64 pages • 2-hour read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section includes discussion of death, graphic violence, physical abuse, suicidal ideation, and imprisonment.
After they leave the attic, Loki yells at, hits, and shoves Fenris until he goes outside. Surtr follows Fenris and chastises him. Luke stumbles back into bed and Loki rebinds Luke’s ankles. Loki says the old woman is going to call the creature for them that night, and after that Luke will see his friends again. When Loki leaves the room, Luke can hear the old woman shuffling around, crying, and talking in the attic. Luke cries and prays. Loki and Fenris start playing a CD, drinking moonshine, and singing along to the black metal outside.
Luke thinks about the predictability of evil, and how this place mirrors what he experienced in London. There is violence, ambition, and chaos in both civilization and the forest. Luke feels like he is losing his mind.
Loki comes back into the room. The old woman brings in more stew. Luke insults Loki, and Loki says Luke will die soon and end up mutilated in a tree like his friends. Luke asks for a chance to run or defend himself. Loki says if Luke tries anything, Loki will let Surtr cut him.
The old woman cuts off Luke’s underwear, leaving him naked, then feeds him stew. She puts something on his cuts. Luke starts to panic, she holds him, and he cries. He asks her to kill him, then asks her to confront the others with him and he will leave her alone with the little people in the attic. As she prepares a blood-stained gown and crown of dead flowers, Luke wants revenge for everyone who was sacrificed to “Gods of the insane” (351).
When the old woman leaves the room, Luke tries to stand up but falls because of his bound ankles. He eventually gets to his feet by using the wall and looks out the window. There is a large pyre and a cross planted in the ground upside down. Surtr is naked and takes pictures of Loki and Fenris with the cross. This makes Luke angry. He sits down and rocks.
Loki and Fenris take Luke outside. Luke twists out of their hands and falls to the ground. The old woman sits on the porch; the rifle is leaning against the porch railing. Luke urinates. Fenris says he will knock Luke unconscious if he continues to struggle, and Loki gives Luke a drink of moonshine. The young men wear their band t-shirts, while Surtr remains naked. Luke notices that her genitalia is pierced multiple times, but she doesn’t have tattoos like the men. Loki and Fenris take the cross out of the ground and lay it down. Luke hates the teens.
As they tie his feet to the cross, with Surtr sitting on him, Luke thinks about what he will miss from his life, sobs, and growls. Loki and Fenris put the blood-stained gown on him, then tie Luke’s arms to the cross. Luke screams. Loki and Fenris plant the cross back in its hole in the ground, suspending Luke upside down on it. They put the crown of dead flowers on him. As Loki and Fenris drink and sing, Luke screams, sobs, and is grateful that he’s lost his mind.
Luke insults Blood Frenzy’s music, insults Surtr’s appearance, and demands the creature come to him. Loki, Fenris, and Surtr argue with the old woman. She goes inside and Surtr turns off the music. As Luke passes out, he sees the little people in the forest.
Luke dreams about a moonlit procession of the little people around a cart. He is in the cart, then being tied to a stone next to his dead friends, who are also tied to stones. In another place, a barn or church, he sees a woman giving birth. She dies and her child is not fully human. Luke seems to wake up, but has another dream about the little people. The old woman gives him her knife, then disappears.
When Luke wakes up again, he is no longer dreaming. He is in the box bed, but not bound. His knife is on the bed, and the gown and crown are on the side of the bed.
Luke, still naked, crouches on the floor of the bedroom as the sun rises. He thinks about his dreams and the events of the previous night, and finds the will to live and fight. Luke refuses to be a victim any longer, and wonders if he can kill other humans. His rage won’t come back to him when he demands it. He dresses in the gown and crown, and thinks about how he will have to defeat the creature after defeating the humans, and decides to deal with his problems one at a time.
