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57 pages 1 hour read

Angie Kim

Happiness Falls

Fiction | Novel | Adult | Published in 2023

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Part 1 Chapter Summaries & Analyses

Part 1: “Everyone’s Fine”

Part 1, Chapter 1 Summary: “Locke, Bach, and K-pop”

Content Warning: This section of the guide includes references to bullying, rape, and racism.

Narrator Mia Parkson admits that they didn’t report her father as missing to the police immediately, then reflects on the Parksons’ “typical-adjacent” and “indubitably, inherently atypical” (4) family dynamic.

The novel then flashes back to the events of the day when Adam went missing. Mia is home from university during COVID-19 quarantine. Preoccupied with the end of her relationship with Vic, her boyfriend of more than six months, Mia looks out the window to see her 14-year-old brother Eugene running through their neighborhood, back from a walk with Adam. Proud to see him running, which he isn’t usually able to do, Mia goes to hug him, but he pushes her to the ground. While she is surprised that her father isn’t with him, and although Eugene is “jumping, accompanied by his high pitched vocals” (10), repetitive motion he uses to de-stress, Mia isn’t overly concerned. With her eyes closed, she hears footsteps come down the driveway, assumes it’s her father, and then falls asleep on the lawn. 

Part 1, Chapter 2 Summary: “Heuristics Traps Galore”

Mia reflects on the heuristics concept of selective perception. For instance, that day, she assumes, and then insists to herself, that her dad came home. Only after Mia’s mother Hannah and Mia’s twin brother John arrive home worried does Mia finally realize that the footsteps she heard were those of a delivery person leaving a package. John wants to call the police, but Mia disagrees, so they decide to search for him on their own first. While Hannah and John search the park, Mia stays home with Eugene. Hannah calls to say they can’t find Adam and that they need to call the police. Mia notices a dark spot on Eugene’s shirt, and “crescent of dark red under his right thumbnail” (24). As she sees police lights outside, she starts the laundry and ushers Eugene into the shower.

Part 1, Chapter 3 Summary: “This Could Get Bad”

The police are there about a car accident that may have been caused by Eugene. Mia assumes they’ve come to inform her that her father was killed in the accident, but they don’t have any knowledge about him. John and Hannah arrive home and tell the police about Adam having gone missing. Worried that the police are there for “child welfare and protective purposes” (28), Hannah calmly and assertively describes Eugene’s condition. Eugene, who is nonverbal, has a dual diagnosis of autism and Angelman syndrome (AS), a genetic disorder that causes cognitive disability. The police agree to delay investigating the accident until Adam is found.

While Hannah helps Eugene dress, Mia notices that his fingernails are cleaner than expected, implying that Hannah also helped him clean the blood from under them. 

Part 1, Chapter 4 Summary: “Snowflakes, Rainbows, and the Vortex of Overanalysis Hell”

Detective Morgan Janus—whom Mia recognizes from a lecture about suicide at her high school, and who recognizes Mia for having objected to use of the phrase “committed suicide” instead of the neutral “died by suicide”—questions the family on any divergences from their typical routine the day Adam went missing. When Janus reads part of the accident report saying that the driver stopped at the intersection, Mia notices Eugene shake his head and squeeze his eyes shut. After Detective Janus leaves, Mia thinks about their breakfast’s “micro-anomalies” (42), and then the family begins to investigate Adam’s disappearance: Hannah calls friends and acquaintances, John attempts to talk with Eugene using communication cards, and Mia takes responsibility for digital items. She finds sheets of paper with what she assumes to be code: a series of questions paired with block letters and numbers. On an external hard drive, she notices a PDF life insurance policy not in a folder, and password-protected folders labeled “HQ.”

Part 1, Chapter 5 Summary: “Requiem”

Mia wakes up, briefly not remembering what has happened, and then hears Eugene emit what she calls his “original requiem scream” (49). She’s heard it on only two other occasions: when Eugene witnessed their grandmother’s death from a stroke while they lived in Korea, and when he woke up the next morning. They all run into Eugene’s room to find Hannah comforting him. Mia and John argue about the scream, with John saying he doesn’t think it’s significant. John eventually suggests that Mia may be responsible if something has happened to Adam given her actions the previous day.

The phone rings: Detectives have interviewed several witnesses who saw Adam and Eugene the day before. Upset when a timer goes off for a family tooth brushing ritual of her dad’s invention, Mia hesitates to pick up her toothbrush, and instead texts her father. She is elated when the message is read, and typing dots appear, but the reply she receives is “who is this?”.

