Introduction

I am a secret no one is able to tell.

Blythe Hallowell is sixteen when she is abducted by a survivalist and locked away in an aban­doned missile silo in Eudora, Kansas. At first, she focuses frantically on finding a way out, until the harrowing truth of her new existence settles in—the crushing loneliness, the terrifying madness of a captor who believes he is saving her from the end of the world, and the persistent temptation to give up. But nothing prepares Blythe for the burden of raising a child in confinement. Deter­mined to give the boy everything she has lost, she pushes aside the truth about a world he may never see for a myth that just might give mean­ing to their lives below ground. Years later, their lives are ambushed by an event at once promis­ing and devastating. As Blythe’s dream of going home hangs in the balance, she faces the ultimate choice—between survival and freedom.

Above is a riveting tale of resilience in which “stunning” (Daily Beast) new literary voice Isla Morley compels us to imagine what we would do if everything we had ever known was taken away. Like the bestselling authors of Room and The Lovely Bones before her, Morley explores the unthinkable with haunting detail and tenderly depicts our boundless capacity for hope.

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Excerpt

Dobbs wins the fight easily. He shuts and locks the door. I feel a small sense of relief. With a hulking slab of metal separating us, I am finally able to breathe just a little. It is only when I hear another thump, another door closing some place above me, that I understand: not only am I to be left alone; I am to be hidden.

I am a secret no one is able to tell.

Just like that, instead of wishing Dobbs gone, I am waiting for him to come back.

Surely, it won’t take long.

When Dobbs returns, I’ll take him off guard. I’ll push past him, dash outside, and sprint across the field. I will steer clear of the road. I’ll head for the line of sycamore trees along the creek. I’ll make my way east, and he won’t think to follow me there on account of its being trappers’ territory. Even if I do get snared, it’ll be better than this, because someone will find me. Nobody’s going to find me here, wherever here is. A dungeon? I can’t make any sense of it. A big round room with a massive pillar right through the middle of it. Contraptions, wires, pipes, spigots, dials. I keep my back turned to the space, keep my face pressed up against the door. It is made of steel and has a handle, although not like one I’ve ever seen. Something a bank might have on its vault.

What has he done? What’s happened to me?

Dobbs should be getting back by now. He’ll take me out of here. He’ll explain it to me, not like before, which didn’t make any sense. He won’t be rough, either. Or cross. He’ll be nice, like how he is in the library.

I look at Grandpa’s pocket watch; only fifteen minutes have passed. Even though it is still ticking, I wind it tight. If only I were still at the Horse Thieves Picnic, our town’s annual tradition that I look forward to all year. The gathering that attracts a couple thousand people has since moved from its original location among the walnut trees of Durr’s Grove to Main Street, and its contests no longer include Largest Mustache for Boys Under 17 or Baby with the Worst Case of Colic, but there is still a parade and a carnival. Apart from the parade, the next most popular event is the concert at the bandstand, where Daddy, no doubt, is now line dancing. It takes no effort to imagine what my sister and brothers are doing. Suzie, with Lula Campbell, will be strutting around the midway looking for boys, and Gerhard, not actually bleeding to death from wrecking his pickup on I-70 like Dobbs had first said, will be off with his pals to scale the water tower. Having left the Horse Thieves Picnic early on account of Theo’s fever, Mama’s likely fallen asleep on her bed, the fan moving what the lazy July evening can’t be bothered to blow through the window. No one has probably even noticed that I’m gone. How long will it take them before they do? And when they do, where will they imagine I am? What will they think the cause for my absence is? They won’t be imagining anything bad, that’s for sure. Bad things don’t happen in Eudora, Kansas.

I look over my shoulder at the space behind me. The enormous concrete pillar and two partitions divide the round room into halves. Behind the partitions is where Dobbs said I could get myself something to drink. I can see a bit of the recliner, where I was I told to sit and wait.

I don’t like the looks of anything behind me, so I keep my eyes on Grandpa’s watch. The minute hand and I go for long walks around the numbers. And then the numbers, the watch face, and everything else disappears, just like the time lightning split the maple tree outside our living room and we all vanished in its blinding flash. It’s like that, except in reverse. The darkness has swallowed me whole.

I can’t see my hand, even when I hold it up to my face. Nothing seeps through the darkness. I keep waiting for my eyes to adjust. The outline of the partitions or the big concrete pillar should be visible. I start shivering.

I think I hear something. “Dobbs?”

The darkness snatches my voice and issues nothing in return.

