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Content Warning: This section of the guide includes discussion of drug/alcohol addiction and psychological abuse.
In a flashback, Frank surprises Maya with a trip to Thomas Island. Going out with Frank is always a mystery: “Frank never tells Maya where he’s taking her, and she likes this about him” (132).
Frank takes Maya out on his father’s friend’s boat, assuring her that he has permission. Maya is leaving for Boston soon, and the weight of their coming parting hangs over their day. Frank lets Maya drive the boat. She again thinks Frank will kiss her, but once again he doesn’t. On the car ride back, Frank is distant and cold. He hands her a case of CD’s to listen to because he is not interested in talking. The case includes a mix with the note, “Songs for when we can’t be together. Love you forever, Ruby.” (138). Maya worries this means Frank has a girlfriend, but she’s scared to ask him.
In the present, Maya feels frazzled after learning about Cristina’s key tattoo. Maya forgot about Frank’s key, but now memories stir in her mind. She remembers when Frank showed her the key at Balance Rock. Maya drinks tea to soothe her nerves, though she craves alcohol. She also thinks about the note from Ruby on Frank’s CD, wondering what secrets Ruby might know.
In the past, Maya frets over whether Frank has a girlfriend. Maya is losing her excitement for college in the fall, even though Frank might not be into her romantically.
Maya is on her way to Aubrey‘s house for a sleepover when Frank unexpectedly shows up. Maya invites him in and tells him that she has romantic feelings for him. Frank reciprocates and they kiss. Frank tries to convince Maya to reschedule with Aubrey, but Maya is adamant about keeping her plans with Aubrey and not being late.
Before leaving, Frank invites Maya to his cabin the next day—he’s finished building and wants Maya to be the first to see it. Frank tells Maya about his inspiration: One day when he was ten, Frank got lost in the woods behind his house. He looked around for someone to help him, but only found the ruins of a cabin. He stayed in the woods all night, hoping his parents would find him. As the night went on and no one came to save him, he tried picturing a warm cabin in his mind. This image gave him comfort through the night and helped him feel brave. The next day, he vowed he would one day build this cabin for himself on that very spot. Frank noticeably fiddles with the key while telling Maya this story.
Frank then drives Maya to Aubrey’s. Then, there is a gap in Maya’s memory. It seems later than it should be, but when Maya tries to check the time on her phone, when she realizes she forgot her phone and all her belongings at home. When they arrive at Aubrey’s, Maya considers introducing Frank to Aubrey, but decides against it.
In the present, Maya tries to find Ruby on social media. She finds several Facebook pages for women named Ruby living in Hood River, where Frank lived with his mother. Then, Maya finds an obituary for a young woman named Ruby who died in a fire at age 19, only two months before Frank moved to Pittsfield.
In the flashback, when Maya finally shows up at Aubrey’s, Aubrey is mad. It’s 11:42pm, making Maya three hours late. Aubrey disapproves of Frank, especially when Maya confesses that she might defer college for a year and stay in town for his sake. The next day, Aubrey comes to Maya’s house when she knows Frank is on his way to take Maya to his cabin. Aubrey is wearing a sexy red dress, which hurts Maya’s feelings.
When Frank arrives, Aubrey mentions the cabin, which takes Frank aback. Frank claims he can no longer take Maya to the cabin and needs to reschedule. He also invites Aubrey to see the cabin as well sometime. He offers Aubrey a ride home, and she accepts.
In the present, despite drinking gin and orange juice for hours, Maya feels lucid. Maya monitors her phone for a text from Dan, but he still hasn’t texted back.
Maya gets a text from Steven with a photo of the painting Cristina gave him before she died. The painting is of Frank’s cabin; it captures “Contentment. Well-being. The feeling of warmth on your face” (164). Maya sees a connection between the painting and her father’s story—both are trying to describe “the perfect home” (164). Since Aubrey’s death, Maya has avoided reading her father’s book, since it reminds her of that summer. Maya also has an odd sense that the book contains a hidden message, but she is afraid to unearth “the key to Frank’s secret. And the key went to a door inside her head” (165), a door behind which are her memory gaps from when she was with Frank. Maya searches her house for her father’s book, finally finding it in the basement. She sets to reading.
Maya researches “The Hymn of the Pearl,” the poem that inspired her father’s book. The hymn tells the story of a boy sent on a quest to Egypt to fetch a pearl from a dangerous serpent. However, once in Egypt, the boy loses his memory of his family and his quest. Maya quickly realizes that her father’s novel fleshes out this fable: He “carried the old story on like an heirloom bringing it into the present by slowing it down and coloring it in with moments from the life of a boy growing up in Guatemala City. He’d woven it in like a secret” (172). Maya now understands the manuscript better, delighted to discover its origins. She feels it may help her understand the bigger mystery of Frank’s role in Aubrey’s death.
