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62 pages 2 hours read

Jack Carr

The Terminal List

Fiction | Novel | Adult | Published in 2018

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Themes

The Deceptive Nature of Appearances

Content Warning: This section discusses graphic violence and torture, suicide, drug overdose, and racism.

Throughout the novel, characters often operate under a facade: saying one thing but then doing the direct opposite. Reece cannot accept things at face value, which eventually allows him to discover the truth about what happened to his troop and his family. Lorraine Hartley has made an entire career lying and pretending to be righteous, fair, and generous when she is the exact opposite. In her prime-time address, she says, “This xenophobic focus on so-called foreign terrorists has caused us to overlook the true threats to liberty brewing here at home” (334). Ironically, the actual threat to liberty is Lorraine herself; however, by blaming xenophobia—something Lorraine exploits to gain power—she can go undetected. Carr hence suggests that it is dangerous to accept appearances at face value.

Additionally, Masood becomes powerful because “[o]utwardly he condemns terrorism” but “his group is a conduit for funneling money to ISIS” (255). Masood does some peaceful work in the community, which gives him a level of credibility that prevents people from assuming the worst in him. He creates his own YouTube videos promoting peace and then also financially supports videos promoting violence. People see both videos but only attribute one kind to Masood, ultimately missing the reality of the situation.

People’s failure to question things allows Reece to complete most of his mission undetected. For example, Marcus Boykin’s death is quickly ruled a hunting accident because it occurred on the first day of deer season, and Saul Agnon’s death is ruled an overdose because there is drug paraphernalia near his body. Reece often relies on stereotypes to go undetected. By dressing Mike Tedesco as a suicide bomber to kill Admiral Pilsner, Reece stages an attack that people will assume is a terrorist attack because it is similar to terrorist attacks in the Middle East. Carr hints that people’s failure to question appearances is how rampant injustice occurs in the world.

The Value of Loyalty, Friendship, and Brotherhood

While Reece is devastated by the loss of his family, at times he is more devastated by the loss of his team. He often refers to these men as his brothers, and he often lists their deaths before his wife’s and daughter’s deaths. When he calls Pilsner before setting off the bomb in Tedesco’s vest, he says, “You wiped out my troop and my family, and you did it all for money and a promotion” (283). By listing his troop first, Reece indicates that this is the more important death. The novel as a whole hence communicates the significant value of brotherhood and loyalty.

Masood and Howard, the two men primarily responsible for orchestrating the death of his troop overseas, experience the most brutal deaths in the novel. Both have their bodies denigrated and dismembered. Meanwhile, the men who killed Lauren and Lucy suffer brutal but quick deaths. This indicates that Reece feels a stronger sense of revenge toward the men who murdered his troops because he views their deaths as an example of his failure to protect and be loyal to them.

The aftermath of the Project “cause[s] Reece to sit back and take stock of his friendships. What he’d learned about loyalty was surprising” (250). He notes that it is the people outside of the SEALs who support him most during this difficult time. This suggests that the men still enlisted are going against the brotherhood by following upper-level commands and not stepping out on a limb to support Reece. Meanwhile, civilians like Marco, Katie, and Liz have no problem committing crimes to help Reece meet his mission, conveying that their friendship is true and not based on an ingenuine sense of duty and loyalty.

The greatest betrayal that Reece experiences is Ben Edwards’s double-crossing. This double-crossing can be traced through the diction Ben uses. At the beginning of the novel, he often calls Reece “brother,” indicating that they have a strong and almost familial bond. However, once he reveals his true evil intentions, he begins calling Reece “bro.” The word “bro” has a much more casual and shallower connotation and is often used to create a shared sense of community or familiarity between strangers. By suddenly using the word “bro,” Ben shows that their friendship is not a true brotherhood or friendship; instead, it is just a shallow facade that allows Ben to control Reece.

