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Content Warning: This section includes discussion of anti-Indigenous racism.
Felix, the first-person narrator describes a lone cabin atop a peak in the Colorado Rockies. This is, he says, where his life became a nightmare, though the story begins long before.
Felix describes his childhood best friend, Colin, who owned a gray parrot named Carrot. Whenever Felix approached Colin’s door, the bird shouted “Knock-knock!” and when they showed the bird their Halloween masks, she’d exclaim, “Ugly! Ugly!” Years later, Colin got married, and when he asked Felix and Faye to pet sit so they could go on a honeymoon, they agreed.
One night, Felix and Faye went to bed and soon heard Carrot downstairs, mimicking laughter and saying “hello.” When Felix checked on her, she was staring at the ceiling. The next night, Boomer and Chewie, Colin’s dogs, grew agitated and restless. Felix took them upstairs to the master bedroom, and he heard Carrot yell “Knock-knock!” and “Don’t cry” downstairs. Carrot was scared of something. The bird shook, and she wouldn’t look away from the sliding glass door.
The next night, when Felix and Faye were in bed, the dogs started snarling at that door, and something knocked Carrot’s cage over. Felix and Faye brought the animals into the guest room with them, but in the middle of the night, Felix heard Carrot telling someone not to cry again. All three animals were focused on the bedroom door, and when Felix checked the hall, he saw the master bedroom door open. The dogs acted as though they were ready to attack something Felix couldn’t see, and Carrot shouted, “Ugly! Ugly!”
Faye felt certain that something entered the bedroom, so they packed up the animals and headed back to their own house. Years later, Colin told Felix that Carrot never spoke again.
The newly engaged Faye and Felix drive toward her family’s mountain cabin on Pale Peak, in the Rockies. Felix is working on his PhD in English and Faye works as an animal keeper at a sanctuary. The cabin is adorable, the surroundings peaceful.
Faye looks through tourist brochures, identifying things to do, and Felix describes the “rich […] Native American history and lore” of the area (17). He points out, however, that it is difficult to find depictions of Indigenous peoples that deviate from stereotypes. Typically, these groups are presented as “mysterious,” and their cultures are exploited for commercial purposes.
Late that night, Faye wakes Felix and tells him someone is outside. She hears someone calling for help, and Felix hears it too, but he says it could be an elk. Faye doesn’t agree.
The next day, Felix finds no evidence of an intruder; there are no tracks in the snow. He and Faye go for a walk in the woods, and on their return, Faye feels certain she hears someone crying.
They walk right underneath a gigantic object that Felix believes to be a dreamcatcher made of bones, twigs, feathers, and twine. It was not there when they passed through before, and there are now footprints circling the tree. Whoever hung it there had a clear view of their cabin. Felix and Faye are unnerved.
Cell reception is spotty, but Faye calls the ranger station and William Pike, a trooper, tells her that children often play pranks on tourists. Suddenly, something bashes into the kitchen window, but Felix finds nothing outside.
That night, Faye wakes Felix because she can hear the crunching of someone’s boots in the snow. Felix believes someone is looking for a way in. He goes outside to check, but cannot find any footprints. When Faye falls back asleep, she has a terrible nightmare. Felix explains to the reader that she has an undiagnosed sleep disorder that includes talking, sleepwalking, and night terrors that linger even after she awakens. These episodes are triggered by stress. She tells Felix that, in her dream, someone with no soul wanted to eat her. He thinks of the “dreamcatcher.”
Felix and Faye’s mood is definitely changing. More snow came overnight, and Felix finds tracks today. Faye tells Felix that her dad, Greg, used to have night terrors too.
Suddenly they hear a wailing outside, and Faye identifies it as her dead grandfather’s voice. He yells that he is lost, imploring anyone for help, and Felix must hold her back from running outside.
That night, an eerie, silent stillness descends on the forest, and Felix notes that their rental car is encased in ice. Then he hears his mother’s voice outside, though she is in Massachusetts. He tries to follow the voice, and feels something is intentionally luring him into the woods. He sprints back to the cabin, realizing that the therapy he underwent wasn’t as effective at helping him control his anxiety as he thought. He’s sure there’s something “far worse” in the woods than teenage pranksters.
Faye falls asleep early, leaving Felix alone. Looking out the bathroom window, he sees a person moving through the trees. Then he hears a devilish laugh just outside and an old, angry woman asking questions. Next, he hears Faye—still asleep—responding to these questions. From her speech, Felix can tell that the woman has asked about the cabin, his name, and more.
When Felix tries to wake her, Faye speaks in a voice not her own; it is “otherworldly.” Faye awakens when Felix screams, but she cannot remember her dream. She believes the place is haunted and wants to leave. From outside, they hear a child singing, and when they look, they see a man in the distance. The child sings louder, reminding Felix of someone who is learning to speak. Another voice calls out, asking someone when they can go inside. Felix turns on the lights outside the bedroom and sees a woman silhouetted against the curtain.
Felix and Faye spend the rest of the night hiding in the bathroom. Faye transcribes the voices. There’s an adult man, a teenage girl, a child, and Faye’s grandpa. At various points, the voices discuss Faye and Felix as well as dead bodies buried nearby.