In a flashback, Maya is anxious to know if Aubrey and Frank flirted on their drive back to Aubrey’s. This is the first time a boy has come between the two best friends. Maya heads to the library to confront Frank. On her way, she sees Aubrey and Frank together at Dunkin’ Donuts. When she demands to know what is going on, Frank explains that he recommended a book to Aubrey after finding they have a shared love of magic, leading to them having coffee. Aubrey stays silent and avoids eye contact with Maya, but when Frank leaves, Aubrey warns Maya: “I know how Frank made it sound just now—like I just so happened to drop by as he was leaving work. But he’s bullshitting you, Maya. He set it all up” (178). Though Aubrey is adamant Frank is trying to manipulate the girls, Maya is convinced Aubrey is trying to steal Frank away.
As Frank and Maya spend more time together, the novel portrays his growing emotional abuse. In many ways, Frank’s actions are typical of an abusive romantic partner. First, he isolates Maya from her support system, driving a wedge between her and everything she once held dear—from her friendship with Aubrey, to her excitement at starting college. Maya and Aubrey’s friendship is already strained by Maya’s upcoming departure for college. But the tension escalates when Aubrey seemingly tries to steal Frank away from Maya—behavior that plays into Maya’s growing paranoia and Frank’s isolationist manipulation. Second, Frank manipulates Maya’s emotions, by withholding affection and acting cold toward her, only to suddenly surprise her with the promise of a romantic evening when he knows she has plans with Aubrey. At that moment, he makes Maya feel that if she doesn’t give up Aubrey, she will lose Frank or force him to revert back to his cold persona. This inconsistency makes Maya question her perception of Frank—a form of deception now known as gaslighting. Maya becomes desperate to please Frank. When he admits to having romantic feelings for Maya and immediately follows this by saying, “I wish you weren’t leaving” (147), Maya cancels on Aubrey. Similarly, Maya pursues deferring college for a year to spend time with Frank. However, as befits a novel in the thriller genre, Frank’s behavior goes beyond standard emotional abuse. Maya’s gaps in memory point to the fact that something even more sinister is going on: Later, readers learn that Frank has actually been hypnotizing Maya, making her vulnerable on a deeper psychological level.
Frank’s description of his cabin in Chapter 19 is important both for plot and thematic development. When Frank tells Maya about being lost in the woods at age ten, he is a captivating storyteller who uses vivid, sense-rich imagery: “He was lost. He was only ten, it was getting dark, and all around him, an endless sea of trees, like that dream where you’re underwater and can’t tell which way is up” (149). The metaphor of drowning in an ocean of trees makes his narration visceral, as Maya imagines sinking beneath the waves. Frank uses fairy tale imagery and tropes to complete the story: He finds the ruined foundation of an old home in the woods, stops there, and spends the night imagining a cabin, a fantasy that keeps him warm and calm. The story alludes to fairy tales such as “Hansel and Gretel,” who find a seemingly beneficent gingerbread house in the woods, or “Little Red Riding Hood,” who traverses the woods in search of her grandmother’s welcoming cottage. Frank plays on Maya’s sympathy here, portraying himself as a vulnerable and lonely child—a pitiable figure—and his dream of a cabin as a universal Yearning for Home and belonging, a feeling Maya can readily connect to, given her outsider status.
Frank’s cabin demonstrates The Power of Stories and Resilience of Imagination. Right now, the cabin exists only in Maya’s mind; even when she is seemingly about to get to see it, Frank backpedals and refuses to show it to her, so all she can do is picture the building he has been describing. The cabin also prompts the novel’s use of ekphrasis—a literary technique in which a piece of visual art is described in written work: It inspires Cristina, who paints the cabin, imbuing the image with “Contentment. Well-being. The feeling of warmth on your face” (164)—qualities that line up with Frank’s emphasis on the cabin’s position as a home. However, while Frank tells Maya this story, he fiddles with his key—a symbol of access that is always tantalizingly out of reach.
This inaccessibility parallels Maya’s present-day research into her father’s manuscript. While “The Hymn of the Pearl” allows Maya to unlock her father’s influences, the poem and novel’s plot revolves around a disappearing home that can no longer be accessed, as a boy who leaves his family for adventure loses his memories of their existence and can never return. This narrative is an allegory. Jairo worried that the minutiae of Guatemalan politics would break his generation’s connection to their ancestors and history—their spiritual home. Similarly, Maya has also wandered away from her true home on Earth—her relationships with her mother and Dan—in her obsession to get to the root of her past. Her eventual decision to return to this emotional home will keep her grounded and able to escape Frank’s hypnotism.
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