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Content Warning: This section of the guide includes discussion of child abuse, graphic violence, cursing, and death.
Tobias and Dom have made revenge the central focus of their lives. After their parents’ deaths, they began to target the corrupt elites who always seem to get away with whatever misdeeds they do. Privilege inoculates these individuals from legal or personal consequences for their crimes, so the brothers joined a network of “clubs” called The Ravens, and with the clubs’ assistance, they have sought to locate and punish evildoers. Their primary target is Roman Horner, the man they believe to be responsible for their parents’ deaths. Dom has also been tracking the movements of a human trafficking ring, and he is desperate to begin to bring them to justice, though Tobias holds him off for reasons Dom doesn’t understand. His need for vengeance, to punish these individuals for the horrors they perpetrate, negatively affects Dom, as his rage at his parents’ killers blends with his anger at those who abuse the innocent. Dom’s growing anger illustrates the corrosive power of vengeance.
Dom himself is aware of the difficult position he’s in because of his knowledge and because his hands are tied by Tobias. He says, “For now—until I can unleash on those responsible for how I’m feeling—I’m stuck in the most hellacious type of prison” (7). His need to “unleash” his vengeance has him feeling caged, like a wild animal that yearns for escape. The toll this pent-up anger takes on Dom is noticeable to others as well. His best friend, Sean, tells him, “You may think you’re locked up tight enough, Dom, but it’s starting to leak everywhere” (7). Here, Sean compares him to a battery, its acid leaking out and corroding its vicinity. Both Dom and his friends compare him to a bomb ready to explode. Dom says, “I’m determined to take out the true wastes of life, the scum of the earth, the real threats, and there’s a cost to being that type of garbage man” (293). The cost is his peace, his sense that the world contains beauty and goodness as well as horror and pain. When he struggles to connect emotionally with Cecelia, he claims, “Destruction has been my sole focus for so long that I don’t know how to slow my desire for chaos enough to fully give her the few peaceful parts of me I have left” (296), and he claims that keeping secrets “poison[s] those who keep them” (332). All this language suggests just how overwhelming and overpowering his need for justice and for vengeance is; it seems to take over his entire person.
Prior to getting to know Cecelia, Dom’s rage at Sean for bringing her into their lives is significant. His feelings for Cecelia threaten to erode a commitment to vengeance that has become his whole identity. Early on, he “go[es] black” and loses control of the car he’s driving (46), a disaster brought on by the psychic distress of “[s]ympathizing with [his] enemy’s daughter” (36). All the full members of the “club” get tattoos as a symbol of their allegiance and commitment, but Dom points out that “The ink exists because of [Cecelia’s] father” (44). At times, even as Dom grows to love Cecelia, he feels that his desire for revenge has left him with “a stunted heart” (296), unable to love fully. In making vengeance the primary focus of his life, Dom has inhibited his development of other, more positive and fulfilling emotions. The only action that promises him true happiness is the prospect of fulfilling that goal, and so he chooses wrongly when presented with a chance to love instead.
One of the consequences of Dom’s fixation on vengeance is that he has not learned how to be emotionally open and vulnerable with another person. There’s so much—about the club, his life, how he spends his time—that he cannot share with anyone outside the club, so that he becomes detached every from “basic human emotion” (51), prompting him to wonder if he’s become “immune” to it. However, he begins to feel relieved and, eventually, restored and soothed by his emotional vulnerability with Cecelia.
His initial feeling of awakening is replaced by more significant emotional developments. Dom says it feels as if he was “roused from a deep sleep to open [his] eyes and see the world through a magnifying glass” (157). This emotional awakening grows into a willingness to “get lost in the oblivion Cecelia offers because [he] need[s] her […]—if only for the peace she brings with her” (197). Allowing himself to be vulnerable with Cecelia gives Dom a break from all the horrors in his head. At a certain point, he no longer thinks about her father, especially because she seems to hate Roman as much as the Kings do, and she stills his thoughts about the human traffickers. Thus, she inspires a heightened awareness of life’s beauty and a sense of peace. Despite his initial reluctance, he realizes that allowing her to see so many hidden parts of himself makes him feel as though he’s “not scattered, but present. […] As lost as I feel—and have felt—she continues to find me and bring me back” (204). Their emotional vulnerability and closeness restores and redeems Dom.
The more vulnerable and open he is with Cecelia, the more Dom begins to feel fully human and worthy of love. That someone as remarkable as her loves him makes him feel “invincible.” He feels that “being with her revives [him] and that every day [they’re] together, she brings [him] back from the brink, collecting pieces of humanity and empathy [he] felt [he’d] lost” (314). Cecelia shows him that he has value, that he is worthy, that he can still be whole, despite everything he’s been through and all he knows. In exile, Dom even feels bad for Tobias because he’s never experienced this for himself. Dom describes it, saying that it’s “as if [Cecelia] could see every part inside and appreciate each one—no matter how well some of it works and some doesn’t” (362). Allowing himself to be open with her, as much as he can be, comforts, restores, and saves him.
