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45 pages 1 hour read

Patrick Ness

The Rest of Us Just Live Here

Fiction | Novel | YA | Published in 2015

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Chapters 1-5Chapter Summaries & Analyses

Chapter 1 Summary

Content Warning: The source text includes mentions of suicidal ideation, detailed depictions of obsessive-compulsive disorder, and references to alcohol addiction, disordered eating, and anti-LGBTQ+ bias.

The introduction to this chapter describes an “indie kid” named Finn being killed in the forest by the Messenger of the Immortals.

The chapter opens with the last people to see Finn—siblings Mikey and Mel, and their best friends Jared and Henna—discussing the difference between love and infatuation. This is a particularly thorny conversation for Mikey because Henna, with whom he’s secretly in love, is describing her attraction to Nathan, a new kid in the school. As the conversation eventually turns to their upcoming history paper, the group witnesses Finn, pursued by a glowing girl, run out of the forest. The pair disappears from sight, and a bewildered Mikey sees a pillar of light shoot up from a point in the forest where he assumes Finn and the girl have gone.

Chapter 2 Summary

The introduction to this chapter describes an indie kid named Satchel writing a poem that her parents “give her loving space” to compose (11). She’s then joined by another indie kid named Dylan, who tells her of Finn’s death; they comfort each other.

As Mikey, Mel, Henna, and Jared return to Mikey and Mel’s home, Mikey reflects on how he’s never worked up the courage to tell Henna how he feels. As the friends prepare to hang out, Mikey and Mel’s mother unexpectedly come home early. Mrs. Mitchell is cold toward Mikey’s friends; Henna and Jared quickly pick up on the social cues and make an exit. Mrs. Mitchell begins to criticize Mikey for his friendship with Jared, and Mikey runs out of the house before she can finish her thought. Mikey gives Jared a ride home. Jared has noticed that Mikey’s OCD has been getting worse recently. Mikey reflects on how this is true, and how much he platonically loves Jared—which is complicated, because Jared is gay.

Chapter 3 Summary

The introduction describes the discovery of Finn’s body and how Satchel enlists other indie kids to help her talk to her uncle, who is the police officer leading the investigation. The Messenger, already inside a new Vessel, prepares for the arrival of the Immortals.

Mikey describes how his hometown is just like any other suburban American town, but with the notable difference of the indie kids—the Chosen Ones of every fantasy novel who are constantly battling otherworldly forces that sometimes impact the daily lives of the locals. Mikey, who is not an indie kid, is only focused on making it to graduation.

While at school, the principal announces Finn’s death. Mikey, Mel, Jared, and Henna tell the police what they know of Finn’s death, but the police don’t believe their fantastical version of events. Dejected, the group heads to lunch. To Mikey’s dismay, Henna invites Nathan to eat with them, and Mikey finds that Nathan is both nice and attractive.

After school, Jared and Mikey head to the local diner where they both wait tables. They discuss how Nathan’s attractiveness hurts Mikey’s prospects with Henna. Before their shift ends, Mikey begins to wash his hands over and over, until he’s made himself bleed. When Jared finds him, he envelops Mikey in a big hug, stopping him from hurting himself. On the way home, they discuss how Mikey has been “getting stuck” in compulsive loops.

Chapter 4 Summary

The introduction describes various developments in the world of the indie kids: Satchel and her friend Dylan, who has a crush on her, discuss Finn’s death and another indie kid—also named Finn—who has feelings for her; the Messenger makes an offer to another indie kid named Kerouac.

Mikey describes how, four years prior, Mel had a heart attack and died for four minutes because she had a heart arrhythmia exacerbated by her anorexia. Mikey attributes both his OCD and Mel’s eating disorder to his parents’ dysfunction: His mother is an aspiring state politician who consistently prioritizes her political ascendance over her kids’ wellbeing, and his father, who has an alcohol addiction, is trapped in a job that he tried to embezzle from and is now permanently indebted to his boss—his wife’s brother—who could press charges, but doesn’t. The family went through superficial counseling, but Mikey feels that he and Mel have to look out for each other because their parents won’t.

In the present day, Mikey and Mel help their younger sister, Meredith, plan to see her favorite band, Bolts of Fire. The band will be playing at a local fair, and the older siblings, despite Mrs. Mitchell’s refusal to allow Meredith to go, say that they will both accompany her.