By morning, the couple is sick with stress, and Felix finds dozens of tracks through the snow. Felix calls Faye’s dad and the ranger station, asking for someone to come get them as soon as possible. Faye begins vomiting and eventually goes to sleep. Felix tries to grade papers. He dozes off, woken by a strange light flickering in a pattern outside the door. He checks on Faye and finds the bed empty.
He rushes outside and sees her, facing the woods, atop their car, naked. Felix calls her, and she moves oddly, rushing toward the forest. Just as the worry dawns on him that she will freeze to death, he hears her sleepy voice behind him. He’s certain he’s being lured now.
Just before dawn, Pike and Faye’s father arrive. Faye sits in her dad’s truck while the men grab their things. Pike admits that people on the mountain do sometimes report “all kindsa hubbub in the wee hours” (57). On the way down the mountain, Faye vomits several times, and Felix—an emetophobe—tries not to hear. Greg wants to take her to the hospital.
Felix Blackwell narrates his own story from a first-person point of view. He communicates his mental confusion and fear directly, emphasizing his “crusade to protect” (55) Faye and introducing the theme of The Complications of Love and Intimacy.
While Felix and Faye are engaged to be married and clearly in love with one another, they struggle to openly communicate the depths of their fears and experiences. Felix’s narration permits readers to know what Felix doesn’t verbalize while alone with Faye in the cabin. He wonders if they’re hallucinating due to radon poisoning or exposure to some other toxic gas. When he hears her answering questions in her sleep, questions apparently posed by an unknown speaker outside, he thinks, “Someone was outside, having a conversation with my fiancée in her sleep. Drilling her for information. Asking for my name” (41). The nighttime visitations and voices unsettle Felix, both because they appear to be an external threat to their safety and an internal pressure within the relationship: Felix knows Faye has often struggled with nightmares and sleepwalking, but the intensity of her experiences in the cabin suggest there are aspects of her experiences he does not understand, and which she cannot fully articulate or share.
Felix’s mounting anxiety exacerbates the situation, as he feels unable to lean on Faye for help in dealing with his own fears. He begins to feel that they “were truly in danger” (44), but he doesn’t want to say anything that could add to Faye’s stress, which is already making her sick. Faye also remains relatively taciturn: It is unclear how she interprets their experiences privately, or if there’s anything she’s keeping from Felix—just as he’s keeping some suspicions and fears from her. This creates more tension as their strange experiences increase, with the couple unable to connect emotionally in spite of the intimacy and isolation of their situation.
The text’s mood changes dramatically from tranquil and celebratory to menacing and ominous as the text introduces The Impacts of Isolation and Sleep Deprivation. This shift is reflected in Felix’s language. When Felix and Faye first arrive, he describes the “cottage tucked against an idyllic tree line. The whole scene might have climbed straight out of a Kinkade painting” (14, emphasis added). The word “idyllic” connotes positive emotional meanings, highlighting the serenity of the scene. To describe the cabin as “tucked” into the trees makes it sound cozy and secure, like a child tucked into their blankets at night, as opposed to something that is isolated and solitary. Felix also alludes to the work of a painter, Thomas Kinkade, who typically portrays idealized landscapes in a comforting, warm style. Faye finds the place “adorable,” and Felix feels a “boyish giddiness” at the prospect of a week there (14).
Finding the strange “dreamcatcher” in the woods behind the cabin, however, transforms the landscape into a place of unseen danger and unsettling isolation. Felix says, “Its construction looked frantic; the gnarled branches and twine held each other together in an unnatural, almost menacing way. Some of the feathers and bones had dried blood on them” (24, emphasis added). He uses personification when he describes the way the branches and twine seem to hold each other, almost as though they have some nefarious intention in doing so, and he highlights how “unnatural” and “menacing” the “dreamcatcher’s” appearance is. After finding this odd, ominous object, the wind begins to sound “eerie […] as it rushed and seeped through a million branches [and] occasionally formed the sounds of a human voice” (27). Such “eerie” characteristics present the setting as a place of foreboding, foreshadowing the nightmarish encounters the couple will soon have.
Further, comparisons of the characters, especially the ones that reduce them to animals, affect the mood as well. For example, when Faye hears a voice that sounds like her grandfather’s, “She raked and clawed at [Felix] like a tiger” while he “held [her] like a living straitjacket until she finally went limp” (34). The first simile emphasizes the violence and aggression of Faye’s behavior, while the second highlights how unpredictable she is starting to seem. Felix compares Faye’s appearance to that of a “cornered animal” and his own senses to “sharpened […] razors” (43, 44).
After he nearly follows someone he believes to be Faye into the woods, Felix says, “The realization dawned on me that I was being drawn out like a rabbit from the undergrowth. I stood motionless, staring out into the dark forest. I couldn’t help but feel like it was staring back” (54, emphasis added). This description further personifies the setting as an entity with intention and malice, reinforcing the idea of the couple as animals that are reduced to helplessness, survival instincts, or aggression. These choices catalyze the change in the text’s mood, creating and maintaining a pervasive and threatening atmosphere.



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