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Content Warning: The source text includes mentions of suicidal ideation, detailed depictions of obsessive-compulsive disorder, and references to alcohol addiction, disordered eating, and anti-LGBTQ+ bias.
Mikey Mitchell is the dynamic protagonist of The Rest of Us Just Live Here. He is an 18-year-old high school senior who is coping with both typical and atypical stresses of being a teen: He’s anxious about going to college and leaving his friends behind, desperate to tell his friend Henna that he loves her, and stressed about his mother’s political aspirations and the supernatural strangeness that seems to be creeping into their town. These stressors resurface Mikey’s OCD; Mikey’s journey toward learning to cope with his OCD closely mirrors his emotional journey over the course of the novel.
Though Mikey often struggles to verbalize his feelings to the people around him, he has a highly developed sense of interiority and narrative voice. In his narration, Mikey often expresses conflicting thoughts or desires in close proximity. When, for instance, he describes his ambivalent feelings toward his job, he says: “It’s a great job. I’m lucky. It’s a great job. (But do you have any idea how dirty restaurants are?)” (35). Ness uses parentheticals here to demonstrate how Mikey often entertains contradictory observations nested within one another. Early in the novel, these contradictory thoughts appear almost intrusively in his narration, demonstrating the complexity of Mikey’s thought processes and his difficulty in handling that complexity. As the narrative progresses, he becomes surer of himself and better able to successfully balance these contradictory impulses.
Mikey, despite being highly emotionally intelligent, sometimes fails to perceive the complex interpersonal dynamics at play in his friend group, connecting thematically to Navigating Love, Friendship, and Desire. Mikey’s failures to perceive the shifts in Henna’s relationship with Nathan, as well as Jared’s burgeoning relationship with Nathan, constitute much of the novel’s interpersonal drama. Mikey is unable to make these connections (that everyone in his friend group has made) in part because of the intensity of his jealousy and possessiveness. Learning that possessiveness can be a positive or negative trait depending on how he acts on it is a core part of Mikey’s arc. His relationship with Henna, for instance, is stilted by his attempts to “prove” to Henna that Nathan isn’t a good person; it’s only when he gives up his desire to possess her—and, consequently, discovers that he doesn’t have a romantic attachment to her—that he’s able to find a healthy relationship with her. Though Mikey doesn’t fully work through all of his mental health concerns by the end of the narrative, he does find himself in a much more open, accepting place with regard to his friendships.
Jared is Mikey’s closest and oldest friend and, in many ways, serves as a foil for Mikey’s development. Mikey comes into his heterosexuality after sexually experimenting with Jared and discovering that he’s not attracted to men. While Mikey is highly expressive in describing his desire—and in revealing this desire, even when he doesn’t want to—Jared is deeply secretive about his sexuality and how he expresses it. His desire to keep his relationship with Nathan completely private serves, in large part, as the narrative conflict that Mikey wrestles with as Mikey tries to make sense of Nathan’s (presumed) relationship with Henna.
Jared’s choice to reject his potential “destiny” as an indie kid comes from Jared’s fierce desire for self-determination. Jared figures out what he wants to pursue in life in the moment before he confesses his relationship with Nathan to Mikey: He fails to heal a wounded mountain lion, and this failure helps him realize that he wants to have more complete healing powers, even if they come at a cost. Jared’s ability to see clearly to the heart of his desires, and to make difficult choices for himself about how he will pursue these desires, allows Jared to make astute observations about the lives of the people around him. When his friends pose questions, such as the question at the end of the narrative about what it “means” for their school to burn down, Jared offers complex, well-considered responses to these queries that often push his friends to reconsider the premise of their questions. Jared’s perceptiveness speaks to a thoughtfulness that marks his interactions with all of his friends—but especially Mikey, who often depends on Jared for emotional support.