“Hello?”

Don’t panic. The electricity’s gone out; give it a minute.

If this were home, Mama would be feeling her way to the pantry for the lantern and the matches she keeps on the top shelf. Gerhard would have the flashlight under his chin, his bottom teeth thrust outward and his eyes crossed and buggy, and Suzie would be getting all hysterical, as if Gerhard really were the bogeyman. And Daddy would be chiding Gerhard, but only halfheartedly, because there’s nothing better than spooking girls.

But this is not home. This is not any kind of place you’d put a person. What kind of things do people put in a place like this? How far underground am I? There were a lot of stairs and a long passage that kept making sharp left and right turns. And too many doors to keep track of. Locks.

Just think of home. Just give it a minute. Just wait.

There is no way to tell what time is doing. Has it been five minutes or half an hour? Shouldn’t the electricity have kicked back on by now?

There is a creak somewhere behind me, to the left. A shifting. My ears strain. I hold my breath so I can hear better. Is there something in here with me? Something doing the breathing for me? In. Out. Sounds like air through clenched teeth. Something with its lips drawn back. Oh Lord, what if it comes for me?

I mustn’t move. Not a sound, or I will give myself away.

How could anything have entered? Is there a hole in the wall? Maybe the noise is nothing but a draft coming through a vent. But maybe it isn’t. Maybe some inner door opened. Because this no longer feels like a confined space but a very large one, widening still.

There is something behind this door, too. Something that turns it freezing cold. I scoot back, exposed. On my hands and knees, I shuffle over to where the kitchen is supposed to be. I must hide. Hurrying as fast as I can, I ram straight into something. My head about cracks. I can’t make any sense of what I’ve hit—something with knobs. I keep hurrying, this time with one hand outstretched.

My hand locates the leg of the table. I get under it, bring my knees up to my chin, and grip myself tightly. Maybe whatever is making the sound is one of those things that can see in the dark. Which means it can see me under the table with the chair legs pressed against me. It doesn’t help to tell myself my imagination is playing tricks on me. Please. Oh, please.

Sit still. Don’t move. Quiet. Ssh. Help me, someone, please, God.

The sound of scraping is so loud I think the entire floor is going to give way. I hold on to the table leg.

The light snaps on. The first things I see are Dobbs’s shoes. Suede beige moccasins. The second thing I see is the gap behind that massive metal door after he’s entered. Maybe he will think I’ve run off. Maybe he’ll think me gone, head back upstairs, leave the door open.

“What are you doing under there? Silly girl. Come on out.” The shoes approach.

I don’t move.

“Come on. We’ve got work to do. I said I’d be back, didn’t I?”

I crawl out. “I’d like to go home, please.”

“We’re not going home now. I’ve explained that. Ten times already. I need us to finish our task. Team work, remember? Me, you, a team?”

“Please, I need to get back home. I’ve got chores and there’s my book report and my mother’s not going to be happy if—”

He puts down a sheaf of paper on the table and then pulls out a chair for me.

“Is this about the library books?” Theo had scribbled in them. I’d offered to pay the fine, but Dobbs had said not to worry. Now he’s changed his mind; he aims to punish me. Has to be it. It can’t be anything else. Why else would he be so calm, like people are supposed to be when disciplining kids? I’ve never noticed before that his eyes are spaced too far apart and are too small for such a long face. Barely noticeable are the features that are supposed to give a face definition: his eyebrows are thin and, like his eyelashes, fair; and his lips are the same pale color as the rest of his face. His skin from hairline to lips to drawn-out chin is that of a chicken before it goes into the oven. If it wasn’t for his thinning hair neatly combed over his ears, plucked is how he’d look.

His plaid shirt is tucked in. Clip-on tie perfectly straight.

“Sit.”

I do as he says. “Can we hurry? Because my mom and dad are going to get worried pretty soon. And then they’ll think—”

“They’re going to think what we want them to think.” Dobbs Hordin snaps the lid off the pen. The noise startles me. Only now do I realize there are no other sounds down here.

He pushes the pen in my hand, puts a crisp white sheet of paper in front of me, then takes from his top pocket a note, which he irons flat with his hand. “Copy this, word for word; no embellishing.” Tidy words, like buttons in a row. They’re for me to fasten up, fasten something that needs covering, putting away. The note I’m supposed to copy reads:

Dear Mom and Dad,

I know this will come as a shock to you. I have taken the bus

to a city far away. Please don’t try to find me. I will write again

when I am settled. Please don’t worry.

