53 pages • 1-hour read
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Naomi wears her hair in the same style as her deceased mother Estella, a tribute and connection to her and her half-siblings—who she allows to braid it. In the late 1930s, it was commonplace for young women to wear their hair short or pin it up to replicate a shorter style; Naomi’s long braid is a distinct choice which symbolizes her desire to maintain continuity between her and her mother. She keeps Estella’s braid in her guitar case, one of the few treasures she has left. As Estella lay dying after complications following the twins’ birth, she cut her braid to give to Naomi; whenever Naomi is stressed, she often holds the braid. The practice of keeping the hair of a loved one, especially the departed, was common in the century prior, during the Victorian period. Naomi choosing to keep the braid to herself, not even showing it to her siblings, reflects her desire to retain parts of her mother’s story which she deems her own.
When Cari steals the braid for a séance, she literally tries to conjure her mother, feeling she has a right to know Estella and take some possession of her story. With Naomi unwilling to cooperate, Cari ultimately disregards her sister’s boundary. Naomi is so angered by Cari’s theft that she blurts out that it was Beto and Cari’s birth which caused Estella’s death. When Cari dies that same day, Estella’s braid is placed in her coffin, joining her daughter in death.
Trees play various roles in Out of Darkness, as a place of security and secrecy and a vehicle for violence and terror. In the beginning of the novel, the reader finds Naomi in a tree, avoiding the first day of school. Wash “meets” her there for the first time, though they don’t speak face to face. She is above him, outside his grasp, but he nevertheless reaches out to her by returning her shoe. Naomi continues to climb trees, and from this vantage point, she is able to watch Wash and her half-siblings grow closer, getting to know the boy from afar. When she becomes more comfortable with Wash, she invites him to a hollowed-out trunk she found, which then becomes their meeting place. There, hidden away, they can share their secrets and express their affection for each other. It becomes an essential meeting place as they begin to plan their escape, a crucial spot where they can discuss their options and leave notes for each other.
However, trees become macabre toward the end of the novel, first when the twins’ scarecrows are hung from trees as a lynching effigy, and then when Wash is tied to a tree and murdered. Wash being tied to a tree while Naomi is raped by Henry leaves him unable to save her—an example of the literal and metaphorical power held by white men over people of color in this time period. Finally, when Beto shoots Henry against a tree, it echoes the instance in which Henry forced him to kill a wounded bird in the woods.
Henry brings home a female kitten after Cari insinuates that his gift of a radio, which turns out to be broken, is not what she and Beto wanted. Beto immediately becomes attached to the kitten; while Cari sees Edgar’s naming as an opportunity to secure something for herself, Beto is willing to sacrifice two months of desserts because he feels so passionately about naming the kitten Edgar (as he enjoys the works of Edgar Allen Poe). Edgar becomes a subject of bulling and control that Henry uses to compel Beto to behave the way he wants him to. Henry continually threatens to kill the kitten, and Beto fully believes he is willing to do so. Beto’s love for Edgar and desire to protect her from Henry compel him to beg Naomi to save her—which ends up killing Naomi. Edgar symbolizes the vulnerability of those with compassion, those who suffer the most at the hands of the callous and cruel.



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