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42 pages 1 hour read

Samira Ahmed

Internment

Fiction | Novel | YA | Published in 2019

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Chapters 28-36Chapter Summaries & Analyses

Chapters 28-36 Summary

Layla is led away to the camp holding cell. She is alone in a tiny windowless room with a single cot. In an attempt to calm herself, Layla tries to just breathe and stay strong. Nevertheless, she is despondent: “There is no wishing anymore. No imagining and no pretending. The stars have all gone out. Only darkness remains” (302).

At some point, guards escort her to an interrogation room where the Director waits. He is simmering; spit flies from his mouth, and Layla smells whiskey on his breath. When he talks, it is more like a “deep animal-like growl” (310). He wants the names of her accomplices. He squeezes Layla’s throat when Layla stays quiet. At that moment, another guard, a friend of Jake’s, interrupts and cautions the Director that higher-ups are on their way to check on civil rights violations. The Director releases Layla’s neck, and the guard takes her back to her cell. Along the way, the guard whispers that she is not alone.

Sometime later, guards come back, handcuff Layla, put a cloth bag over her head, and lead her away. As she stumbles along, Layla realizes that perhaps the glorious ideas she had been taught about America may all be lies. This, she thinks, is America now. This time, the Director shows no patience. He wants to know who is helping her, who is writing the internet posts, and who is getting them out of camp. In return for her cooperation, the Director assures her that “no one needs to suffer on your account” (321). Layla declines to cooperate. The Director slaps her hard and then pulls roughly her hair. Her “infantile stunts” are over, he says, adding that Layla has no idea what he is capable of doing. When the guard escorts Layla back to her cell, the same guard from before tells her the camp is nearing a tipping point, and that they are all sitting on a “powder keg” (327).

Later, as Layla sleeps in her cot, the Director bursts into her cell, pulls her from her cot, and starts to rant about how Layla and her little band of “freedom fighters” (333) have ruined his model camp. He taunts her by claiming that her pranks have only given the detainees false hope. America, he lectures her, is willing to trade freedom for security—America wants to be protected from her. If Layla begs for her life, the Director says he will spare her. She says nothing. Enraged, the Director throws her to the concrete floor. At that point, Jake bursts in and tells him his actions are a violation of the Geneva Convention because Layla is a minor.

Jake escorts a shaken Layla out of the cell. They meet with a doctor sympathetic to Layla’s cause. The doctor assures Layla the Director will be charged. Jake carries Layla back to her trailer. He tells her the video of her interrogation has been leaked and that the entire country is demanding the camp be closed. Even the President, always driven by poll numbers, has backed off from defending the camp. Despite these positive developments, when Layla arrives at the trailer she is stunned to find her parents gone. Jake has no idea where they have been taken. Layla faints.

The next morning, other internees show up at Layla’s trailer to show their support. One even quotes a poem from her father: “We shall bear witness / On the Night of Destiny” (350). Layla knows what she must do. She rallies the internees and says they must head to the main gate and demand their release. Some dismiss the idea as a “death wish” (352), but many agree to follow her. She tells them to grab anything that can make noise—pots, pans, spoons—and head to the gate. By the time they reach the gate, they are more than 50 strong. “From many,” Layla thinks, “we are one” (354). Before they reach the gate, Layla is given a bullhorn to address the crowd. She gives a fiery speech: “We are Americans. We make America great. This is our country. And we are taking it back” (355).

The Director emerges from his office, disheveled and angry. He taunts Layla and her “mob,” telling them they are the people America needs to be protected from; they are “the enemies of the state” (360), he adds. With disdain, he brings out Layla’s parents and orders Layla and the crowd to disperse. Though relieved to see her parents, Layla does not move. Enraged, the Director orders the guards to shoot Layla. Jake steps forward and tells the Director he is in violation of international law and must stand down. The Director then brandishes a small handgun. He fires at Layla, but Jake steps in front of her and is shot instead. As the Director is led away, Jake, cradled in Layla’s arms, dies.

Within hours, the Director is arrested and the internees are told they can leave. Layla and her parents head uncertainly back to the train that will take them home where David is waiting. She knows she will never be free of the camp and its memories. She is determined, however, never to allow the ghosts of Mobius to distort her life. She will find her true north: “I may not know exactly where I go from her, but I’ll find my true direction” (373).

Chapters 28-36 Analysis

The closing chapters broaden the scope of the novel’s argument about resistance. To this point, the book has been a coming-of-age story of one girl’s initiation into the dangerous business of social and political activism and a disturbing look into the absurd logic and latent violence of Islamophobia. Here, it becomes a much broader argument about the soul of America, as efforts to address racism and xenophobia are met with a furious backlash.

These chapters juxtapose two critical assessments of this new America: One is a despairing lament from Layla after she is detained in the camp’s notorious holding cell awaiting interrogation; the other is from the Director, who in a furious moment of anger outlines exactly what kind of America Muslims will face inside or outside the camp. The two visions are disturbing and are resolved only in the closing two chapters when Layla, inspired by her father’s poetry, organizes one last grand demonstration. “This,” she says into the bullhorn to the camp detainees, “this is our country and we are taking it back.” (355). 

The novel’s low point comes the first night that Layla spends in isolation. She dreads the interrogation ahead, aware of the rumors of torture and even death. Layla struggles to understand how the America she has grown up knowing and loving— the supposed “melting pot […] where a skinny kid with a funny name can defeat the odds and become president” (317)—has become this America. As she walks handcuffed with a cloth bag over her head, guilty only of being a Muslim and an American, she resigns herself to the bleak notion that she got America wrong. This is America now. No one is going to stop the camp, no one is going to stop this President, and no one is going to stop the hate. As she arrives in the interrogation room and the cloth bag is removed, Layla sums up her perception: “No window. No cot. No hope” (318).

The Director articulates his toxic vision of the America to which Layla surrenders: he derides her efforts to save America from hate, adding that she and her Muslim friends are the problem and the camp is the safest solution to protect America. In his view, an American given a choice between losing some freedom and protecting the nation will always give up freedom: “They don’t even want freedom. They think they want it, but hear me, Miss Amin. People want to be told…Leave them alone with their hope and freedom for five minutes and they’ll come running back to order and rules” (328). That is the logic for the new America: security over freedom; hate as a basis for social and economic dynamics; and the rhetoric of paranoia and fear.

As the Director snarls at Layla that she and her “kind” (330) will be under his control for some time, the novel appears to be at an impasse. Just then, a hero emerges at the moment when the Director seems most in control and Layla at her most despairing. It is Jake, following his own true north, who stops the Director’s insidious—and illegal—interrogation of Layla. When Layla realizes her parents have been taken, that violation of her family is sufficient to jolt her back to her campaign of resistance.

Rousing herself from the painkillers the camp doctor provided to help recover from the Director’s abuse—symbolic of Layla emerging from her despair—Layla brings the camp internees together for what some of them regard as a death wish: They will head to the camp gate and, in front of an ever-growing group of protesters, demand the gates opened. The raucous noise the internees make on the way to the gate recalls the early chapters when Layla noted the sound of the camp’s eerie silence—the sound, she said bitterly, of cooperation and passivity.

Jake ultimately emerges as the resistance’s martyr. In shielding Layla and taking the bullet intended for her, her reveals the novel’s theme that America is greater than hate, broader than any authority, and deeper than paranoia. The spirit of his actions are recalled in an Authors Note at the end of the novel: “America is a nation, yes, but it is also an idea, based on a creed…America is us. America is ours. It is worth fighting for” (382). 

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