Luke realizes that the door to the bedroom is unlocked. He goes downstairs and wonders where the keys to the truck are. Fenris lies inside a box bed that is usually used as a table in the kitchen, next to the old woman in another box bed. Luke sees the rifle leaning against a wall. Fenris gets out of bed, holding his knife. Luke runs at Fenris, but hesitates to cut him. Fenris cuts Luke at the hip. Luke insults Fenris, grabs his arm, and stabs him in the stomach.
Luke grabs the gun, but his hands are shaking too much to use it. He tries to hit Fenris with the butt of the gun, but can’t navigate it. Fenris cuts Luke in his arm and chest. Luke kicks Fenris in his stomach cut, slides the bolt of the gun around and tries to shoot, but it doesn’t fire. Fenris cries, calls out for Loki, and drops his knife. Luke puts down the gun, picks up the knife, stabs Fenris in the throat, and apologizes. Fenris starts crawling outside.
The old woman watches and seems to speak approvingly, but Luke can’t understand her. He picks up the gun, finally sees the safety, and slides it off. Loki comes into the kitchen and Luke shoots him in the pelvis. The old woman cries with her hands over her ears. Luke reloads and follows Loki, who is stumbling onto the porch. Loki begs Luke to stop. Luke demands to know where the keys to the truck are. Loki says they are in his jacket upstairs and cries. Luke also cries, then gets angry and shoots Loki in the head.
Luke reloads and goes outside. He stands over Fenris, condemns his actions, and says there are consequences. Luke shoots Fenris in the head and goes back into the kitchen. He calls out to Surtr. The old woman nods at the wall. Surtr comes downstairs, and Luke shoots at her, but misses. She runs outside and he follows. Luke shoots and misses again as she runs around the house and vanishes. He looks in the truck and the keys are not inside it. Swearing, Luke goes back in the kitchen, drinks some water, and eats some bread. When he goes upstairs, he finds the keys in Loki’s jacket.
Back downstairs, Luke sees the old woman outside, through the window. She is chanting, and he recognizes one word, “Moder” (391), meaning “mother.” He yells “no” at the old woman. She continues to sing; he realizes she is using him, thinks about his dead friends, and shoots her. When she falls, he sees that she has hooves instead of feet.
Luke wants to end Moder’s reign, and pulls the knife out of Fenris’s neck. On the porch, he puts down the knife and gun, then takes off the gown.
Luke takes the gun up to the attic, and sets it on the floor. He stabs all of the little people in their heads with the knife. As he picks up the gun, he hears the creature outside, then hears Surtr scream; the creature has killed her.
When Luke gets outside, the old woman’s body is gone. He has some suicidal ideation, then heads toward the truck, holding the keys in his mouth, because his hands are filled with the knife and gun.
Luke hears the creature again, looks through the tree line through the rifle’s sights, and heads toward the truck. As he enters the truck, he keeps the gun pointed at the forest out the window. After setting down the knife on the dashboard, Luke struggles to insert the keys because his hands are shaking. He eventually gets the truck started, but then its engine dies. It starts and dies two more times before it stays running. Luke drives it down the track while chanting, “Come on” (404). The track goes through the orchard and into the forest.
Tree branches slap him through the open windows, so he tries to close them and stalls the truck. Luke gets angry, gets the windows up, and restarts the engine. He looks in the rearview mirror and sees the creature leave Surtr, mutilated, in the flatbed. As he tries to aim the gun behind him, the engine dies again. He stops trying to navigate the gun in the small cabin of the truck, restarts the truck, and drives as fast as he can down the road.
The creature runs behind him, then runs in front of the truck. Luke, looking behind, stops the truck in front of the creature. It runs around to the back of the truck and holds it in place. Then it jumps on top of the truck, and Luke starts driving again. The creature pulls Surtr off the flatbed. Luke screams and misdirects the truck. It gets stuck; he moves it back and forth in a slow turn while holding the knife against the steering wheel. Eventually, he is able to move forward again.
The truck’s one working headlight shines on the creature. It looks like a human crossed with a goat. The creature puts its horns through the windshield, pinning Luke to his seat. He vomits on the creature, then stabs it in the throat with the knife. The creature roars and withdraws its head from the cabin. Luke can hear it coughing. The truck is too smashed up to work, so he crawls out of it.
