Dear Edward

Isolation continues to play a large role in the lives of the plane passengers. Benjamin’s sexual orientation distances him from his fellow soldiers just as Crispin’s greed has ensured his loneliness. Both share a streak of stubbornness, which Edward also develops after the crash. Despite Benjamin’s camaraderie with other soldiers, Crispin’s lecture tours, and Edward’s fame, each feels alone.

Edward’s fame is on full display when he goes to Washington, DC, with John. The people who approach him are nameless and thinly described; they are part of a mob rather than individuals. They descend upon him and break through the barriers of his isolation, forcing him to confront the enormity of his trauma.

The trip is just as disorienting as the crowd. Driving through Washington is a series of confusing turns and shifting directions; likewise, the NTSB building is a maze of hallways that overwhelm Edward. When he has time alone, however, he breaks out of his fugue state. As with his insistence on eating Jordan’s favorite foods, this is a complex moment: it is both a step toward healing and a further complication of Edward’s identity.

Louisa’s introduction in the story is just as nuanced. She pushes him to embrace his future, but her requests come in the form of demands. Again, an outside source motivates Edward to heal, but he does not feel the urge internally.

Jordan is jealous of Edward’s musical talents, but Edward is unaware of that jealousy. Not only does this paint a more realistic picture of siblinghood, but it also challenges Edward’s view of his relationship with his older brother.

As Jordan’s scent leaves his clothes, his identity fades, leaving only Edward’s impression of his brother. Jordan’s identity belongs to Edward, which ensures that Edward’s perspective on their relationship will endure. By refusing to fly again, he is freezing their brotherhood in a moment of purity. Readers know that Jordan has secrets, however, and that they will inevitably challenge Edward’s view of their closeness.

Edward’s frustration at the replacement of his favorite actor on General Hospital provides important insight into his view of his situation. He is not angry at the actor for leaving but rather at the other actors, who do not seem to acknowledge the change. Edward sees the change in his own personality as necessary for his sanity. He doesn’t have control over the way others react to those changes, however, which means he is not in full grasp of his own identity. This is true of his life as a victim, a celebrity, and a teenager caught between childhood and adolescence.