountable force.


However, the novel repeatedly makes the point that the chaos that consumes Black Spring is not orchestrated by Katherine; rather, it is a product of the town’s own festering paranoia and capacity for violence. John Blanchard’s cry for “a blood sacrifice” articulates the town’s transformation into a superstitious mob, seeking to appease a supernatural force through archaic rituals of violence. The lynching of Jaydon Holst is the culmination of this process. He becomes the designated scapegoat, mirroring the historical persecution of Katherine herself. The text depicts the mob not as individuals but as a singular, monstrous entity, “a surging horde of human abnormality” (366), whose faces are devoid of individual features. This imagery suggests a complete loss of individuality and moral reasoning, underscoring that their violence is an act of self-destruction and developing the theme of The Tyranny of Fear and the Erosion of Humanity. The killing of the Hoffman boy and girl and Steve’s vision of the collapsed dome of children are escalations of the same motif: In their fear of Katherine, the townsfolk destroy not only the most innocent among them but also, symbolically, their own future. The final procession of the remaining townspeople into the Hudson River symbolically underscores this point; though mediated by Katherine, their deaths take the form of mass suicide.


The novel’s denouement thus rejects the conventions of the horror genre; it offers not a climactic battle between good and evil but a ritualistic self-annihilation, subverting the horror genre’s conventional binaries in their exploration of The Slippery Nature of Victimhood and Villainy. When Steve Grant finally cuts the stitches from Katherine’s eyes and mouth, the expected unleashing of a malevolent force does not occur. Her face, finally free, is described not as monstrous but as strikingly human, her expression one of “unparalleled bliss.” This reveal reframes her entirely; she is not the source of evil but its primary victim, a figure of profound tragedy trapped in a cycle of suffering initiated and perpetuated by the town. The true villainy emerges from the townspeople themselves, with Katherine merely revealing what already exists. Steve’s dual vision of Katherine/Griselda underscores this point. The two women, alike in their experience of ostracism, are ultimately foils for one another: Katherine “sacrifices” a child because she is forced to, while Griselda does so out of self-serving fear. The vision positions them as two sides of the same coin, with the town’s response determining whether Katherine’s nurturing bounty will be distorted into Griselda’s “cruelty.” Even Katherine’s final, devastating curse is a direct, grief-stricken retaliation for the murder of the Hoffman children and so many others—a tragic echo of her own original trauma. By positioning the community as the primary agent of cruelty and Katherine as a figure of immense sorrow, the narrative argues that evil is a human phenomenon, born from intolerance and fear.


Steve’s tragic arc serves as a microcosm of the town’s moral collapse, driven by a self-serving grief that he misidentifies as love. His decision to free Katherine is the novel’s pivotal act, one he justifies through a desperate hope for his son’s resurrection. Yet, his internal monologue reveals a deeper truth, as his own conscience warns him, “[that’s] not love, that’s selfishness” (322). He prioritizes his personal desire over the safety of the entire community, including his wife and living son, thereby repeating the very pattern of selfish choices that has defined Black Spring for centuries. This journey culminates in the burning church, where he faces a twisted parallel to Katherine’s own past. He rationalizes his decision to lock Jocelyn and Matt in the inferno as necessary to save Tyler, ignoring both that he is also saving himself and that his love for Tyler is fundamentally selfish. This act solidifies his transformation from a grieving father into an agent of the town’s cyclical cruelty.


The Epilogue brings this arc to a close through the motif of eyes. The sight of the silent, empty town—the direct consequence of his actions—is a moment of anagnorisis in which Steve finally realizes the moral weight of what he has done. However, he is unable to face the truth of what he has wrought or to account for it before someone he presumes is Tyler (earlier framed in Steve’s imagination as the most moral among them). His final act of sewing his own eyes shut is a symbolic gesture of ultimate denial, a willful retreat into the same darkness the town imposed on Katherine. He chooses ignorance over accountability, ensuring the cycle of violence and suppressed truth will begin anew within him.


The Epilogue thus offers no catharsis or hope for restoration. Instead, it leaves Steve alone in a ghost town, a living monument to his choices, poised to become the new Katherine. This implies a certainty that humanity, left to its own devices, will inevitably choose fear over empathy and destruction over reconciliation. It is here that the significance of the novel’s occasional use of second person and first-person plural (for instance, “If you’re willing to believe that this vague, blurry video image is a dog, then it’s a dog” [316]) becomes clear; the reader is framed as a participant in the town’s destruction, or at least as a potential participant in similar cataclysms, implicated by shared human weakness.

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