From your daughter,

Blythe

They’ll know from the very first line this didn’t come from me. Won’t they?

I scoot back. “You’re taking me away?” Shouldn’t there by a why in there someplace, too?

“Write.” He taps a long nail on the blank page. “The sooner you write this, the sooner we can move on.”

There are going to be a dozen ways to escape, none of them from here. I write the first word, but I’m seeing myself at the counter of some down-at-the-heel diner where the waitress has everything sized up before Dobbs is through ordering. Finish the letter and get going, I tell myself. The sooner you get to that diner, the better. And if not that, then out the window of a 7-Eleven restroom.

Dobbs leans over me and watches me copy each word. He’s too close. I can feel his breath on my neck. He smells of mouthwash.

He puts his hand on the table next to mine. Underneath it is the poem I’d written while waiting for Arlo at the Horse Thieves Picnic tonight. He mutters and shakes his head.

“You had no problem writing this.” I ask him to give me back the poem, but he tucks it back into his shirt pocket and says, “You really feel this way? Over that boy?” As though there is something deficient about Arlo, as though the last thing a sixteen-year-old should be doing is giving Arlo Meier the light of day, much less her heart.

I feel the heat rise to my cheeks.

He bends toward the paper I am working on. He says, “I’ve always admired your handwriting,” before taking it away and tearing it up.

The next two attempts go the same way, but I can’t write the note without some little clue for my mother, something she can use to show the police officer, so she can say, “See, Blythe would never be so careless with her loops.” Or “She never forgets to cross her t’s, but see here—three in a row.” And if they don’t believe her, she can fish out my diary and hold it up against the note. It won’t take but a quick comparison by a handwriting expert to see what is going on. “Yes, she is being held against her will. Be on the lookout for a man with wispy hair and teeth so uniformly stubby they look filed or gnashed, like the Bible says. . Five ten, hundred and seventy pounds, middle forties, queer habit of clearing his throat when agitated. Look for a silver Oldsmobile with a rosary draped over the rearview mirror.”

“I’ll take that,” Dobbs says of my next attempt, and hands me a fresh page.

With him watching so closely, I try to be more careful. On every other line, I write a letter backward.

Dobbs slips the paper from under my hand, crumples it. “We can do this all night, if you want.”

On the new page, my handwriting is impeccable. Every i dotted; every t crossed. He thinks I am complying. He doesn’t seem to notice when I press down on a letter a little harder. If Mama turns the page over, those letters should stick out a little. If they do, even a blind man will see what’s happening. All she has to do is run her fingers lightly over the letters, rearrange them in her head, and they are going to spell d-o-b-b-s. Nothing more need be said, because she’ll be right back to that night two years ago when Dobbs Hordin turned up in our living room, rousing her suspicions like a stick in a nest of sleeping copperhead snakes.

Eudora’s country roads, gravelly and rutted, are chancy at night. A car found this out the hard way. We heard the crash, and we followed Daddy out to see, even though we’d been told to stay put. And there was the Oldsmobile: high-centered, back wheels spinning, turn signal flashing as though it intended to wind up in Lester Pickett’s cornfield. Daddy helped the driver from his car and ushered him up to our front porch, where I could see it was Mr. Dobbs Hordin from the school library. Apart from a tiny spot of blood on his forehead, he seemed fine. Mama served him a glass of warm sugar water, while Daddy went back to the car to wait for Sheriff Rumboldt.

“You have a wife we can call, Mr. Hordin?”

He sipped his water, clutching the quilt around his neck. “Please don’t go to any trouble, ma’am. I’m mighty sorry for the inconvenience to you and your family.”

“Some relative, perhaps?” Creasing Mama’s brow was the same little frown she got when she read a recipe and came to an ingredient that seemed out of place. Dobbs Hordin wouldn’t have known, as we kids did, how you could measure the length of Mama’s frown and determine the amount of trouble you were in. “There must surely be someone I can call.”

“You know my children?” she asked after learning he worked at the high school.

“There are three hundred and some youngsters at Eudora High, Mrs. Hallowell.”

It wasn’t exactly a denial, but it was an omission, and Mama says omissions qualify as lies. Dobbs Hordin had, in fact, recommended two books to me the previous week. He’d been especially nice about it, too. Asked my name, asked what it was about nineteenth-century poetry that caught my fancy so. And there he was in our living room, telling Mama in so many words he’d never seen the likes of me.

