47 pages 1-hour read

Run for the Hills

Fiction | Novel | Adult | Published in 2025

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Prologue-Chapter 3Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of illness and death.

Prologue Summary

In the fall of 1982, young Madeline “Mad” Hill helps her father Charles “Chuck” Hill harvest sorghum on their farm in Coalfield, Tennessee. After feeding the grain heads to the chickens, they run the stalks through a secondhand cane press, collecting nearly a gallon of bright green juice to make syrup. Her father tells her the sorghum will taste sweet and bitter, like the sun. While waiting for the juice to settle, they sit on the front porch. Her mother, Rachel Daggett, is away in town. Mad reflects that she is most at peace when all three of them are together but cherishes these moments alone with her father, who is harder to understand than her open, joyful mother. Her father suddenly says one day she will make syrup with her own kids, but Mad counters that he will be making it with her children. He retracts his comment, urging her not to think about the future and to enjoy the present. Mad agrees, preferring to focus on the moment rather than the undefined future. They go inside to stir the sorghum, and Mad eagerly anticipates tasting the final product.

Chapter 1 Summary

On a Saturday morning in March 2007, 32-year-old Mad works at Running Knob Hollow Farm’s roadside stand in Coalfield, Tennessee. She and her mother run a successful organic farm featured in magazines. As late-morning customers arrive, Mad recalls a line from Willa Cather’s O Pioneers!, a book her father read to her before he abandoned her and her mother 23 years ago when Mad was nine.


A strange man in his forties arrives in a PT Cruiser. After an awkward exchange with Mad, he reveals that his name is Reuben “Rube” Hill and that he is her half-brother. They establish that they share the same father, Charles Hill, whom Mad knew as “Chuck.” Rube says he has not seen their father in over 30 years and becomes emotional. Mad invites him to the house. As they walk, Rube reveals that there are more siblings from their father. Mad expresses anger at their father for making more children and leaving them all. Though uncertain about finding Charles, Mad decides that she and Rube should go home and talk first, reflecting that having a brother may be enough for now.

Chapter 2 Summary

At the farmhouse, Rube reveals that he is from Boston, as is their father. Mad is shocked, as her father claimed to be from Maine and the son of chicken farmers. Rube explains this was a lie; he has documentation proving their father was born in Boston, where his mother ran a dress shop and his father was absent. In Boston, their father worked in insurance and advertising and wrote detective novels under the name C. A. Hill. Rube reveals that he is also a mystery writer. Mad notes the parallel that she is a farmer like her version of their father, and Rube is a writer like his.


They compare their vastly different “dads”: Rube’s father liked lobster rolls and Boston Bruins hockey, while Mad’s loved ribs and UT Vols football. The only commonality is their father’s ecstatic happiness at major sporting events. They also discover a shared obsession with 8mm home movie cameras.


Rachel arrives to find Mad and Rube talking together. When Mad explains who Rube is, Mad suspects that Rachel is unsurprised. Rachel admits that while she did not know about Rube’s family, she knew Chuck had started a new family after leaving them. A year after his departure, Rachel received an envelope of money with a note instructing her to call a pay phone at a specific time, where Chuck told her he was starting over with a new woman. He called Rachel occasionally over the years on her birthday but never asked about Mad, which deeply hurts her now.


Rube explains that after his mother, Winona, died of cancer, he hired private investigator Evalynn Mann to find their father. The PI discovered two more siblings: a college student in Oklahoma and an 11-year-old boy in Utah. Their father is now in California. Rube asks Mad to join him on a cross-country trip to find their family. After initially refusing and retreating to the kitchen, Mad is persuaded by her mother to join Rube’s venture. Rube makes lunch (shirred eggs), and Mad notes the contrast between her father, who was a passionate cook, and Rube’s father, who apparently was not.


The narrative shifts to Rube’s backstory. Shortly after his mother’s death, on what would have been her birthday, their father called the old apartment looking for “Winnie.” When Rube told him his mother was dead, he hung up. Realizing his father called his mother but never him, Rube resorted to anger, broke up with his boyfriend, and hired the PI.


Mad packs with her mother’s help. Two days later, she and Rube depart the farm in the PT Cruiser with Rube driving and Mad navigating. Mad begins reading one of Rube’s novels, The Blackboard Detective, which was adapted into a film.

Interlude 1 Summary: “1968, Boston, Massachusetts, 8mm”

An 8mm home movie shows young Rube folding a paper airplane in an apartment hallway. His mother sits on a sofa reading a manuscript and smoking. Rube throws the airplane to her. She unfolds it, smiles at the message, goes to her typewriter to add a reply, refolds the paper into an airplane, and tosses it back. The camera lingers on the paper, bearing his handwritten declaration of love and her typed response. Rube and his mother go to the window and toss the airplane outside, watching it disappear.

Chapter 3 Summary

By the time the siblings reach Memphis, Mad realizes she and Rube are still strangers. During Rube’s brief stay on the farm, Mad prepared for the trip and studied the PI’s dossier on their next sibling, Pepper “Pep” Hill, a star shooting guard for the University of Oklahoma women’s basketball team. Pepper is six-foot-one, and Mad sees a family resemblance in the photo.