Chapter 5 Summary

The introduction describes Kerouac opening the Gate of the Immortals, which allows the Royal Family to enter the world of the indie kids. Kerouac later finds that the Messenger lied to him and dies.

Henna and Mikey drive to get Henna’s prom dress. They are supposed to go to prom with Mel and Jared as a group, but Henna wants to invite Nathan to join them all as her date—a proposal that Mikey feels would be a violation of the friend group’s dynamic. Henna admits that Mikey is probably the last person she should be discussing this with, which Mikey interprets as Henna’s acknowledgement that she knows he has feelings for her. Mikey takes a risk and admits his love for her. Just as Henna responds by saying “I don’t think you are” (59), they hit a deer and swerve off the road.

Mikey and Henna are both hospitalized, though Henna’s injuries are more severe than Mikey’s. Mikey is attended to by a young doctor named Steve, whom Mel flirts with. Mrs. Mitchell eventually arrives and, though she shows some concern for Mikey’s fractured ribs and broken nose, is more preoccupied with telling her children that their district’s congressman has unexpectedly died and that she’s been tapped for the position. Henna’s parents visit Mikey to thank him for taking care of Henna in the moments before the police arrive.

Chapters 1-5 Analysis

This opening section sets up the parallel, intertwined narrative structure for the rest of the novel: Every chapter begins with a brief, single-paragraph summary of the plotline concerning Satchel and the other indie kids before shifting to an in-scene narrative centered on Mikey. This structural choice accomplishes significant thematic work even from the novel’s opening pages. Satchel’s plotline, though only recounted in brief snippets, is much more action-forward than Mikey’s: In the first five chapters, two of her friends are killed, she begins to investigate their deaths, and she finds herself in a love triangle. By contrast, the events of Mikey’s plotline unfold much more slowly—in the first chapter, he does little more than listen to his friends have a conversation. Ness’s choice to relegate the more action-heavy plotline to brief summaries while prioritizing Mikey’s story thus positions The Rest of Us Just Live Here as a YA book that is interested in creating commentary about whose stories the genre focuses on.

The brief Satchel sections satirize many of the elements and tropes of YA fantasy published through the early 2000s. First, Ness stylizes the novel’s chapter numbers—which are included in the Satchel summaries—with ordinal descriptors, such as “Chapter the First.” Furthermore, the indie kids have unique names that occasionally border on the absurd, such as Satchel, Kerouac, Earth, and multiple Finns, a fact Mel skewers in the first chapter when she wonders aloud if “all” the indie kids are named Finn. Satchel—the bright, talented female protagonist—is desired by all of the boys in her life and is immediately involved in a love triangle (or, in this case, quadrangle), a common trope in YA literature. The worldbuilding itself involves multiple supernatural elements that are all introduced as proper nouns: “Immortals,” “Messenger,” “Vessel.” By placing this stereotypical YA fantasy narrative at the head of each chapter, Ness thus acknowledges that The Rest of Us Just Live Here will be a book about modern YA fiction. By immediately brushing past Satchel’s narrative and immersing the reader in Mikey’s comparatively mundane life, though, he asks the reader to consider why the stories of protagonists like Satchel—characters whose lives likely bear little resemblance to readers’ lives—are the stories the genre prioritizes. The structure of these opening chapters instead invites readers to consider the lives of the characters overlooked by contemporary YA—characters whose joys and fears might look a bit more like their own.

Though Ness uses the chapter structure to critique the content of contemporary YA, he still employs other structural techniques that are common in the genre. The first three chapters of the novel introduce small, mysterious character and plot elements: Mikey taps the corners of the pages of his book repeatedly in the opening chapter and later washes his hands repeatedly until he’s hurting himself, and both Mel and Mikey seem to loathe their mother to the point of avoiding her when she’s home, but there’s no clear conflict between them. Ness allows these mysteries to build without immediately explaining them; this creates narrative momentum by simultaneously crafting characterization while raising questions about the characters. The start of Chapter the Fourth, though, backtracks: Mikey takes time to explain his OCD and Mel’s anorexia and how his mother contributed to these diagnoses. This structural technique is common in YA fiction because it gives the reader time to become invested in the plot and curious about the characters without slowing pacing by giving away too much information up front.

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