Later, when the car had been towed away and Sheriff Rumboldt had given Mr. Hordin a ride back home, I could hear Mama and Daddy talking in their bedroom.

“He wouldn’t let me call anyone. Can you imagine that?”

“Shock can do funny things to a man.”

“Seemed awful calm to me. There’s something about that man that doesn’t set right. Why would he be driving down our way when he lives clear across town, especially at this time of night?”

Mama, you’re going to have to look especially close at this note if you want to know who’s got me. Before signing my name to the note, I give him a hard look. “We were nice to you. We helped you.”

He’s got that same calm expression, just as he had when Mama quizzed him. Dobbs folds up my letter and tucks it in an envelope. When he licks it, his tongue is basting with spit, like his appetite’s been whetted. “Now, let me show you around.”

What he calls the kitchen is not much more than the table I hid beneath, three chairs, several metal bookshelves loaded with canned goods, and a counter with a gas stove and a kettle. There is a stand and a washbasin and a storage space with cubbies. Each plastic tub in it is clearly labeled: TUPPERWARE, FIRST AID, LAUNDRY SUPPLIES. Where are the windows is what I’d like to know. There must be one in the restroom.

“I need to use the facility,” I announce, to see if I’m right.

He leads me around the partitions to a narrow door that opens to a stall the size of the broom closet. “Powder room,” he announces.

There’s a drum with a toilet lid on it. Next to it is a stack of boxes labeled WARNING: CHEMICALS, along with a mound of toilet paper rolls and written instructions taped to the wall about how to separate the toilet bowl from the waste reservoir beneath it, when to add disinfectant, and how to use something called an accordion valve to flush water from the top tank into the bowl. He taps the sheet. “A chem-john’s a little different from what you’re used to, so be sure to follow all the steps, please.”

He closes the door. No window, only walls made from the kind of pressed board with holes in it. I can hear him shuffling about on the other side. Can he see me in here?

Mama! Help me. What do I do now?

How do I get up those stairs and back on the other side of that door? When he brought me here it was still light outside. We drove up to what looked like a concrete outhouse, except it was an entrance of some sort: a door, two narrow concrete walls on either side of it, and a little overhang, and that was all. You see a door like that, with nothing behind it but a big open field, and you think it’s a joke. He says it leads to the safest place in the world, and because you’ve already had the bejesus scared out of you being told your brother’s been in a car crash, you want to be somewhere safe. You step through it. You go down concrete steps so steep and so narrow that you have to hold on to the wall. Through more doors and into a circular room that looks like a giant drum. That’s all it takes to be completely cut off from Eudora, Kansas, population 2,200, on the town’s biggest night of the year. I’d still be at the Horse Thieves Picnic if I hadn’t got fed up waiting for Arlo, if I hadn’t decided to walk home without telling anyone. If I hadn’t climbed into Dobbs Hordin’s ugly car.

“You done in there?” he asks through the holes in the wall.

I step out. “I want to go home. Right now.”

He scratches his head. “I don’t know how else to explain it to you.”

It’s eerie, the silence down here. No cicadas screeching from the elm trees; no kettle on the boil. No lawnmowers; no tractor churning up a nearby field in the last light. If we were aboveground, I might be able to hear the distant strains of music at the carnival, or at least the faint roar of freeway traffic on K-10, maybe a crop duster headed for a barn. But underground, there is nothing but the sinusy breath of Dobbs Hordin and those briny eyes thinking of a way to explain something that makes no sense.

“Maybe if I show you. Come with me.” He offers me his hand.

I shove mine under my armpits.

He makes a sweeping gesture as though by some miracle this is not the room in which I have just spent the last couple of hours but some new place that wants discovering. “I call this the Ark.”

We move to the section that is meant to look like a living room. Between two brown recliners is a bronze floor lamp with a yellowed shade. On top of a rickety chest of drawers is an artificial potted plant. It is exotic-looking, leaves shaped like tongues. The shag carpet in mustard and orange colors matches the curtains, which don’t frame a window but hang around a paint-by-numbers picture—a boy reclining next to a creek, his straw hat pulled over his eyes, a fishing pole at his side.

“My mother took up painting when my brother died. She said that’s how she pictured my little brother, Elby, in heaven.”

It’s hideous, I want to shout.

On the other side of the Peg-Board partition is a supply closet and what he calls “sleeping quarters.” The cot has a a folded quilt at one end, a pillow at the other, and smack-dab in the middle a white teddy bear with a big red bow—something you might win at a stall on the midway. Hanging from the ceiling is a plastic curtain that Dobbs pulls till it makes a cubicle, like the one they have you change in at Dr. Hubacher’s office. “For privacy,” Dobbs says, as though that explains everything.

