In the final two chapters, the sisters return to where they started.
In chapters 10 and 11, Jack and Jill made their defining choices. Now we see the consequences.
Tag: wayward children
In Chapter 10, we find out how far Jill is willing to go to get what she wants. In Chapter 11, we find out what Jack is capable of when all she wants is ripped away.
Last chapter, we saw how different the sisters were, once you had them side by side. This chapter, we examine the extremes of each opposite end of the spectrum the sisters represent.
In Chapter 9, the sisters come face to face, making the rift between them very clear.
If you didn’t know which sister was meant to be the hero and which was meant to be the villain, you probably learned the difference in this chapter. Not that it wasn’t obvious before, but now, we see another side of Jill — namely, how she acts around her inferiors. She abuses the status she has, views it as her right. Jack’s conversation with the stallholder at the end makes it clear that she has acted worse than this before, and could act much worse out of jealousy. Being Jack’s friend is dangerous. We have been warned.
In Chapter 8, we get a montage!
Montages are a little harder to pull off in written form. In a movie, all you need is a bunch of scenes and some cool music and you’re ready to go. In writing, you need a little more: reference to time passing, connecting tissue to link the scenes together somehow, a way to signal that we are skipping over many other things. Here, present tense is used as one such signal, which is interesting since present tense is generally used to create the effect of immediacy and immersion. This is the opposite of that—the tense helps us to zoom out and makes the scenes flash by a little faster. The return to past tense hits like a return to real time.
In Chapter 5, we are given a proper introduction to the Moors, and dine with the people in power.
Despite the chapter title, neither Jack nor Jill are given a real choice in this chapter, not yet. Their new nicknames were given to them. They get to choose their food, but don’t get to see what it is until after the choice is made. Instead, it is the Master and Dr. Bleak who talk about choosing.
In Chapter 2, the Wolcotts outsource their parenting and find moulds to fit their children.
By the standards of anyone save for her ruthlessly regimented son, Louise was a disciplined, orderly woman. She liked the world to make sense and follow the rules. By the standards of her son, she was a hopeless dreamer. She thought the world was capable of kindness; she thought people were essentially good and only waiting for an opportunity to show it.
Louise, Chester’s mother, makes both her entrance and her exit in this chapter. She is here to offer another perspective, both for us and for the twins. She provides a way for us to contrast what is happening to what could be. We can see this from her first introduction that the way Chester sees her (soppy and impractical) doesn’t match the way the rest of the world sees her (disciplined and orderly). The contrast is also shown in the stories Chester and Serena tell others about Louise. It is interesting that Serena is aware that she’s not telling the truth. This isn’t just a competing narrative that holds sway because the Wolcotts are in a position of power. This is a narrative they are forcing on the world so they can look better.
Down Among the Sticks and Bones Analysis, Chapter 1: The Dangerous Allure of Other People’s Children
Introduction: Downsides of a Prequel
Down Among the Sticks and Bones is the second instalment of the Wayward Children series. It follows the adventures of Jack and Jill Wolcott, from inception to childhood to the Moors, a world which could serve the setting for pretty much any Gothic horror.