Father-Child Bonds as a Motivational Force

Many characters in the novel are motivated by paternal relationships. Katie can come to America and assist Reece because her father worked with and was ultimately saved by Reece’s father. Katie admits that Reece’s “father was like a God in [her] house growing up” (167), something that Reece echoes since he “worshipped him growing up” (168). Reece’s father becomes something of a God to the two characters, and it is ultimately his legacy that helps Reece uncover the history of the Project.

While Reece is devastated by the death of his wife, he is especially destroyed by the death of his daughter and unborn son. He uses Lucy’s drawing as the physical site of his terminal list, indicating that he is killing to avenge her death. Reece prides himself on being a good father, and his fondest memories—the ones to which he returned during war—are focused on time spent with his daughter, highlighting that father-child relationships are crucial motivations in hard times. Conversely, some of the most morally corrupt characters in the novel do not have children, primarily because they are “too selfish to give what is required in parenthood” (123). The Pilsners have no children for this reason, and it’s unclear whether or not Ben or the Hartleys have children. Instead, these characters embrace excess—shopping and affairs—emphasizing that to be a good person means to be motivated by others’ needs, particularly in father-child relationships.

Carr reinforces father-child relationships as a motivational force when Pilsner attempts to use Reece’s bond with his father to manipulate Reece. When Pilsner berates Reece in his office, he repeatedly uses the word “tarnished.” He first accuses Reece of having “tarnished the hard-earned reputation of this brand” (92), meaning the SEALs, and demands that he finally face the consequences of “the tarnished legacy [his] father left on the Teams” (93). Reece can keep his cool until Pilsner brings up his father, which leads him to physically attack the admiral, indicating that his father’s legacy is extremely important to him. While it is unclear what his father did as a SEAL, Pilsner’s wording implies that Reece inherited a negative legacy and had to work to overcome his father’s mistakes. This is bolstered by the word “tarnished,” which is often used to describe silver, a material associated with family inheritance. Pilsner hence knows that Reece’s father and children are his main motivations and uses this to his advantage.

The Dangers of Revenge and the Quest for Power

Carr begins the novel by stating, “This is a novel of revenge” (i). By making this the first sentence in the novel, the entire story is tinged with hints of revenge; everything that Reece does can be seen through the lens of avenging his troop and family. However, Reece is not immune from seeking power. As he murders more and more people, his killing style becomes more gratuitous. When Reece kills Masood, he decapitates him and “ha[s] to press Masood’s head into the floor with his left hand while chopping through neck, gristle, and spine to finally free it from the body” (273-74). The diction in the quote completely dehumanizes Masood, stripping him of any personal pronouns and referring to him solely as “it.” Additionally, Reece hovers over Masood as he desecrates his corpse, creating a power dynamic not only over his life but also over his body. He similarly dehumanizes Howard before killing him. After beating Howard’s face, he “[takes] off his leather belt and loop[s] it around Howard’s neck like a leash” (307), forcing the man to act like a dog in his final moments. Reece also plays with Howard’s entrails, becoming furious when Howard ignores his commands: “Just as his enemy had lost control in their quest for power, Reece lost control and succumbed to the primal need for vengeance” (308). In this way, Reece’s need for revenge becomes just as bad as his enemies’—both domestically and internationally—quest for power. Additionally, it suggests that seeking revenge will strip a person of their humanity.

While Reece becomes obsessed with revenge, Horn is obsessed with power, “and he spare[s] no opportunity to remind everyone that he [is] in charge” (39). Horn is “the very image of vanity personified” (38), and he often shows off his wealth by wearing expensive foreign designers and drinking expensive foreign alcohol brands. To Horn, power and wealth are measured from outside the United States, which creates a direct contradiction with Reece, who serves as a hero-patriot. In this way, in a novel in which foreignness and villainy are aligned in a xenophobic sense, Carr suggests that the quest for power is un-American, while revenge (despite its dangers) is more patriotic.

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