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46 pages 1 hour read

Nathan Hill

The Nix

Nathan HillFiction | Novel | Adult | Published in 2016

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Part 10Chapter Summaries & Analyses

Part 10 Summary: “Deleveraging”

Faye has no intention of staying in London. Rather she moves through Heathrow and immediately boards a flight to Norway. She is heading to Hammerfest, her father’s hometown. She wants to know why he left Norway so abruptly. When she arrives, she is initially put off. The town is hardly as picturesque as her father made it sound in his stories. The entire journey now seems stupid: “Just a few more stupid choices in a life full of them” (673).

 

Her ruminations are interrupted, however, by the appearance of a beautiful white horse. Faye feels drawn to it. She sees a young woman walking toward her. The two chat—her name is Lillian. Faye confesses the reason for her trip, that she is looking for the Andresen farmhouse. In a stunning revelation, the woman says that she is Frank’s daughter, although she knows him as Fridtjof Andreson. Lillian leads Faye to a nearby farmhouse. Lillian tells Faye that Frank was a fisherman known for his strange power to sense troves of fish in the ocean. Frank fell in love with a waitress named Marthe. In the spring of 1940, even as rumors spread about the approach of Nazi troops, Marthe told Frank that she was pregnant. The two married and the child, Freya, was born. Later they had Lillian. Three years later, during the chaos of the Nazi retreat, Frank simply disappeared, abandoned his young family, emigrating to America. The family now despises him (his name has actually been erased from the family Bible). Faye is shaken by the story, seeing parallels now between her father’s story and hers. She is resolved now to return to America and to Samuel.

 

She sends a long email to Samuel telling him she is coming home. In addition, she admits that Samuel’s editor, Guy Periwinkle, was in fact her lover from the 1960s, Sebastian. Samuel realizes that Guy/Sebastian had been in control of their reunion. Faye had found out through the Internet that Samuel was a writer, or at least a promising writer. She contacted Sebastian and pointed out that he owed her. It was Sebastian who then had extended to Samuel the ridiculously generous contract on the slim evidence a single published short story. Guy/Sebastian had in fact orchestrated the reunion from the moment Faye threw the rocks at Governor Packer. Samuel is uncertain how to feel as he wanders the streets of New York. He wonders why life cannot be as easy as the narratives in those Choose Your Own Adventure books he loved as a child. He meets with Bethany and asks for her help—she agrees, and the two begin a new phase of their long relationship, one uncomplicated by his old obsessions but based rather on mutual care and respect, in short, a friendship.

 

Approached by the Packer campaign (again at the direction of Guy Periwinkle) to serve as its crime czar in return for making the case against Faye disappear, Judge Charlie Brown agrees. Faye is off the hook. Meanwhile, the tell-all book about Faye appears under Samuel’s name (although it had been ghostwritten by the Packer campaign). Samuel knows what he must do, and he leaves for Iowa. He understands that gathering materials for the book has gifted him with the empathy, understanding, and forgiveness to begin his own novel about his mother’s childhood—his writer’s block at last disappearing. He now realizes the error in Pwnage’s template about people being puzzles or traps, obstacles or enemies: “[I]f you really look under the hood of someone’s life, you will find something familiar” (728).

 

His mother meanwhile has also returned to Iowa to nurse her dying father. She sits by her father’s bed, and they share stories of Norway. She knows that every now and then the fog of his dementia clears and he knows his daughter has come home. As the novel ends, Faye, certain now her debts are paid, is determined to build a strong and lasting relationship with her son: “It makes her hope that someday soon they’ll be two people encountering each other sincerely, without the disfigurement of their history, and minus all her immutable mistakes” (731). 

Part 10 Analysis

Part 10 signals a time to settle debts, a time for the characters to square off with the past and at last set down the burdens of guilt, animosity, and regret. It is time to end the elaborate deceptions, as Guy says, a time for “putting all our cards on the table and everything” (706). It is time to connect with real-time (in a narrative aside, Pwnage has been hospitalized after collapsing at his computer terminal; now recovering in the hospital, he sees the quagmire of his addiction and resolves to finish his mystery thriller). With that commitment to understanding driving the narrative events in this final part, the characters begin to embrace the challenges of living with the debts of the past at last leveraged.

 

Faye for her part in the pilgrimage to Hammerfest learns that the father who had so harshly judged her was in fact haunted by his own decision years earlier to abandon his family, to in essence flee from the compelling pull of the nix and its seductive call to settle for home and family. She sees they are more alike than different. Like Faye, Frank elected to see the world and then later to restart a family. Faye understands now the great hobgoblin of her adolescence, her father kicking her out of the house, was a kindred spirit, restless and exploratory. Her return home to Iowa, however, is not compelled by some supernatural hex, but rather she goes out of love and understanding for her father.

 

In turn, Samuel understands the irony of his obsession over Bethany and finds a friendship that promises him the gift of another uncomplicated by his adolescent fantasies and egoism. He sees the pointlessness of the anger he felt toward his students. He understands he no longer needs to play college professor; he can turn to what he understood as a child was his nature: storytelling, shaping and creating characters through the strength of empathy, the ability to think and act and see from others’ perspectives. He is ready, he tells Guy/Sebastian, at last to write the “big epic book” (724) he has so long promised—the book we assume we are reading. 

 

We return to the famous Buddhist koan that serves as the novel’s epigraph. A committee of blind men are shown an elephant and charged by the king to figure out what it is. Their inability to define the animal (one by one each assesses a single element of the massive animal), each offering a bit of perspective, delights the king. The elephant, of course, eludes definition. Like that koan, Hill’s novel offers a plethora of perspectives, angles, definitions, and perceptions that both offer and defy clarity, completeness, and solution.

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By Nathan Hill