Mel, Mikey’s older sister, deals with many of the same stressors that Mikey does: She’s deeply critical of her mother and her mother’s political ambitions; she’s coping with an eating disorder exacerbated by stress; and she’s worried about successfully graduating on time. Mel, a year older than Mikey but graduating in his class, spent an extra year in high school due to a heart attack she suffered as a result of untreated anorexia. She was medically dead for a few minutes, and this experience of “losing” Mel was formative for Mikey, who is deeply protective of his sister.
Mel, like Mikey, has a personality full of contradictions. She is, by Mikey’s assessment, “that combination of total self-belief and utter self-doubt” (82). Mel makes self-assured strides in areas of her life that Mikey struggles with; for instance, she is quick to make a connection with Steve and to build a healthy, caring relationship with him. Mel is also able to self-regulate her anorexia as it returns: She knows that she can depend on Mikey for support, and she turns to him when she feels that she will stop eating unless she tells someone about it. By contrast, Mel is highly insecure about her academic performance and often asks for Mikey’s support when she doesn’t fully need it. Of the four main characters, Mel is the most static. These character traits remain consistent for her throughout the novel and, though she achieves her goal of surviving high school, she is not as transformed by the experience as her friends and brother.
Henna, Mikey and Mel’s close friend and Mikey’s crush, deals with many of the same pressures as the other teens in the novel. Her parents want to take her on a mission to an embattled African country and she doesn’t want to go; she’s unsure of her feelings for Mikey (and a few of the other boys in her life); and she’s coping with the loss of her older brother, Teemu. Henna experiences a clarifying moment after the car crash and, in the chapters following this transformative experience, she becomes something of a foil for Mikey. As noted in the Chapter Analyses for Chapters 3 and 4, Henna externalizes her inner turmoil, while Mikey internalizes it. She’s quick to name a problem even when the act of naming might cause conflict. When, for instance, she tells Mikey that “‘For someone I’ve never dated […] you feel entitled to way too much jealousy” (252), she avoids a potential conflict with Mikey by naming the problem head-on. This no-nonsense approach to naming problems is initially difficult for Mikey, but it eventually helps him cope with his own internal struggles.
Henna’s approach to navigating love, friendship, and desire is also wildly different from Mikey’s, and at times is a cause of strife between them. After the car accident, Henna decides that she wants to explore all of the romantic/sexual options that are of interest to her. She’s very open with Mikey about her feelings for him but is also open about her attraction to Nathan and her desire to connect with her ex-boyfriend. Henna’s radically open approach to exploring sex and desire models a different means of Coping with an Uncertain Future. Henna’s arc through the novel demonstrates that it’s possible to handle the anxiety that comes of not knowing how the future will turn out by wholeheartedly exploring all of the options available. Her sexual exploration with Mikey is revelatory for both: They can both finally be free of the possibility of mutual desire in discovering that they are better as friends.
Satchel is the indie-kid protagonist of the parallel narrative told entirely through brief chapter headings in The Rest of Us Just Live Here. Satchel—like the other indie kids—serves to satirize the YA genre and its many tropes. As Satchel’s narrative unfolds through short, action-driven chapter introductions, she receives little in the way of characterization or backstory, an intentional juxtaposition with characters like Mikey and Jared that serves to highlight their comparatively complex emotional and mental states. Satchel’s narrative does establish that she has present, supportive parents; that Ness ascribes this characteristic to one of the novel’s least “realistic” characters suggests that such parenting is itself unrealistic, drawing further attention to the familial realities of the “normal” kids.
Throughout her hero’s journey to stop the Immortals and seal the fissures, Satchel finds herself in a love triangle, is betrayed by multiple friends and love interests, and is burdened with the pressure of saving her town and school—all while her classmates go to work, attend prom, and struggle to navigate love and friendship. In this sense, Satchel becomes a background character, the “normal” kids like Mikey are foregrounded, and the supernatural elements that often dominate plotlines in YA fiction became occasional intrusions into the “normal kids” coming-of-age struggles to navigate friendship, family, and mental health.
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By Patrick Ness