Hell Bent

While Mercy is excited to be part of the ritual, Alex reflects on the allure of magic and the inevitable consequences. She questions the promise of magic that captivates children and thrusts them into a harsh, unforgiving reality. Magic often comes at a price, and those who seek it may not fully comprehend the sacrifices it demands. This summarizes Alex’s issues with magic: it sells itself on the human tendency toward escapism, only to inevitably disappoint when reality falls short of these dreams.

Darlington is a case in point. To retrieve Darlington’s soul, they needed a vessel that was important to him to carry him out. Because all the other items they could have used were destroyed in the previous attempts to reach him in hell, Alex uses a porcelain box she finds in Black Elm. It is marked with an image of children at Christmas and a reference to the Arlington family’s former business. Inside is the residue of Darlington’s first attempt at the elixir that allows characters other than Alex to see Grays. It symbolizes the fragile nature of knowledge and the perils of uncovering secrets that were meant to remain hidden. It also represents the idealistic, childish view of magic that Darlington shares with Mercy.

While retrieving the box at Black Elm, Alex warns Darlington that they are about to perform the ritual to reach him. The conversation gets to the heart of their current relationship when Alex questions why he did not turn his back on her either before he liked her or after she let the demon consume him. He responds, “Maybe I know a fellow monster when I see one” (231). They are both marked by darkness in their past, and this statement reflects the complicated nature of their bond. They are not good for each other, but each is the only one that understands the other.

While “The Descent” is revealed afterward to be from Alex’s perspective, she lives the memories of the other “murderers” and Hellie through their eyes. While we briefly get memories from Darlington’s grandfather, this is the only time the book presents extensive sections from the perspective of someone other than Alex or Darlington. Each scene moves fluidly to the next through transitional descriptions. Dawes’ dizziness from the shock of killing Blake evolves into the ship’s movement. The rain falling on Tripp is commented on by Carmichael. This same rain stops breathing when Hellie does. These visions all reflect the theme of hopelessness and depict the characters at the lowest points in their lives. These same moments are also why they can participate in the ritual. While the deaths of Blake and Carmichael result from the direct actions of Dawes and Turner, respectively, Spenser’s death is distinctive because it occurs from Tripp’s refusal to act. This narrative choice ties into Tripp’s later doubts about continuing with the plan to enter hell again, along with his death at his demon’s hands, highlighting the consequences of inaction. The white rabbit, like the one in Alice in Wonderland, makes its first appearance here as the innocent collateral damage in the melee of Moral Duality. He represents the characters’ regrets, and his presence hints at their inability to escape the consequences of their past deeds, even as they strive for redemption.

Alex’s fear at the beginning of “The Descent” is intense as she struggles in the river, mirroring her fear of drowning in her past. The use of water in this context underscores the novel’s exploration of the human psyche and the transformative power of confronting one’s inner demons. Alex grapples with questions about her actions and her sense of belonging among the others. She thinks, “Maybe the real reason she’d been able to pierce the circle of protection was because she didn’t belong among the mortal, law-abiding citizens of this world” (242). This inner conflict reflects the tension between her lack of remorse for her actions and her desire for redemption.