Part 1, Chapter 6 Summary: “A Mere Seventy-Seven Degrees”

Unconcerned, given that she and John playfully often change each other’s contact names in their parents’ phones, Mia replies to the message with an inside joke, then receives another message, saying “Mia?”. She runs to show her family the messages. While Hannah and John are overjoyed, everyone is surprised to see Eugene seemingly reading the messages, clearly becoming distressed by them despite his smile. Detective Janus calls, but cell reception is bad, so Mia is unable to understand the call. They notice that the location dot of Adam’s cell phone has moved, and race to the park. Mia asks John if he recently played their phone contact name prank, but he has not. They discuss the possibility that Adam has Alzheimer’s or amnesia.

Part 1, Chapter 7 Summary: “Something Beautiful and Dangerous”

John and Mia arrive at the park, but find no sign of their father. John meets Susan, an acquaintance of the family, who says she saw police cars leaving 20 minutes earlier. She sympathizes with John and Mia, mentioning the “horrible news last week” (68), then backtracks when the twins clearly don’t know what she’s talking about. On the way home, John and Mia call Detective Janus, who tells them that she sent the “who is this?” and “Mia?” messages. The police have found Adam’s phone.

Part 1, Chapter 8 Summary: “Just Tell Us”

Detective Janus tells the family that the initial search did not find Adam or his body. The police did find his backpack in the river; Mia and Hannah obliquely ask what that means for the likely outcome, and the detective’s reply is vague. She does offer that an investigation of the contents of the backpack has revealed a folder with a manila envelope and a spiral-bound notebook labeled HQ: “the H probably stands for Happiness” (76) and Mia immediately feels certain that the “Q” is short for “Quotient.”

Part 1 Analysis

Mia’s narrative voice is unusual for the mystery/thriller genre, which often relies on straightforward description and simple diction. Instead, Mia includes extensive philosophical allusions, using the form of academic writing to address the reader directly and to put “side points in footnotes,” which we can read, ignore, or “try a few, mix and match” (4). The use of footnotes characterizes Mia’s tendency to analyze all options and think through problems critically and creates an academic tone. Her frequent direct address invites reader engagement and heightens the immediacy of the reading experience. For example, when Mia writes, “I can guess what you’re thinking. You’re guessing I must have been devastated by the Who is this? Message” (54), the reader cannot help but respond to her questions. At the same time, these rhetorical questions make the novel a kind of diary, facilitating Mia’s retrospective questioning of her actions. Later in the narrative, the reader will learn that Mia is reflecting 100 days after Adam’s disappearance.

Mia’s narration also introduces ambiguity and doubt into the plot. Any first-person narrator is assumed to be writing from a place of bias and possibly unreliability. Here, in addition to the reader’s uncertainty about the veracity of Mia’s narration, she injects elements of self-doubt and also often questions the motives behind actions and statements made by her family members. For instance, after having told Eugene to scrub his fingernails, Mia comes upstairs to find Hannah helping him and realizes “that Eugene probably couldn’t scrub his hands by himself, at least not well. As furtively as I could, I looked down at his fingernails. Clean” (31). The scene describes collusion between mother and daughter, who tacitly agree to conceal the blood on Eugene’s fingers. At the same time, this silent agreement is ambiguous, since the reader never definitively learns what has or has not occurred; the meaning, or lack thereof, in the exchange introduces the theme of Language and Silence.

Part 1 includes several references to the eight years the family spent in Korea, when Mia was between 5 and 13 years old, which provides context to the Parksons’ experience as a Korean American family. While Eugene watches a “Manhwa cartoon video he’d watched nonstop back in Korea” (23), Mia is comforted by “something about the mellifluence of the animated children’s informal banmal style of conversation” (23), which is just what she needs while waiting for John and Hannah to search the park. In addition to specific cultural products like the cartoon or Korean opera, the novel includes references to the concept of jeong, the comforting familial attachment between people who are close to one another, demonstrating the family’s experience of being between cultures. Mia’s sense of jeong also ties into the novel’s interest in Unbreakable Family Connections, which for her sometimes edge into the paranormal.

This section introduces several of the key symbols that recur throughout Happiness Falls, specifically music and smiling (See: Symbols & Motifs). When Mia remembers Eugene’s scream after their grandmother Harmonee died of a stroke, she describes the sound as musical and notes Eugene’s incongruous smile: “not a normal human scream but a hundred pigs squealing and an ensemble of out-of-tune violins screeching above the highest A7 combined into a piercing cacophonous note that hurt my ears […] we noticed Eugene smiling when he clearly should not have been happy” (48). Throughout the novel, music provides a visceral sensory way to experience the world, and smiles are often a kind of mask symbolizing the difference between appearance and reality. 

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