Gone

In these chapters, Grant builds suspense while adding more layers to characters through specific details, dialogue, and interiority, such as when Drake forces Astrid to call Pete an offensive term. Astrid feels resentful that she must care for Pete and that his powers can’t be used to their advantage; she calls Pete “unable, unwilling, uncaring” (255)—emotions that are her exact opposite in the fear-inducing scene with Drake. Astrid initially fights back, but when Drake is inches from her face, she chokes on her tears, foolishly believing she was brave but, when confronted, knowing she isn’t. Her interiority shows she’s “ashamed” of her fear. Drake’s slap to her face is “so quick, she barely register[s] it” (257), and her face burns. By refusing to call Pete the insulting term, Astrid displays fierce loyalty and love for Pete, even after being injured. Drake’s sadistic pleasure in her fear and pain, as well as the back-and-forth arguing dialogue, leads to Astrid giving in to Drake’s horrible wish, magnifying the themes of Overcoming Fear in the Face of Adversity and The Misuse of Power. Drake uses force, such as twisting her hair, to make Astrid say something she would never normally say. Her smart, protective character cannot face Drake’s aggressive, heartless ways.

Fear is a central cause of action and inaction once again. Though Sam pleads with Orc and Howard for a logical world based on morality and peace while they tie him up in the weight room, most characters accept the FAYZ. They’re fine with the new world order when they don’t have to accept it. Sam believes they should shift the focus to escaping rather than surviving, but the kids are controlled by fear of Caine and Drake. If they don’t obey Caine, they will make chaotic enemies who could kill them, as Orc and Howard point out. Orc even states he’s not the one to blame, as he isn’t technically killing Sam and isn’t the one who will kill Astrid (as that’s Drake’s job), an immature justification. People’s darkest, most base instincts come out, such as when they leave Sam for dead. They’re too afraid of losing their own lives and thus perform actions they don’t necessarily want to do, which mirrors Astrid calling Pete an offensive term. Sam, likewise, is afraid to act because he still can’t control his powers.

Caine’s function as the antagonist swells when he is only concerned for himself and has no limits on hurting—or killing—others. He does not regret slamming Sam against the gym walls or ordering Drake to murder Astrid. Caine’s acceptance of violence and his obsession with control darken his character. He also feels no sibling love for Sam. Caine only wants the truth about Connie, their mother, and to see if his brother can be his competition. Sam doesn’t give him the desired answers, which Caine can’t accept. He punishes Sam for his legitimate ignorance, irrationally blaming Sam and Connie for abandoning him as a child. Caine isn’t focused on saving others or the FAYZ but on ultimate power, which is the opposite of Sam’s desires, further contrasting their characters. Caine is a selfish, violent, and tyrannical antagonist who inflicts torture on his victims.

This section also offers moments of foreshadowing. Astrid relies on her valuable intelligence but thinks her brain can’t combat a “monster” like Drake. The term monster foreshadows Drake’s later mutation when he gains a lizard whip arm from the Darkness. A forthcoming battle between Drake and Sam is foreshadowed when he looks forward to murdering Astrid and Sam: “How great would it be to shoot her right where Sam Temple could watch” (277)? His pleasure in cold-blooded murder makes the dread others fear around him understandable and palpable. Drake’s sadistic actions and backstory of shooting someone also signal that he won’t stop until his enemies are eliminated.

As most of the novel is rising action, the author doesn’t overwrite with unnecessary adjectives, details, or imagery. His style concentrates on plot momentum over imagery or internal thoughts, which creates a fast-paced read. He uses multiple life-and-death moments, such as Drake almost shooting Astrid, to heighten tension. Short, action-packed chapters define the author’s style. Ending on a cliffhanger for most chapters, Grant employs high tension with conflict-centered, verb-heavy sentences. For instance, the author layers another fast-paced conflict when a boat revs its motor close by at the chapter’s conclusion, foreshadowing the boat chase and fight with Orc. After the boat battle, the author ends on the startling line that they’re trapped. The anxiety increases because Sam’s group must find a way to escape the FAYZ now, or Caine will murder them.