45 pages • 1 hour read
Patrick NessA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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.
In the moments before Henna and Mikey kiss for the first time, Henna tells Mikey: “Here’s this future we’re looking at. And it’s not far away like the future normally is. It’s here, now. Like any second” (123). This articulation of the changing proximity of “the future” encapsulates what all of the teenagers in this book feel: that their high school years are a kind of holding pattern in which they can mature as they prepare for this oncoming future. For Mikey, this holding pattern in a comfortable space because it doesn’t require change—so long as he stays in the limbo of high school, he doesn’t have to risk losing his friendship with Henna by expressing his feelings for her, and he doesn’t have to face the reality that life after high school will meaning moving away from the emotional support Jared and Mel provide.
The rapidly approaching future is also intimidating for Mikey because the internal lives of the adults in his life remain largely inaccessible to him. As Mikey ruminates on why none of the adults in town seem to believe in the supernatural, he wonders “What happens to you when you get older? Do you just forget everything from before you turned eighteen? Do you make yourself forget?” (29). This line of questioning suggests that Mikey perceives a fundamental disconnect between the way he and his friends understand the world and the way adults do. Mikey spends much of the novel trying to make sense of his parents’ decision-making processes: He wonders why his mother prioritizes her career over her children and why his father chooses to put off rehab for his alcohol addiction when he knows it’s his best option. The fact that Mikey can’t answer these questions creates concern about what kind of adult he’ll be if he can’t understand the inner workings of the world of adults.
By the novel’s end, many of the plot points that have caused Mikey stress—such as where his mother’s political campaign will go, or whether his friendship with Jared will survive their inevitable separation—remain entirely unresolved. This lack of resolution, though, doesn’t frighten Mikey the way it did at the start of the novel. He wonders what might happen in the future, asking “What will this summer be like? Too fast, probably. Too many nights at Grillers, but also nights together, all of us. Like we are now” (315-16). Mikey learns to cope with the uncertainty of the future by accepting the unchangeable fact of that uncertainty and instead embracing everything the present has to offer. The final scene isn’t one of action or forward momentum: It simply describes Mikey and his friends sitting and watching the school burn down. This closing scene emphasizes Mikey’s movement toward learning to enjoy the moment he’s in rather than worrying about what will follow.
In The Rest of Us Just Live Here’s opening scene, Henna and Mel debate what will become one of the novel’s fundamental questions: What is the difference between love and desire? Henna claims that love is a natural extension of desire and that desire is not, itself, something that can be controlled, while Mel argues that everyone has control over how they choose to act on their desire, saying, “you can still choose to act right” (2). This question of what it means to “act right” is one that plagues Mikey. He can’t decide how to act on his desire for Henna, and because he fears that exposing his desire will destroy their friendship, Mikey chooses not to act at all. This lack of action leads to a lack of communication between Mikey and Henna on the topic of desire; when Henna finally acknowledges that she knows how Mikey really feels about her, it hurts Mikey because Henna thus takes away his opportunity to express his desire on his own terms.
Henna’s approach to expressing desire is much different from Mikey’s. After the car accident, she becomes more assertive about expressing her desires—both for Nathan and for Mikey—and her forthright expression of desire eventually leads to sex with Mikey. Having sex with Henna does shift the nature of their friendship, but not in the way Mikey anticipated. Mikey and Henna discover, by finally acting on their desire, that they do love each other, but “it’s a different kind” (287). Mikey and Henna together find that exploring desire has the ability to shift the culturally constructed definitions of “love” and “friendship” that they’ve accepted all their lives. After sex, they tell each other not only that they love one another, but also that they “could have been each other’s best friend” (287). This conversation not only suggests that sexual love and friendship are not mutually exclusive, but also that sex can be a vehicle through which the possibilities of love/friendship can be more fully understood.
For Mikey, the answer to the question of what it means to “act right” when it comes to desire shifts radically over the course of the novel: His initial belief that acting on desire might destroy friendship is entirely upended, and he instead finds that “acting right” is a matter of close communication and staying open to the idea that the boundaries of love, friendship, and desire are mutable.
There are plenty of aspects of Mikey’s life that he’s unsure of, but one aspect that’s he’s quite sure of from the start of the novel is the importance of family—specifically, his chosen family. In the opening chapters, Mikey emphatically states that he loves only three people in the world: “Mel. Meredith. And the third person isn’t either of my parents” (22). He implies here that he loves Jared in a way that he’s not capable of loving either of his parents. Mikey’s construction of “family” differs from the norm of the nuclear family and the commonly held idea that relatives deserve a particular emotional reception because of their blood-relation status. For Mikey, the people he chooses to love are those he feels he can trust with his love: Mel and Jared because of their unwavering support of him, and Meredith because of the joy she brings and protectiveness he feels toward her. His parents, by contrast, have consistently broken his trust. While Mikey tolerates his parents and even offers emotional and financial support where he can, he is aware that excising them from his personal family model is in his best interests.
Mikey’s personal construction of the definition of “family” also allows him to shift what is considered acceptable in his relationships with his friends—especially his male friends. Several times over the course of the novel, Mikey rebuts the idea that his various physical intimacies with Jared make him gay. He says, “most people would think it weird that two guy friends touch as much as we do, but when you choose your family, you get to choose how it is between you, too. This is how we work” (120). Here, Mikey points to the idea that his reconstruction of the definition of “family” has also opened him to constructing the boundaries of his masculinity in ways that might not be entirely traditional. In the present-day narrative, Jared touches Mikey primarily to stop Mikey from hurting himself or to show Mikey kindness after he has already hurt himself. Mikey sees Jared as family, and Mikey allows himself to accept and enact expressions of tenderness with his male friends that, in other contexts, would be seen as engendering romantic love. Mikey not only accepts this tenderness into his life, but he is also unafraid of how others view it. His reconstruction of his family unit allows him to embrace support where he can find it and protect himself from others who won’t offer that same support.
By Patrick Ness