Dom and other members of the club participate in and perpetrate violence with some regularity, but this violence is meant to serve justice—protecting the innocent, redistributing unequal wealth, and punishing those who victimize others. Dom and the other club members embrace the view that violence can be justified when it serves to safeguard vulnerable people, but the chaotic and tragic conclusion suggests that those who appoint themselves arbiters of justice risk perpetuating the same brutality they claim to oppose.
Dom justifies his violent behavior as a means of protecting the innocent and avenging victims, but his violence is often cathartic—a means of dealing with his own anger as much as of serving anyone else. For example, he goes to the gas station to check on Zach, and when he sees that Tim stole the items Dom gave Zach and abused him, Dom responds to Tim with violence. He wraps his hands around Tim’s throat the way Tim did to his 11-year-old son, vowing, “If you abuse him again in any way, I will fucking kill you” (140). Zach is too scared of his father and too powerless to protect himself, so Dom uses violence against Tim to protect Zach against further violence from Tim. Another example occurs when Dom kills the man he calls “the fly,” who was planning to launch an attack on families gathered for a holiday fireworks display. On one hand, Dom feels wretched, and says, “‘I killed a twenty-year-old kid.’ The confession feels ripped from me as I say it out loud for the first time” (282). However, Sean points out that he “‘stopped an imminent mass murder. Denny unloaded [the man’s] backpack, and it was fucking horrifying […]. There’s no telling how many lives you saved’” (281-282). This example illustrates the moral ambiguity of Dom’s self-appointed role as protector of the innocent. Though Sean points out that Dom’s killing of this young man may have been necessary to prevent hundreds more deaths, this reasoning does not assuage the guilt Dom feels for cutting short a young life.
Dom’s vigilantism places him in an ethical bind: If he chooses violence, he sometimes grapples with guilt and shame over who he has become. However, if he doesn’t choose violence—such as when Tobias prevents him from pursuing the human traffickers—then he feels equally guilty for having failed to protect victims. Reckoning with all he must keep to himself, he says, “It feels like nothing short of bloodletting as I allowed it all in. All of my failures in the last few months and the guilt that multiplies daily because I can’t get them all” (284). He knows that many wealthy and powerful people escape consequences for their harmful or illegal actions, but by making himself responsible for correcting all the evil in the world, he perpetuates a cycle of violence and guilt.
Dom’s experiences with poverty, inequality, and elite impunity suggest that the American Dream—the dream of a meritocracy in which anyone, regardless of their background, can achieve success through hard work and talent—is just that: a dream. He sees that some people can work so hard and end up with so little to show for it, and this is one reason he gives money to families in need. At the same time, the amorality of many in the upper echelons of society diminishes his ability to believe that America is a true meritocracy. The discrepancy between the undeserving but “successful” rich and the hardworking poor, who can barely eke out an existence no matter how hard they try, demonstrates the illusory nature of the American Dream.
Dom’s estimation of the reality of this dream is deeply impacted by his experiences with very rich people, whose lives, he thinks, are “masterfully manufactured to resemble the increasingly elusive American dream,” while Dom is “laying witness to the hobbies and favorite pastimes of fucking monsters” (8). In many cases, these “monsters” have become monstrous because been insulated from most of humanity’s problems for so long that they have lost touch. In the absence of empathy or solidarity with other people, they develop a sense of entitlement and boldness that blinds them to others’ needs. Dom describes Fatty as wearing “designer jeans and shoes with a price tag that serves as a bitch slap to half the people in our town struggling daily just to keep the lights on” (54). Fatty’s done nothing to deserve the money that pays for his expensive things; he simply got lucky and was born into an affluent family. For someone like Russell, on the other hand, trying to climb the social and financial ladder is nearly impossible. Dom thinks, “What Russell’s dad failed to realize [when he came to America] is that if you gain sudden fortune of any kind, it better be in the multi-millions. Because once Uncle Sam is flagged, he’ll be coming for his portion, which is only a few percentage points short of the lion’s share” (68-69). The idea of starting with nothing and ending up on top sounds too good to be true because it is.
In fact, Dom sees the “American Dream” as a fantasy meant to distract the working class from realizing who is truly to blame for their situation: the rich, who control the economy and the government. As he puts it, “When those doling out the selected forecast have everyone panicking about the price of an apple and a tank of gas so they can sneak more control through proposed legislation—having already taken freedoms fought for and won decades ago—we’re all fucked” (68). No one in the text starts with nothing and becomes financially successful via the American Dream; they either win it in a fluke gamble, like Tobias, or they inherit or get it from family, like Fatty or Dom or even Cecelia. The notion of an American meritocracy is revealed to be a fiction.



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