Luke doesn’t hear the creature as he walks through the forest along the track. He sees little people and shoots the rifle into the forest. As evening falls, he reaches the end of the track on a rocky plain at the edge of the forest. After walking away from the forest, he rests, then begins walking again. Luke follows another track and feels like everything he accomplished in civilization is meaningless. The only thing that matters is that he has survived and is alive. The world doesn’t care if he lives, and he feels free of everything.
In the final section, Luke’s dreams are in the third person. One dream immediately follows another in Chapter 63, and he believes he wakes up between the two. His dream within a dream is a subtle allusion to an Edgar Allan Poe poem: “A Dream Within A Dream.” It also represents how he is in a dream world in the ancient forest, not in his reality of civilization.
This section also concludes the novel’s thematic ideas about The Complicated Nature of Anger, as Luke finally manages to use his anger in a constructive way that ensures his survival. Luke’s anger is inappropriate and unhealthy in the world he is born into; London is not a place for his rage. However, it is his rage that saves him from Blood Frenzy, as well as the old woman working with the creature. The wilderness is “simply a world where one will dominated another” (369). Luke’s will comes from his anger; it enables him to overpower the black metal teens, the goat-footed woman, and the goat/human creature. When Luke’s anger has a justified cause and a clear, threatening target, it helps him, which suggests that anger can be a positive motivating force when one’s survival is at stake.
Luke reflects on the similarities and differences between the urban and wild worlds in this final section, concluding the theme of Masculinity In and Out of Civilization. He believes what occurs in the forest is an extreme version of what happens in civilization: “The possibilities for destruction here were not so different in any other place; they just took different forms. Nor was the intent for violence any different here; it was everywhere he had ever lived” (342). The rage and destruction that exist in cities are magnified in the absence of society and social norms. Masculinity becomes about survival, not about financial and familial success, in the forest. In other words, “those things a man should strive for and achieve in the old world were all now unimportant” (417) in the Scandinavian wilderness. What Luke had envied in his friends’ lives is useless against the creature and the harsh environment it rules. The only thing that matters in the woods is living. This could be true in civilization, if the standards for masculinity were deconstructed.
Luke comes to these conclusions through his final battle with The Clash Between Modernity and Ancient Beliefs. Nevill gives the reader a more complete look at the creature in the last section of the novel. It has human features, such as its expressive eyes, but “seemed mostly goatish” (411) to Luke. This appearance reflects the iconography of Baphomet, an occult figure, and satyrs—goat/human hybrids that are a feature of pre-Christian paganism. When he thinks about being sacrificed to this creature, Luke prays: “The enormity of what existed in this place made him think in those terms. In epic terms of gods and devils, and in the terms of magic and the great incomprehensible age that had swept through here and left such terrible things behind” (340). Civilization has driven out the supernatural; it only thrives in virgin forests, and other places untouched by humans, like oceans. Amid this primordial violence and chaos, Luke learns to appreciate his old life and longs to return to civilization, which implies that he has finally recognized that his life—which used to dissatisfy him—had meaning and joy after all.
Nevill also concludes the symbolism of oceans in this section. In addition to describing the old woman’s house as a ship, Luke feels like he is over an ocean when he is suspended upside down on an inverted cross: “He felt as if he were hanging over some great ocean, and could see no land in any direction, and was about to be dropped” (361, emphasis added). From his perspective, the trees hang over the ocean of the sky like stalactites in a cave, pointing down. The sky, the virgin forests, and the ocean are enormous and untamable; humans have not expanded their civilization into them.
It is only when Luke reaches the edge of the forest and sees a rocky plane that the symbolic ocean ends. It is “desolate like the bottom of some great ocean that had been drained” (413, emphasis added). Draining an ocean is like clearcutting a forest; it is a way to make space for cities and other human constructions. Thus, as Luke returns to urban civilization, the ocean symbolism becomes “drained,” signaling that he has managed to return to safety once more.



Unlock all 64 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.