He points to the clothes rack. “These should all fit.”

The dresses are from another era, with pleated sleeves, modest necklines, fitted bodices, and long A-line skirts. Beneath their hems is a tub marked INTIMATES. Next to it are two pairs of ballerina flats—one black, the other tan—and a pair of house slippers. “Blue—your favorite color, right?”

I stare at him. He looks so pleased with himself.

I start to shake. I tell myself this is not the time to be weak. This is the time to be strong. To fight him. “You tricked me.” My voice quavers. I try again, loudly this time. “You lied!”

“Yes, I’m sorry about that.”

Could it really have been little more than two hours ago when Dobbs had leaned out of his car window, stopping beside me on the street? I had my face set to smile even though the evening, having started with such promise, had been such a letdown, and even though I had the long walk home ahead of me. The poem I’d written on the bleachers was crumpled in my hand, the misery of waiting for and then giving up on Arlo too clichéd for iambic pentameter. “There’s been an accident,” Dobbs had said. “Your brother.” That was all it took for me to leap into the passenger seat. He had to reach across me to close the door, had to belt me in. I had forgotten simple tasks. And then he was driving down Winchester Road, and I couldn’t imagine why he was still going the speed limit. When he turned left on the county road instead of heading for Lawrence, I asked, “Aren’t we going to the hospital?” “I’m sorry it has to happen this way,” had been Dobbs’s reply. I thought he meant my brother, twisted and bloodied, fighting for his twenty-year-old life, and my having to carry such a load at the age of sixteen. It hadn’t made sense. Not so much the words as the tone of his voice—flat. The way he kept his eyes in the rearview mirror—flat, too. There was a bumpy dirt road and a gate and a sign: TRESPASSERS WILL BE SHOT. Dobbs had gotten out of the car. He’d unlatched the gate and pushed it into a thick patch of foxglove.

That’s where everything might as well stop. Right there, with me sitting patient as you like, hands folded tightly in my lap, watching Dobbs wedge the gate in the weeds. Before the word if had a chance to cross my mind.

Now, it is fully formed.

If I had slipped into the driver’s seat. If I had backed out of the driveway. If I hadn’t sat there, so quietly, with all the alarm bells ringing in my head.

Whatever this is, I fear it is worse, much worse, than trickery or lying. “Take me home! I want to go home!”

“Like I said, you’ve got nothing to fear—”

“Don’t come any closer!”

He holds up his hands. “I need you to be calm, that’s all.”

I glare at him.

“Stay calm and everything is going to be fine.”

And that’s when I open my mouth and scream.

I know what this is. This is what they warn every teenage girl about.

I keep yelling.

Dobbs doesn’t move.

My scream ricochets off the concrete walls and swirls around us like a dust devil.

When I’ve run out of breath, he says calmly, “Getting all het up won’t help.”

I scream again. This time, the effort rips out half my throat. Something tears; Lord help me if it’s my resistance.

“Nobody can hear you,” he says in the next lull.

What is this place? I run to the door. I yank on the handle, screaming where the crack ought to be. I slam my fists against the door. “Help me! Somebody! Help!”

Behind me, Dobbs might as well be chiseled from marble.

“Let me out of here! I want to go home!”

He grabs my wrists, but I wrest them easily from his grip. He should be stronger. It is sickening just how weak he is. And then I realize he isn’t weak at all; he’s purposefully trying to keep from hurting me.

“This isn’t like you, Blythe.”

I deliver a kick that catches more air than shin. Don’t fight like a girl, I think.

I roar at him, and he suffers rather than counters each blow. His hair bounces out of its neat side parting and falls over his eyes. I swing my hand and it catches him in his face. I feel his skin roll under my nails like the pale dough Mama uses for biscuits. Apart from red welts on his cheek, there is no response, no about-face.

It’s clear now what his intentions are.

I don’t want him to soil me without first leaving a bruise. I want his spoils damaged.

A thick vein sticks up out of his sinewy neck, and his eyes flicker like strobe lights. With my hands bound in his grip, I buck and kick.

He says, “I don’t want to hurt you, Blythe.”

“You are hurting me!”

And he just keeps saying those same stupid, useless words while I fight him, a not-quite-full bag of flour. view abbreviated excerpt only...

