The Gone World

Tom Sweterlitsch

The Gone World

Tom Sweterlitsch
56 pages1-hour read
Fiction
Novel
Adult
Published in 2018

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Part 4Chapter Summaries & Analyses

Content Warning: This section of the guide references graphic violence, child death, death by suicide, racism, substance use, sexual content, physical abuse, illness, and cursing.

Part 4, Chapter 1 Summary

Shortly after Brock’s death in 1997, Moss undertakes a three-month journey to an IFT in September 2015 in search of information that will help them stop Karl Hyldekrugger and his followers. When she arrives, she finds the Black Vale lunar base abandoned. An AI informs her the NSC has enacted “Operation Saigon,” evacuating its fleet to other futures to escape the approaching Terminus, now dated to December 2017. The AI plays a recorded message from an aged O’Connor, who warns her that the Vardogger is a deathtrap where Dr. Njoku and almost 30 others disappeared. O’Connor’s message is followed by footage, already stored in the AI’s system and time-stamped 04/23/97, of Njoku describing the many paths in the woods before vanishing into a thin space.


Moss remains in the IFT, returning to Virginia Beach. She researches Hyldekrugger’s network and discovers that he and his followers are attacking government and military targets. She learns that Nestor is a decorated, high-ranking FBI agent in Washington, D.C. She contacts his office, hoping he will remember her and can provide information on domestic terrorism cases. 


Nestor is happy to see her. In this IFT, he’s married with a young daughter, and Moss grapples with the differences between this version of him and the echo she lived with only a few months ago in a different IFT. They review domestic terrorism attacks, and Nestor reveals that a national ballistics database has linked the gun that the FBI has in their possession from Mursalt’s murder to the bullets used in the 2003 Stennis Space Center attack and the bullets found at the scene of Ryan Torgersen’s murder-suicide that killed his wife and Brock. Moss determines that the guns are echoing—a trail left by Hyldekrugger and his team that she can follow. Moss asks to see more matches and identifies a cold case from March 1997: The murder of Carla Durr, a lawyer from Canonsburg. Moss realizes that back in terra firma, Durr is not yet dead.


Nestor explains that before Durr died, she was scheduled to meet Dr. Peter Driscoll, a founder of the tech company Phasal Systems—the same company that developed the cancer treatment that saved Moss’s mother in another IFT. Driscoll was later a key witness in a corruption case involving Phasal and the Naval Research Lab but was killed before he could testify. The shooter was an undercover FBI agent, Vivian Lincoln, who claimed self-defense after Driscoll opened fire on her and her boyfriend, Richard Harrier, whom Hyldekrugger had sent to kill Driscoll. Driscoll killed Harrier before turning his gun on Vivian, who shot and killed Driscoll. Moss asks to meet with Vivian.

Part 4, Chapter 2 Summary

Back in Moss’s hotel room, she’s visited by an uncanny AI simulation of her childhood friend, Courtney, exactly as she looked at age 16. The AI identifies itself as a simulated consciousness created by Driscoll. The AI changes forms—first to Courtney’s murdered corpse, then Driscoll’s own angular white-haired appearance, and finally the likeness of Russian chess grandmaster, Garri Kasparov. The AI explains that Phasal used time travel as a way of “mining the future” (280) to help technology achieve immortality and escape the Terminus. Driscoll’s company, Phasal Systems, was traveling to IFTs to bring back future technology to figure out how to stop the Terminus. The AI tells Moss that Driscoll took her own amputated leg from the William McKinley to the Naval Research Lab to study how QTNs burrowed into organic material. It tells her Hyldekrugger is killing everyone involved in Driscoll’s project. The AI fears the Terminus is inevitable and Driscoll’s project was a failure.


The next day, Moss meets with Nestor and Special Agent Vivian Lincoln, whom she recognizes as Shauna, who saved her from getting ambush after Jared’s funeral in another timeline. Vivian remembers Moss as the agent who inspired her to join the FBI 20 years prior. The three compare information about Hyldekrugger. Nestor mentions that he’d enlisted Nicole Onyongo as an informant. He refers to her as “Cole,” and the familiar nickname gets Moss’s attention. Vivian recounts her undercover work, attempting to infiltrate Hyldekrugger’s group. Through Nicole, she forged a relationship with Harrier, who got her in deep with the former crew of the Libra, even tattooing a white supremacist symbol of the Black Sun on her arm, which Harrier told her was a map to the “Gate and the Path” (289). Moss identifies the tattoo map as the Vardogger in Blackwater Grove and agrees to take them there.


When they reach the site in West Virginia, Nestor shoots and kills Vivian, revealing his allegiance to Hyldekrugger. Moss realizes that, in this IFT, he was in a relationship with Nicole, who showed him the Vardogger tree, where he saw the Terminus and an inverted eternal forest of crucifixions, transforming his faith into a belief that God is a parasite and eternal life is worse than death.

Part 4, Chapter 3 Summary

Nestor turns Moss over to Cobb, who brutally beats her face as revenge for Jared’s death. A group of men surrounds her, and Hyldekrugger steps forward. He frees Moss from her handcuffs and uses a large hunting knife to cut off a lock of her hair. Moss frantically warns him that if he kills her, their whole world will disappear since she is from terra firma. Hyldekrugger leads her into the thin space that blurs the lines between time and space. They pass through a sudden winter landscape filled with floating crucified bodies, before arriving at the crashed USS Libra. Hyldekrugger explains his mission is to sever all ties to the Terminus by killing anyone who might lead the NSC to rediscover the planet Esperance. His group targets government and military operations and personnel investigating what happened to the Libra. He went after Driscoll to keep Phasal Systems from discovering Esperance.


