49 pages • 1 hour read
Carissa OrlandoA 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 of the guide contains mentions of suicide, along with descriptions of self-harm, domestic violence, and abuse.
Margaret’s arm throbs from Elias’s bite marks, but she is too exhausted to care. She talks to the prankster ghosts, explaining to them that Katherine cannot see them. She is dimly aware that Katherine is on the phone in the background. Katherine’s ex-girlfriend Claire is dating a therapist, and Katherine is asking them both questions about Margaret. Katherine alludes to a family history of mental health crises and mentions the risk of suicide. She confesses her suspicion that Margaret is harming herself and explains that this all started to happen when Hal left. She has serious concerns about her mother’s mental health and does not know what to do. Ignoring this conversation, Margaret instead talks with Fredricka. She reflects on Fredricka’s kindness and is grateful for her presence in the house.
Margaret reflects that another rule in their home was that Hal refrain from hurting Katherine and he spare her the brunt of his anger. While he did occasionally lose his temper at his daughter, he did not subject her to physical violence like he did Margaret. However, there was one particularly problematic incident. One day, Margaret came home from the grocery store to find Hal screaming at Katherine and accusing her of sleeping with the boy who had just dropped Katherine off at the house. Katherine was a teenager at this point. Because Margaret already knew that her daughter was gay, she understood that there was no way that Katherine was having sex with this boy or any boy. However, Hal disapproved of all other men, and even Margaret was never allowed to speak to any men, ever. Margaret found Hal backing Katherine into a corner and screaming obscenities at her. Margaret knocked Hal down and told Katherine to run, then screamed that Hal was never, ever to hurt their daughter. He seemed to understand, but he hit her so hard that she lay on the floor for hours, unable to get up. Once she finally could lift her phone, she called her sister Noelle to come and get Katherine, determining that her daughter would live with Noelle from now on because it was not safe for her in their home.
The narrative returns to the present. After Katherine finishes her phone call, she comes downstairs and asks Margaret a series of questions in order to determine whether her mother is connected to reality. Margaret is unable to correctly tell her what day of the week or month it is. She cannot count backwards from 50 by fives, and when Katherine writes down a sentence in a small notebook, Margaret is unable to read it and repeat it back to her.
Meanwhile, Margaret is distracted by the pranksters who have gathered in the room and are chanting “He’s down there!” Margaret is confused because Katherine also keeps repeating “He’s down there,” and Margaret sees that phrase written in her daughter’s notebook.
When Margaret vomits a large quantity of dead flies, Katherine insists that the two go to the hospital. However, they are interrupted by a phone call. The police have discovered something but will not say what, and they want Katherine to come to the station immediately. Reluctantly, she leaves her mother alone in the house.
Margaret knows that she must work quickly. She digs up the bones of Elias’s mother in order to calm him down. She brings the bones back to the house. The pranksters are still chanting “He’s down there!” The basement door opens on its own, unleashing a foul stench. Margaret repeatedly tries to shut the door, but it opens itself each time. Margaret knows that she must get Father Cyrus to perform another exorcism, so she calls for him at St. Dymphna’s. She finds out that he has died, but she also learns that he had been performing unauthorized rites and rituals. The young priest to whom she speaks confesses that Father Cyrus had gotten “senile.” He apologizes for Cyrus’s behavior. Margaret is panic-stricken. It is clear that this young priest does not believe that there is evil in her house and will not come to exorcise it.
Katherine returns to find her mother covered in mud and sitting in the kitchen. Upset, she asks Margaret what’s going on. Margaret is unable to explain the situation to Katherine and asks what she found out at the police station. Katherine tells her that the police were able to interview more of the motel’s employees and determined that Hal had taken a cab on the night he disappeared. They tracked down the cab driver, who reported driving Hal back to the house.
The police question Margaret about Hal. She learns that on the night he was driven back to their house, he was carrying two large containers of what smelled like gasoline. They ask her what happened leading up to the day Hal left. Margaret knows that she cannot truly explain the house, so she just tells them that Hal didn’t want to live there anymore. They exchange glances and ask her about the furniture that has been moved around, the objects in strange places, the smell of bleach and the rubbed-away places on the walls where someone has been scrubbing. Fredricka has been moving objects around, but Margaret knows that she cannot tell them this fact either; they will not believe her. She recalls that on the day Hal left, he pleaded with her to leave and threatened to burn the house down. One of the officers interrupts her thoughts to ask about the basement. She tries to keep them out of there, but they head downstairs anyway. She recalls Hal returning with the gas cans and remembers the smell of gasoline in the house. Again, her thoughts are interrupted when the officer comes back upstairs and says, “He’s down there.” Hal’s body has been discovered in the basement, and the officers stare questioningly at Margaret. They ask her to explain what happened, and she tells them all about the ghosts and Master Vale. Master Vale, she tells them, finally killed Hal. She explains about Father Cyrus, and the police tell her that they received many calls about him, that he’d been unwell and was obsessed with the supernatural. She responds that the supernatural is real and tells them about the flies. The flies, they explain, are in the house because of Hal’s dead body.
