39 pages • 1 hour read
Joe HillA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Jude wakes up with a song stuck in his head, so he goes into the bathroom and composes on his guitar. He feels like Craddock’s ghost is further from him. When Georgia wakes, Jude finds that her infected hand is getting worse.
Jude researches Craddock on his laptop. From newspaper articles, he finds out that Craddock had a childhood interest in the occult that he made use of while serving in Vietnam, where he learned to see ghosts from a man named Nguyen Trung. After the Vietnam War, he worked as a dowser and ghost hunter in Florida. Jude then takes Georgia to a Denny’s restaurant.
At Denny’s, Jude and Georgia discuss how and why Jude’s previous marriage failed in the wake of his bandmates’ deaths. A waitress spills coffee on Georgia’s injured hand, and she goes to the bathroom to care for it. Meanwhile, an elderly man’s electrolarynx relays cryptic threats to Jude. He realizes that Craddock’s ghost has returned and rushes to the bathroom to check on Georgia. He finds her staring at herself in the mirror. She pushes the mirror and tries to slit her throat with a shard of glass. Jude forces Georgia out of the restaurant, and she runs to an underpass to vomit. A pickup truck hurtles toward them, and he rescues her before the ghost-possessed driver can run over them.
Jude and Georgia get back on the road. He reflects on his and Florida’s breakup: After rescuing her from a depressive episode during which she wandered half naked on the side of the highway at night, he took her home, made her soup the next morning, and told her to return to her parents. She told him to contact Craddock, and that’s when Jude spoke to him for the first time. He took Florida to Penn Station, and shortly thereafter, he met Georgia at a strip club.
Jude and Georgia arrive at the house of her grandmother, Bammy. Bammy is suspicious of the couple’s physical deterioration but lets them inside.
While Georgia rests, Jude talks to Bammy over a meal. He is disturbed to learn that her real name is Alabama, as he once knew a woman with this name years ago. He joins Georgia upstairs, where she has found a Ouija board with which they’ll contact Florida.
Georgia recalls using the Ouija board as a child: She and a friend used it as a joke but once contacted the latter’s brother, who had died by suicide.
Jude and Georgia begin the spirit-summoning process by introducing themselves as Justin Cowzynski and Marybeth Kimball. There’s no response, so Jude calls on Florida using their couple nicknames. Florida’s ghost responds, and the couple tell her that Craddock’s ghost is pursuing them because he believes her death is Jude’s fault. The ghost points to the “no” on the Ouija board and then asks Jude, “Why. Are. You. So. Dumb” (219). He has a revelation, and Georgia enters a trance, muttering about a “golden door” (219). She promises to bring Florida through the door so that she can stop Craddock. The ghost asks Georgia if she has a mirror, and Jude sees Georgia blindfolded with her throat cut in a dresser mirror. Angus and Bon suddenly destroy the Ouija board and end Georgia’s trance.
Bammy knocks on the bedroom door, worried about the noise. Georgia plays it off as though she and Jude were having sex.
In this section, Hill builds on the phallic imagery introduced by Georgia’s gun. For example, Jude recalls meeting Georgia at a strip club: “When the handle of the knife was between her legs, blade pointing at the ceiling—parody of a penis—she flung it into the air […] like an offering” (193). The phallic framing of the knife creates an association between masculinity and violence, foreshadowing further masculine violence against feminine bodies in the form of Craddock and Martin. The “dark red slash” of Georgia’s knife foreshadows the imagined gash across her throat in Bammy’s mirror and the literal gash she will receive later (193). Unlike her possessions by Craddock, the flashback frames her as in control of a phallic weapon. This agency suggests that while masculine violence is sometimes inevitable, she and other women are not powerless to stop or survive it. Violence is inflicted on not only feminine bodies but also specifically LGBTQ+ bodies. In this section, Georgia recalls her first ghost sighting—that of a childhood friend’s cousin who died by suicide for fear of having his gay pornography discovered. This anecdote recalls Danny’s supernatural suicide, as he was also queer. Both the cousin and Danny face a heterosexual, often toxic masculinity that threatens to destroy them—and pushes them to destroy themselves, highlighting the theme of the Construction and Concealment of Identity. This recurring plot point speaks to the notion of differing ways of enacting masculinity faring very differently in the world of this story: Heterosexual masculinity enacts violence on others, while queer masculinities internalize this violence and enact it on themselves.
Jude and Georgia’s arrival in Georgia reverts them to their childhood selves, with the latter in particular undergoing a “verbal transformation” (197), regaining her childhood accent in the presence of her grandmother. Jude notes, “When she talked that way—Why do you always got to think the worst damn thing?—she sounded like Anna” (197). In other words, Georgia embodies the past for both herself and Jude, which reinforces Jude’s fear that their relationship will end in her death, signaling the theme of Confronting Trauma within this regression.
The journey to the south not only becomes a journey into their histories, but it also becomes a journey that reconfigures their present through the lens of the past. Much of the narrative in this section retells scenes of Jude’s past in in-scene moments. Hill structurally reflects Jude’s temporal journey by allowing full scenes of the past to intrude into the present narrative.
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