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53 pages 1 hour read

Harlan Coben

The Boy from the Woods

Fiction | Novel | Adult | Published in 2020

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Symbols & Motifs

Skull Ring

The Boy From the Woods is a plot-driven novel, but there are symbols and motifs that assist with building tension. One is Crash’s smile skull ring, a motif for malevolence and power. As Matthew observes, Crash flashes this ring right before he does something awful, “[w]hich means something is up” (142). This becomes a signature move for Crash from the moment of his introduction: Matthew sees the ring right before Crash beats him up to retaliate for Hester’s missing person announcement about Naomi’s first disappearance. It appears again when Crash and his cronies chase Matthew out of Maynard Manor—Crash pretends that his malevolence is merely a game of nighttime tag, named after his ring. Matthew also recalls Crash showing his skull ring to Naomi on the night that his cronies stole her stuffed animal, decapitated it, and set it on fire, one of their more extreme bullying stunts. In all of these examples, Crash’s ring foreshadows the malevolence that is soon to follow and the power he wields over his posse and high school populace.

In contrast, his severed finger (bearing the ring) negates this effect. It is delivered to the Maynards both as an acknowledgement of their semi-cooperation in uploading the video footage and as a warning that the video that the kidnappers want is not included. The ring on the severed finger mirrors both the kidnappers’ extreme behavior in cutting off the finger (“principled” malevolence) and the power that the kidnappers have over the Maynards—the family will do most anything and comply with all demands to get Crash back. At the same time, the removal of the finger (and the ring) renders Crash powerless, a victim of malevolence just like Naomi once was. This is represented by his limp form chained to the wall when Rola and Wilde rescue him. Though Crash gets his finger reattached and his reputation returned to him at the end of the novel, it is unclear if the ring—and his malevolence—remains. If nothing else, Crash experienced a taste of his own medicine.

Stuffed Animals/Ecocapsule

A set of symbols that contrast with Crash’s ring are Naomi’s stuffed animals and Wilde’s Ecocapsule, which function as symbols of safety and comfort for each of them. While Naomi has a difficult home life, she feels relatively safer at home than at school, where she is bullied. This is evidenced by the enormous number of stuffed animals on her bed and in the basement where she hides for the challenge game. Wilde notes that it is enough to bury her, bringing to mind sensory deprivation tanks, which help alleviate stress and anxiety, as well as the psychological reflex to surround oneself with comfort in stressful environments. The narrative also describes how Naomi attended a party at Maynard Manor with a stuffed animal, a sign that she was uncomfortable in that environment and was using the stuffed animal for emotional support. Crash’s cronies’ theft and destruction of this toy is a very visual metaphor for her emotional state and the effects of their bullying—they further destroyed her sense of safety and comfort with every “prank” they enacted.

Wilde also craves safety and comfort, but he finds it in the woods—despite his multiple relationships with women, he can never spend a full night in a house, always leaving early when he sleeps with Laila. The night he spends at the hotel is full of nightmares and stress, and he often goes into the woods to calm down or clear his head, such as when he learns the truth about Raymond Stark. His Ecocapsule is thus the epitome of comfort and safety for him—deep in the woods and with an elaborate security system, it is portable and off the grid, painted to blend into the surrounding forest. When Wilde is inside, it makes him a literal piece of the forest; its small size also forces him outside among the trees, where he is most at ease. Even Matthew thinks it’s cool and likes to do his homework there.

Gavin’s invasion of Wilde’s privacy, then, and his insistence on looking inside during his search for Crash has a similar effect as when Crash destroyed Naomi’s stuffed animal—an invasion of privacy and a destruction of Wilde’s sense of safety. This further reinforces Gavin’s role as Wilde’s foil and antagonist and foreshadows his character as someone willing to do drastic and uncomfortable things to achieve his goals. In this way, Coben’s depiction of comfort and safety for specific characters also highlights and foreshadows the negative traits in others.

Cameras

Coben uses cameras to symbolize “truth,” both as a universal concept and as a manufactured creation. Dash is the prime example of this: As a documentarian and television producer, he always has a camera on him and is always filming whether his subjects consent or not. He also never deletes any of his footage, which becomes both a blessing and a curse—in this way, Dash’s views on filming are similar to the concept of a universal truth: It is always happening, always existing, and can’t be erased no matter how people feel about it. However, because the footage is always related to Dash’s perspective (he can film on his own property but not in the Pine residence, for example), the “truth” he seeks to document will always be manufactured. Even the murder tape, which implicates himself and Rusty, while “universally” true in that it happened, is also manufactured truth in that it doesn’t tell the full story, leaving out Delia’s involvement and the scapegoating of Raymond Stark.

This angle also brings Dash closer to Rusty. The murder tape footage bonds them together, not just via shared experiences but also as Dash’s insurance for his safety and silence. Rusty, though, never pretends to uphold universal truth. He is fully aware of the power of the manufactured truth and uses it to his full advantage, manipulating the media and public perception to always emerge victorious from any scandal, even sexual assault of minors and murder. In this way, Rusty hides the universal truth to create his own.

Even perceived universal truths can lie, and manufactured truths can be real, but they become so twisted in the novel that both the characters and the reader distrust the information provided. Hester’s interview with Arnie Poplin is done via camera; though Arnie insists that he speaks the truth about the existence of the murder tape, his reputation for drugs and media attention leads Hester to doubt his testimony. In contrast, the camera footage perceived to be true—Crash leaving the mansion to run away—is actually false, showing that the “truth” can be manufactured and manipulated.

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