Thursday, December 1, 2016

Unlying

The last few chapters that we have read, there have been a lot of new developments that changed the way that we view Jack and the impact his environment has on him. The way the Unlying chapter starts off is Jack describing the marks he saw on his mother’s neck. He soon realizes that those marks came from Old Nick trying to hurt him mom. I think this is the first significant time that we see Jack finally realizing what Old Nick actually is, compared to how Jack treated Old Nick as almost a “god-like figure”,  when he asked his mom why they didn’t thank Old Nick when they thanked Baby Jesus for the food.
Throughout this chapter, Jack’s concept of the entire world completely shifts and changes. This is the first time that his mother tells Jack that the outside world is real and the stories about her past, family, and how she got into the “Room”. When she first told him that TV things are real (except for spongebob and dora), and then he looks up on the window on the ceiling to see all the TV things he expects to be real, he gets mad at first because he doesn't see anything but blue sky and clouds. When his mom is first telling him about the story of her family’s house and hammock and the story where she got taken in college because old Nick pretended his dog was dying, Jack thinks she is kidding and is not even interested. However, over time, and by the second time he climbs up to look through the top window, and he sees the airplane, he finally understands that what his mom is telling him is true.
As I was reading this chapter, one of the saddest moments so far of the book was on page 88, when it sort of finally hit me how tragic Jack’s situation truly is. Jack's mom says “Hospitals are real too, and motorbikes. My head’s going to burst from all the new things I have to believe”. Then he asks how come he didn’t see the city when he first looked up through the Skylight and his mother responds by telling him “Skylight looks straight up in the air. Most of the things I’ve been telling you about are on the ground, so to see them we’d need a window that faces out sideways”. Then Jack says, “We could ask for a sideways window for Sundaytreat” and then Ma just laughs. Here, it really just hit me that Jack doesn’t know anything about the outside world and is deprived of so much. Now he begins to understand what he is missing out on, and it is very tragic to watch.
Another aspect of what really hit me is when Jack’s mother describes how the shed is made, and how it used to be a 12x12 feet room, but because of all the sound insulation and metal Nick used to make sure Jack’s mom can’t escape is insane. Even when she describes trying to dig a hole in the ground and then finding that the shed is also insulated from the ground, and Nick laughing from discovering the whole is just horrible. Hearing pieces of the backstory really begins to put things in perspective and really highlight the tragic parts of the novel so far.


3 comments:

  1. I definitely agree! The situation is just so poor. It violates human rights for freedom. We can especially empathize with the mother since we know what's really going on. As a reader, we know about the real world and all about cars and stores and such. This makes it infinitely sadder for us to hear about a situation so bad that the child doesn't even know about these things while the mother has a tough time explaining them.

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  2. THE SIDEWAYS WINDOW!! I cringed so hard when I read that...! It's a turning point in Jack's childhood so I'll cut him some slack for being in denial and trying to get out of the hard conversations he has to have, but I'm really feeling for Ma, too. I could feel how frustrated Ma was getting trying to get her backstory across while Jack squirmed. I wouldn't've been patient enough to see it through to the end. I might've just blown up at the kid for treating traumatic experiences so dismissively; I guess that just further confirms how well Ma is doing as a parent.

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  3. Yes, every time Jack mentions "Sundaytreat" we see Ma wince--and it takes him a long time to outgrow this concept, as it comes up pretty late in the narrative. It's understandable: for his whole life, his expectations have been structured around this idea that new things arrive on Sunday. Nick is in control of this game, as Ma knows, but it's easy to see how this makes Sunday something like a birthday or Christmas for Jack--which draws in all that confusing stuff about whether he should "thank" Nick or not. Ma maintains the fiction that it's a "treat" (which must sicken her to even *say*, as she knows what it really is), and this makes it a hard concept for Jack to let go of.

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