The police tell Margaret that she has been struggling with her mental health and seeing things that aren’t there. Slowly, the pranksters fade from Margaret’s vision. She wonders if they were ever truly in the house. She asks the police if it is possible that she moved all of the objects around, that it was she and not Elias who caused her injuries, or if she could have killed Hal. They tell her that they think this is exactly what happened and that although they have to arrest her, she will get the help that she needs. They also say that abusive partners often prey on people who struggle with mental health, and that nothing that happened in her marriage was her fault. Suddenly, Edie appears on the porch. Margaret begins talking with her, but Edie reveals that she too is part of Margaret’s mental health condition. Like so much of what Margaret has seen, Edie is not real. Margaret agrees to be taken to the police station. However, after the police handcuff her, the pranksters return, and the house begins bleeding and screaming. One by one, the house kills the police officers. There is a loud howling and a strong wind in the house. When the officers in the room are all dead, the last officer (Officer Jones), returns from outside. She is horrified by the scene and looks past Margaret. Margaret follows her gaze and sees Master Vale with his arms around Katherine. As Katherine screams, he drags her into the basement.
Margaret races into the basement. Officer Jones tries to stop her, but her body is thrown upwards and slammed into the ceiling. Downstairs, Master Vale has Katherine pinned down in the corner. Margaret begins screaming at him, and the pranksters appear, one by one. Together, they manage to fight Master Vale. There are flies and blood everywhere. Master Vale is driven from the home, and Margaret and Katherine go back upstairs. Margaret admits that the house was haunted, but that she thinks they vanquished the evil. Edie appears and commends Margaret on her hard work. The pranksters go their separate ways, and Margaret reflects that even the ghosts who seemed malevolent were helpful in the end. Katherine apologizes for trying to have her mother sent to a psychiatric facility, but Margaret forgives her. Fredricka kindly offers to make Margaret a cup of tea, and Margaret accepts.
The author’s expertise in psychology and family therapy becomes especially evident during the novel’s climax, which treats the topic of mental health crises and psychological distress with humanity and empathy despite the violence of the events that occur. Even the moments leading up to the climax reflect this inherent empathy, for when Katherine realizes that her mother’s connection to reality may be compromised, she immediately seeks professional counsel to determine how best to help Margaret. The language that she uses and the techniques she is coached through to ascertain her mother’s mental state reflect the author’s compassionate approach to mental health concerns, and the language used is grounded in kindness and understanding. Katherine never employs stigmatizing language, nor does she pass judgment on her mother. Thus, the scene becomes a deliberate acknowledgement of the importance of using empathy in mental health settings.
As Margaret remembers the one incident in which she was afraid that Hal’s verbal abuse would become physical with Katherine, this scene becomes an important indicator of Margaret’s strength and of her experience with Gaining Resilience through Survival. Although Margaret has endured Hal’s abuse herself, she is unwilling to allow him to physically harm their daughter, and she finally stands up to Hal. In her memory, this moment marks the one time she broke Hal’s “rules” and enforced one of her own, and her determination in this moment reveals the depth of the love that she feels for Katherine. This past trauma also helps to explain the terror that Master Vale strikes into her heart. Because Margaret’s deepest fear is that Hal will harm Katherine, it is fitting that the most terrifying of her ghosts is the one who embodies the danger that an abusive adult poses to children. Master Vale’s origin story therefore reflects the novel’s use of horror as a metafictional lens to analyze trauma. In this case, the supernatural elements of the story are designed to indicate obliquely Margaret’s very real fears for her daughter’s safety.
Significantly, as Hal’s body is discovered, Margaret realizes that much of what she has identified as supernatural might have been an elaborate set of coping mechanisms on her part. She also comes to terms with the fact that after years of abuse, she finally killed her husband to escape her traumatic circumstances. She falls silent for a moment and reflects, “In my mind’s eye, I could see the pranksters fading, drifting from transparent to nearly invisible. With no trace left behind, it was hard to say if they had ever been there in the first place” (299). This scene is one of the novel’s most critical points of engagement with psychology and clarifies the author’s decision to blend aspects of psychology within the broader canon of the horror genre.
To this end, the climax of the novel displays many characteristics of the stereotypical horror story as the house itself rises up to harm the police officers and Master Vale and the pranksters reemerge. With these events, relying purely upon a straightforward reading of the ghosts as manifestations of Margaret’s inner fears and traumas becomes complicated, and the author deliberately ends on an ambiguous note that allows for both worldviews to exist simultaneously. The novel’s conclusion therefore maintains the author’s metafictional focus on the symbolic uses of the horror genre, for she employs the conventions of horror to create an indirect commentary upon serious subjects such as addiction and abuse. By using a supernatural, otherworldly framework that is potentially less triggering than a straightforward, realistic narrative, the author creates a multifaceted narrative that avoids giving a brutal, blow-by-blow account of domestic violence. Ultimately, the novel is both a commentary on mental health struggles and on the nature of horror as a genre, and its dramatic ending blends the elements of classic horror with the subtler messaging of psychological horror. The author thus creates a narrative that is both literal and fantastic and ends on a dramatic but ambiguous note.