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Indian Lake symbolizes history, and who is included and excluded from the story of a place. The town of Proofrock is built on the shores of the lake and the new development of Terra Nova is being constructed on the other shore. While the lake connects these places, allowing for the Founders to travel back and forth between their new homes and the small town, it also separates them, indicating that the Founders are not yet integrated into the town’s history. Inclusion in community is consistently compared to the idea of burial. One of the Founders jokes that his definition of home is where his beloved pet dog is buried. Similarly, Jade observes that “Indian Lake is big, and dark, and quiet, and it’s been swallowing bodies since forever” (350). The story of Ezekiel the preacher and the community of Henderson-Golding, AKA Drown Town, is particularly relevant to the symbolic meaning of Indian Lake. Jade reports that “when Henderson-Golding was being flooded with what would become Indian Lake, he’d locked his congregation into his one-room church with him, and they sang until the waters swamped the town, and are maybe, Jade said in her conclusion, still singing, awaiting the day they can rise from the depths to punish the town that replaced Henderson-Golding” (89). This communal act of self-burial within the lake represents how the history of the landscape is still an active force upon the contemporary town, preserved by the waters of the lake and perhaps able to eventually return.
Stacey Graves, the Lake Witch, cannot go beneath the surface of Indian Lake because of her exclusion from the local community. Indian Lake acts as a protective force for Proofrock, allowing Hardy and Jade to escape from Stacey’s attacks by hiding under the water. However, Jade eventually realizes that Stacey’s exclusion from the town’s history due to her racial and cultural heritage is one of the reasons why she is attacking its residents. She recognizes the reason why Stacey walks on top of the water: “[…] a little girl not slowed down by having to wade or swim—she couldn’t if she wanted to, because this Christian burial ground won’t take her Indian self, won’t let her step through” (373). Because the lake is the location where Ezekiel buried his congregation, Stacey is unable to go under and become a part of history, forcing her to instead return and torment the living.
The end of the novel demonstrates that Indian Lake symbolizes both the protective and destructive force of history. Sheriff Hardy recounts that a local dam operator once attempted to flood the entire town because he was grieving the loss of his daughter. Jade is also forced to open the dam and flood the town to prevent it from being destroyed by a forest fire. She wonders, “how long will the lake take to rise, though? Will it be fast enough? What brick by the bank will the waters reach over in Proofrock? It’ll be soon enough, Jade decides. And: it’ll be all the bricks” (396). The lake serves as both a defender and a threat, just as Jade does when she takes on the role of both slasher and final girl. Because the lake is the repository for local history, the place where dead community members are buried, Jones suggests that knowing history can both save and threaten a place. The stories that Jade uncovers about her town expose its worst qualities, yet they also allow for peace and resolution when Stacey is finally able to sink beneath the waters and rejoin her mother.
Hair is symbolically linked to identity and the social ideals of feminine purity. Jade’s hair notably changes colors frequently throughout the novel. Her initial conflict with her father is motivated by his mockery of her orange hair, and she later dyes her hair blue, pink, turquoise, and shoe-polish black. Jade links her unnatural and damaged hair color to her inability to fulfill the ideal of the final girl. She notes that other girls dress more conservatively and these girls would never “bleach her hair with stolen peroxide in a hospital sink, then dye it electric blue” (45). When Jade attempts to dye her hair black with shoe polish, she notices that it gives off an unpleasant smell and looks like the color of feces, associating her hair with “dirtiness.”
Letha, on the other hand, is notable for her extremely perfect and beautiful hair. When Jade first sees her, she is instantly fixated on her hair, thinking:
[I]t’s not just glamorous and perfect, flowing down her back but kind of spiral-curled too, it’s it’s—oh, Jade knows what it is, yeah, of course: online at four in some bleary morning, lost in the wishing well of her phone, she’d chanced onto a smuggled-out snapshot from the set of a shampoo commercial. One of those ones where the model’s long luxuriant locks are cascading in slow-motion waves all around her, a silky bronze extension of her dopey smile (42).
