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50 pages 1 hour read

Kevin Wilson

Nothing to See Here

Kevin WilsonFiction | Novel | Adult | Published in 2019

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Chapters 3-4Chapter Summaries & Analyses

Chapter 3 Summary

Lillian and Carl are on the way to collect Bessie and Roland, driving a large passenger van equipped with an air mattress in the back. Lillian is unhappy with this task, primarily because she was growing accustomed to idle life on the wealthy estate, but also because she expected the children to be delivered in a “wooden crate” stuffed with packing peanuts. The journey out the door was bumpy because Carl’s strict scheduling clashed with Lillian’s laziness. She teased him, and they embarked belatedly on the six-hour round trip to Jane’s parents’ home. The Cunninghams were a political powerhouse until Jane’s father bankrupted the family with the legal defense of his Ponzi scheme.

On arrival at the grandparents’ house, Carl exits the vehicle with a cooler of drinks laced with sedatives. Lillian objects fervently, and the cooler is left behind. In the house, they find Jane’s father outside grilling burgers; Bessie and Roland are in the pool as they have been for hours. Mr. Cunningham almost immediately requests the cashier’s check he has been promised. After handing the cheque over, Carl goes upstairs to pack the children’s belongings—a task they refused to complete themselves. Although Lillian was instructed to wait, she goes to greet the children without Carl. She draws on her experience earning the trust of a wild cat as a teenager, assuming these children will be similar. Their startling green eyes and round faces—they still carry their baby fat—impress Lillian. She notices that they are unsteady and look as though they are not being properly cared for. Bessie approaches her and asks for Lillian‘s arm to help her from the pool. Bessie then quickly and forcefully bites it, dragging Lillian into the pool and under the water. While attempting to drown Lillian, Bessie screams for Roland to escape.

Lillian eventually gets hold of Bessie and dunks her underwater when she catches on fire. Carl returns in time to catch Roland, who is hanging from the fence by his swim shorts. When he too ignites, Carl punts him into the pool. Collecting herself, Lillian realizes the children are nothing like the wild cat and attempts to reason with Bessie. She argues that leaving is preferable to staying with “boring old people” who don’t feed them and keep them sleeping on dirty (51), insect-ridden sheets. Bessie is furious but grudgingly agrees to trust Lillian’s promises to take care of her and Roland and to “rock [them] to bed and kiss [them] good night and sing [them] lullabies” (51). Hanging on to Lillian’s promise to never leave them, Bessie and Roland assent to leaving their grandparents’ house.

Chapter 4 Summary

Carl takes another shot at enticing the children with the sedative-laced drinks, but Lillian intercepts him. Using a first-aid kit, Carl cleans Lillian’s bite wound and numerous scratches. Bessie expresses mild remorse for causing the wounds. After getting Bessie and Roland changed out of their burned clothing, Lillian changes out of her wet ones and dons a muumuu Carl appropriated from Mrs. Cunningham’s closet.

Carl and Lillian briefly argue about her decision to ignore his instructions and approach the children solo. Lillian wanted to be alone with them to gain their trust, but Carl insists that their mission is “damage control” and disaster prevention. He explains that the children have been through “some awful stuff” and as a result are “damaged goods” (55). He urges Lillian to be careful with them and genuinely considers whether Lillian might need a rabies shot, all with the children in earshot. On the walk to the van, Lillian watches Bessie and Roland, observing that they look even younger than they are. She begins to feel affection for them because, like her, they are “unloved and fucked over” (55). This feeling is not love though, which Lillian believes she is incapable of.

On arriving at the Roberts’ estate, Lillian wakes Bessie and Roland, who claim never to have seen the place before despite spending half of their lives there. Madison is waiting outside with teddy bears for each child, but they stiffen at the mention of her name. Although herself reluctant to exit the van, Bessie drags Roland out. Bessie offhandedly mentions that she has read fairy tales about stepmothers, heightening the tension. Madison notices Lillian’s injuries and wardrobe change, which Carl explains as “a slight mishap” (58). She promises to make the children happy in their new home.

Jasper then arrives, telling the children he missed them. Bessie restrains Roland from approaching “Daddy,” and in that moment the twins’ memories come rushing back. They instantly ignite, and Carl lunges forward to protect the stunned Jasper and Madison. Lillian pulls of the muumuu and uses it to smother the flames while soothing the children. Exhausted and extinguished, Bessie and Roland let Carl carry them back into the van. Carl then urges Jasper to consider alternative solutions for managing the children, but Lillian jumps to their defense, insisting that they were overwhelmed and that it was an accident. After a moment Madison joins her, reminding Jasper that the children will be in the “slave quarters” before amending this to “the guesthouse” (60). Madison whispers campaign slogans about family values, and Jasper declares that the children will stay. In the van, Roland and Bessie are semiconscious but hear the full exchange. Lillian confirms they will be staying and welcomes the children to the place they will make their “home” over the summer.

Chapters 3-4 Analysis

With readers primed to accept the premise of children who burst into flames, Wilson finally introduces Bessie and Roland in Chapter 3. It is a chapter that plays heavily on animal and inhuman imagery—like Lillian expecting them to arrive like animals shipped from an exotic locale and Carl wanting to tranquilize them—to highlight the wild strangeness of these children. As exaggerated as it seems, it is an apt metaphor for children whose behavior is practically feral when Lillian meets them— a connection Lillian herself makes when she chooses to approach the twins as she had a wild cat.

Nevertheless, Lillian recognizes that they are just children and notes the remarkableness of their soft features, as well as their physical underdevelopment. Their grandparents are partly responsible for their state and only seem to be housing Bessie and Roland in exchange for money. The Cunninghams are a reminder of the stakes and a warning of what could happen to the Roberts family should they lose their money and status, explaining why Madison and Jasper are going to such lengths to keep this secret.

By Chapter 4, Lillian is already working as an advocate for the children. In spite of the pool incident, which should lend credence to Carl’s argument for sedating Bessie and Roland, Lillian remains against it. This is a rare (so far) moment of someone advocating for the twins’ interest over their own, and the children detect Lillian’s sincerity, which goes a long way to building their trust. As she did with Timothy, Lillian feels a sense of solidarity. In addition to the twins’ strangeness, she relates to them because she too was neglected by the person entrusted with her care. Like Lillian, they have not had easy lives, and Carl rather unkindly hints at an unnamed trauma. Their sincere amnesia upon arrival at their former home points to memories they have suppressed as too traumatic. That Jasper triggers those memories means their father is somehow connected with their trauma.

After the shock of the twins bursting into flames, Lillian again passionately defends them, this time putting her own safety at risk to extinguish the fire. Still, it is not Lillian’s emotion that changes Jasper’s mind but Madison pulling his strings. She appeals to the politician by giving the kind of performance he would use to persuade voters. To Jasper, caring for Bessie and Roland is an optics issue and part of his political posturing for higher office. The hypocrisy of these performances, particularly Jasper’s political theater, is something Wilson continuously highlights. Madison’s slip-up in referring to the children’s new home as the “slave quarters” broadens this critique, connecting Jasper’s treatment of his children to the rotten underbelly of Old South gentility.

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