Discussion Questions

1. The book opens with Blythe already held captive by Dobbs. What effect did this have on your understanding of Blythe and her life before being kidnapped? Why do you think the author chose to reveal Blythe’s early life through flashbacks, and in small pieces?
2. Like with Blythe, we come to understand Dobbs and his psychosis over time. How does Dobbs compare to other kidnappers in real life, or in fiction? Were there aspects of his character that surprised you? How come?
3. Blythe characterizes Dobbs and his madness on page 36, as “a kind of craziness you can’t tell from the outside. Only the whistle gives him away. There’s harm in that whistle…” Do you agree with this identification of Dobbs, and of psychosis generally? Do you think it’s something that can really be hidden, or just missed, not noticed?
4. On page 27, Blythe says, “I give myself the small task of finding the sweater, believing if I can do this, I will be able to do greater things when the time comes.” What other techniques does Blythe use to cope with and negotiate her way through being a captive? How does she adapt to her unbelievably difficult situation?
5. While Blythe is held captive in the silo, she frequently imagines a monster, always hidden out of sight or in the darkness. What does the monster mean to Blythe? Does it have a specific symbolism? Is it just her imagination?
6. What does memory mean to Blythe, during her captivity? How is it a double-edged sword for her, making her time both easier and more difficult?
7. Over time, Blythe begins to focus less on escaping her situation and more on making her own day-to-day life tolerable. How does this change come about, and why? Is it part of Dobbs’ manipulation or Blythe’s coping mechanisms? How does the arrival of first Charlie, and then Adam, affect this shift?
8. Blythe’s first pregnancy, then Charlie and finally, Adam, change everything about her situation. Discuss some of the ways in which they alter Blythe’s priorities, goals, and life in general? How do they each affect the dynamic between Dobbs and Blythe?
9. As Adam grows up Blythe must make choices about how best to raise him—and decides primarily to ‘’play along’’ with Dobbs’s story. What do you make of this decision? What do you think led Blythe to this choice? What effect does this have on Adam?
10. What are the first hints that Dobbs’ story might not be entirely false? When did you begin to suspect that the world outside of the silo wasn’t as Blythe left it? When Blythe and Adam finally escape, what was your reaction to the reality of the world outside? How did the author make this twist so effective?
11. Right before Blythe and Adam leave the silo, Blythe reflects on her time there and says, “You can’t see change; you can only feel it.” (p.229) What do you think this means? Do you agree that real change is something that you feel more than see, or touch?
12. As Blythe and Adam find their way in the strange and terrifying landscape outside their captivity, what surprised you most about Blythe’s reactions and choices? Do you think you would act differently, in her place? Is it possible for you to imagine yourself in Blythe’s shoes?
13. Discuss with your group the change in Blythe’s attitude towards Dobbs after her escape—how does it evolve, and why? Were you shocked by the feelings she comes to have for him as the book ends? Would you characterize it as sympathy, or something different?
14. The explanation for why the world is the way it is, i.e. what has happened since Blythe was kidnapped, unfolds slowly, and only after Blythe and Adam have been free for many days—what effect did this have on you as a reader? Did your confusion help you identify with Blythe?
15. Read Blythe’s conversation with Ginny on pages 379-382: How is Blythe’s relationship to the post-apocalyptic world a metaphor for her struggles readapting to the world after escaping such trauma? Which of Blythe’s struggles have to do with the changed world, and which are particular to her kidnapping and captivity? How do these intersect?
16. On page 420, Blythe says, “I am the one who has swallowed the darkness.” What does she mean by this? What are some of the difficulties that Blythe has adapting to freedom? Why do you think she deals with things the way she does?
17. Blythe’s evolving understanding of freedom becomes a major theme in this novel. What does freedom mean to you, and what does it mean to Blythe? Can a person in captivity ever be considered “free”? And conversely, in what ways are the people “above” captives?
18. At the end of the book, Blythe says of Dobbs, “Maybe forgiving him a little at a time is the only way I’m ever going to be free of him.” Discuss this idea with your group: Can you imagine forgiving Dobbs for all he did? Do you think Blythe is right that forgiveness is the only way for her to move forward? Were you surprised at how far she has come from the beginning of the book?
19. One of the most important symbols of the book is Blythe’s grandfather’s watch and its inscription. What does this mean for Blythe during her time in captivity, and how does its meaning evolve for her over the course of the book?
20. Home is a very important concept to Blythe. What does home mean to Blythe when she is in captivity, and how does it change during that period, and especially, after her escape?

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