Rube wants to visit Graceland, but Mad persuades him to get barbecue instead at the Cozy Corner restaurant. At the restaurant, Mad asks Rube about his relationship history. He confirms he is gay and has an ex-boyfriend. Mad says she likes men but has not dated seriously since college because the farm demands so much of her time. Rube explains his history of being closeted in high school and during his stint as a private-school teacher; he finally came out after his novel sold. He reveals that he never told his mother he was gay before she died. His therapist believes his fear of commitment stems from their father’s abandonment; Mad suggests he might also be afraid of being left again.


As Mad and Rube continue their drive across the Mississippi River, Mad realizes this is the farthest west she has ever been. She feels the connection to her farm as an anchor and returns to reading Rube’s novel.

Prologue-Chapter 3 Analysis

The novel’s opening chapters establish a central conflict between idealized memories and fractured reality, immediately engaging with the theme of The Tension Between Inherited Legacy and Self-Creation. The Prologue paints a pastoral, sensory-rich portrait of Mad’s childhood, where the farm is a space of security and connection with her father. His advice to “[j]ust enjoy this” and focus on the present rather than the future is presented as paternal wisdom (3). This constructed memory, however, is retroactively rendered ironic by the revelations in the subsequent chapters: His encouragement to live in the moment is the principle by which he abandons his families. Mad’s identity is deeply rooted in inherited legacy—the farm and the version of her father she knew—but Rube’s arrival shatters this foundation, revealing that her life is merely one chapter in her father’s much larger, serialized narrative of self-reinvention. The life she thought was a unique creation is instead a repetition of a pattern, a fact underscored by the parallel between her being a farmer like “Chuck” and Rube being a writer like “Charles.”


This tension is reinforced by the narrative structure, which uses interludes and the motif of home movies to mirror the characters’ fragmented understanding of their history. The first interlude, titled “1968, Boston, Massachusetts, 8mm,” shifts the narrative mode from prose to a silent, visual script, offering a glimpse into a past Mad never knew existed. This hybrid form has a disjointed effect, positioning the reader alongside the siblings as a participant in the process of Narrative as a Tool for Reclaiming a Fractured Past, another of the novel’s primary themes The 8mm films are presented as artifacts of objective truth, yet their silence and the father’s position behind the camera—a controlling but absent presence—highlight the subjective and incomplete nature of these records. The scene of Rube and his mother exchanging paper airplanes is a self-contained story of connection, but it is a story from which the father is physically excluded, his only role being that of observer. This stylistic technique establishes that the past is a collection of disparate scenes that the siblings must attempt to edit and compile into a cohesive whole.


The motif of nicknames and changing names serves as a primary signifier of Charles Hill’s serially constructed identity and narrative control over his children’s identities and stories. The initial confusion between “Chuck” Hill, the Tennessee farmer, and “Charles” Hill, the Boston novelist, establishes the father’s methodology of escape: He does not just change locations but curates entirely new personas. Each name corresponds to a distinct family unit and a life story fabricated to suit his new circumstances. This act of renaming is a tool of erasure, allowing him to sever ties with his past and begin anew. His habit of giving his children nicknames, such as “Mad” and “Rube,” further demonstrates his power to define others. While seemingly affectionate, these names are part of the specific narrative he builds around each family, branding them as characters in the version of his life he is currently writing. This motif illustrates how identity can be both a performance and a prison, something Charles manipulates for freedom while his children grapple with the static identities he assigned them.


The symbolism of the retro-styled PT Cruiser reflects the siblings’ disorienting journey through time and memory. The car is described as an “[a]bsurd mixture of too-far-in-the-past and too-far-into-the-future” (7), a physical embodiment of the temporal confusion at the heart of their quest. They are literally traveling in a vehicle that defies a clear sense of its own era as they attempt to reconcile a fragmented past with an uncertain future. The car is thus a symbolic container for their strange, anachronistic new family unit. It represents a flawed and awkward attempt to blend different histories and styles into a functional whole, much like the siblings themselves must try to merge their disparate stories of their father. As they travel westward, retracing their father’s path of abandonment, the car becomes a mobile stage for the difficult process of forging connections and confronting a shared history of loss.


Literary allusion and character parallels further deepen the novel’s emerging thematic explorations of legacy and identity. Mad’s reflexive thought of a line from Willa Cather’s O Pioneers!—a book her father read to her—reveals the complex ways his legacy endures. Her father, who supposedly preferred nonfiction, cherished a novel about forging a life from the land, a story that aligned with the “Chuck” persona he created. This detail highlights the deliberateness of his self-creation and the unreliability of the narratives he left behind. Furthermore, the siblings’ initial attempts to find common ground reveal more contrasts than similarities—lobster rolls versus ribs, Bruins hockey versus Vols football. Yet, a shared memory emerges in their father’s ecstatic joy at major sporting events, where he told Mad, “[I]t’s always so good to be there when something important happens” (20). This provides the first tangible link between their separate “dads,” suggesting a consistent personality trait beneath the fabricated identities. It is this authentic flicker of the man himself, buried beneath layers of performance, that motivates the siblings’ journey and offers them hope for understanding and connection.

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