He leads Moss past a trail of his own echoes’ corpses and boards the USS Libra. The walls of the ship are covered in the hair, nails, and blood of Hyldekrugger’s victims, which Moss recognizes as a reference to “the ship made of nails” (307). Onboard the Libra, a loop of Hyldekrugger’s mutiny and murder of Elizabeth Remarque repeats over and over. He takes Moss’s prosthesis and imprisons her in a zero-gravity cell aboard the ship. Moss hears a young woman enter the cell whom she recognizes as a teenage echo of Nicole. Moss introduces herself as Courtney Gimm, the alias she was using when she and Nicole were friends. Nicole tells her she’s hiding to keep Hyldekrugger’s men from killing her for her loyalty to Remarque. Moss begs Nicole to help her escape, but Nicole leaves.


Hours later from Moss’s perspective, a much older Nicole reappears and tells Moss she’s been imprisoned on the ship for 12 years. She explains the ship is an ouroboros—a snake eating its tail. She says a separate echo of Moss had visited Nicole’s apartment with Nestor years earlier and warned her to run. Nicole had recognized her as the woman called “Courtney Gimm” in the brig of the Libra and returned to free Moss in gratitude for saving her life. Moss herself was never at Nicole’s apartment and realizes that Nicole had seen another echo of her. 


Nicole runs to distract the men and is killed by the sentinels, enabling Moss to crawl to safety. Moss flees the ship and witnesses Cobb murder another version of herself in the woods. A night passes before a forest ranger finds her; Navy surgeons leave her with a misaligned nose and missing teeth, and she does not recognize herself in the mirror.

Part 4 Analysis

The reappearance of characters from one timeline to the next emphasizes the narrative’s exploration of fragmented identity. Their shared yet contradictory pasts demonstrate that in this universe, personal histories are contingent on which IFT one occupies. This interaction positions the motif of echoes/doppelgängers as a complex web of overlapping, mutually exclusive realities. Moss’s sense of self is no longer a continuous, internal narrative but is instead refracted through the conflicting memories of others, revealing a self that exists in multiple, irreconcilable forms. This deep disorientation culminates in the visceral horror of Moss witnessing Cobb murder another version of herself. In the scene, she exists as a hidden survivor and a victim of violence simultaneously, forced to observe her own destruction. The device of time travel reinforces the novel’s thematic exploration of Trauma as an Inescapable Reality


The section systematically dismantles the conventions of the detective genre by demonstrating the failure of traditional investigation. The “false positives” from the national ballistics database are the first sign that Moss’s procedural methods are obsolete. Forensic science, a discipline built on principles of linear causality and unique evidence, collapses in a reality where objects can exist in multiple places at once. As Nestor tells Moss, “we tracked the gun the marine used in the shooting […] The ballistics report matched a gun that we already had in our possession […] It turns out the bullets also matched bullets tested from Ryan Wrigley Torgersen’s weapon following the events at his residence” (259). The complications of echoing present an epistemological crisis for Moss, as the tools she trusts to uncover truth instead generate paradoxes. Sweterlitsch uses the Driscoll AI as a narrative device, delivering exposition through a shapeshifting entity that appears as the corpse of her childhood friend, its own deceased creator, and a Russian chess grandmaster, in keeping with the science fiction genre.


Nestor’s betrayal at the Vardogger site reveals a deep spiritual and moral crisis that highlights Human Cruelty in the Face of Extinction. His justification for murdering Vivian recasts the symbol of the Vardogger as the site of a horrifying anti-epiphany that stripped him of his religious faith. After Nicole leads him through the thin space, his vision of an “eternal forest of crucifixions” (296) inverts his religious beliefs into a gnostic horror. He concludes that “God is a parasite that lives in your blood” (296), a transformation that provides a new rationale for his violence. This moment underscores the reframing of crucifixion imagery from a symbol of redemptive sacrifice into an emblem of inescapable, eternal torment. Nestor’s shift illustrates how confronting the cosmic scale of the Terminus can obliterate traditional human moral frameworks, pushing him to embrace violence as a form of rebellion against a universe he now perceives as fundamentally malevolent.


As the narrative shifts into cosmic horror, it explores how characters construct new mythologies to make sense of an indifferent universe. Hyldekrugger explicitly frames his campaign of terror within a mythological context, rebranding the Terminus as the return of the “Black Sun” and the crashed USS Libra as “Naglfar,” the ship of nails from Norse myth. This appropriation of ancient stories is a desperate attempt to impose a human narrative—even a brutal one—onto the incomprehensible apocalypse he has witnessed. The symbol of the ship of nails, made from the fingernails and blood of the dead allows him to create meaning from meaningless violence. It reflects the human impulse to forge a purpose, however grim, in the face of extinction. Hyldekrugger mythology frames his actions as those of a high priest of a new, dark religion born from existential despair.


Aboard the crashed USS Libra, Moss’s imprisonment reveals a causal loop that exposes The Tension Between Fate and Free Will. Nicole explains that the ship is an “ouroboros,” a temporal prison where cause and effect are cyclical. The key revelation is that Moss, by using the alias “Courtney Gimm,” unknowingly prompted the Libra mutineers to target the real Courtney in the past. Moss’s attempt to create a cover identity becomes the very event that retroactively inserts her into the history of the crime she is investigating. This paradox suggests her actions are predetermined elements of a pattern she cannot escape. The abstract, metaphysical violence of this temporal trap is made concrete through physical trauma. Cobb’s methodical beating is an assault on her face, leaving her unrecognizable to herself and others. The aftermath—a misaligned nose and missing teeth—serves as the physical manifestation of her temporal and psychological fragmentation, a permanent scar from a war fought across time.

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