Comparing Letha’s hair to the highly unnatural and perfect hair depicted in commercials indicates to Jade that Letha has the ideal feminine qualities necessary to make her a final girl. Jade’s reference to the shampoo commercial suggests that there is something almost supernatural about Letha, as though the texture of her hair could never be achievable to an average person.
Stacey Graves also has notable hair. Her victims often report the sensation of long hair in the water with them before they are killed, and when Jade looks up at the yacht, she sees “a head of long hair blowing in silhouette from the railing of the deck above Letha” (313). While Stacey has long hair like Letha, it is portrayed as “horrific” rather than beautiful. Her hair reminds Lotte of a decaying animal, further dehumanizing her. Stacey uses other people’s hair when she attacks them, grabbing ahold of their hair to wrench their lower jaws off. Jade is therefore able to escape her wrath because she has recently shaved her head: “Stacey Graves lunges ahead to take Jade by the hair the same as she just took Lucky, but Jade has no hair for Stacey Graves to grab on to. Her little fingers scrabble on Jade’s stubbly scalp and Jade slips under, away from them” (375). Jade’s baldness represents how she has rejected the traditional definition of female “purity,” and this allows her to survive. Rather than becoming a perfect model of perceived female “purity” like Letha, Jade frees herself from her damaged hair and casts off her former identity. Unlike Stacey, whose hair is a reminder of the dehumanizing violence enacted against young Indigenous women, Jade’s baldness becomes a way for her to escape and subvert this stereotype.
Films, recordings, and cinema are a recurring motif throughout My Heart Is a Chainsaw, indicating the ways in which images are constructed and do not always reflect reality. Horror films are the most obvious example of this motif, as Jade constantly references films she has watched. For Jade, being on camera ascribes meaning to events. If a horrible murder appears on a film, she can fit it into a narrative and therefore understand it. When Jade doubts herself, she thinks that “there’s no camera on her […]. And there never was” (197). Being filmed gives her actions significance, making the camera a device that can construct a coherent story out of the random events of reality.
The novel also includes video evidence as a key component of Jade’s investigation, although the stories shown by the camera are always incomplete. Jade’s first glimpse of Stacey Graves’s murders occurs in a video shot by Mr. Holmes from his ultralight aircraft. This video depicts the pile of dead elk, but the visual evidence is not enough to expose the truth, with most students assuming it to be the result of a bear attack. Mr. Holmes’s video also shows him smoking, suggesting that he has accidentally shown his class a truth that he would have preferred to keep hidden. Similarly, Jade finds the video shot by Lotte and Sven on the phone they left in the canoe. However, even though the entire murder was caught on camera, Jade is not able to determine the killer from watching it.
When Jade watches the video slideshow made by the Founders in honor of Deacon Samuels, she begins to realize the extent to which film can be used to deliberately manipulate information and create separation. She thinks: “[T]his is going to play before the movie on Saturday, right? It’s easier than inviting the whole town over to gawk through Terra Nova, breathe all the clean air up” (234), drawing attention to the fact that the video creates another barrier between Proofrock and Terra Nova. The video shot by the Founders is full of deliberate misinformation and manipulation. Jade notices that much of the dialogue sounds very staged, clearly written beforehand rather than natural.
Cameras and filming also suggest a violation of privacy, with watching and observing becoming a form of violence. Jade suspects that Rexall, Tab Daniels’s old friend, keeps hidden cameras around the school, thinking “there must have been a pinhole camera in Main Supplies, watching her. Which would be the only reason he left her there ‘all by herself’ so easy, just on the chance she might change bras in slow motion” (70). Jade’s analysis of the SlasherCam trope in horror suggests that the idea of being watched or stalked by a hostile viewer is particularly terrifying. When, at the end of the novel, Jade is caught on camera by Tiffany Koenig killing her father, she understands the extent to which film can distort reality and enact violence. While the recording will show some of the truth, that Jade did hit her father with a machete, it will not include any of the relevant context for that moment, thus causing law enforcement to misinterpret the evidence and blame Jade for the murders.
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