57 pages • 1 hour read
Stacy WillinghamA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
All the Dangerous Things follows a grieving mother as she seeks her missing son. Isabelle’s first-person narration grants the reader a visceral understanding of her motivations and desires, as well as her mourning her son, her estranged relationship with her husband, and the deaths of her younger sisters during their childhood. As she searches for answers, she encounters other people experiencing grief. Isabelle’s interactions showcase the nonlinear nature of grief, framing each person’s path to healing as different and underscoring the unfairness of comparing responses to loss.
Because Isabelle is the narrator, the reader is most familiar with her relationship with grief. Early in the novel, she ruminates on an article she wrote about a dolphin whose calf died. The dolphin mourned its child by pushing the corpse around in the water; when Isabelle asked a dock hand how long she would do so, he responded, “As long as it takes to grieve” (63). This observation mirrors Isabelle’s grieving of her younger sister Margaret and her son, Mason. Although Isabelle has allegedly healed from the trauma of losing Margaret, her flashbacks and frequent references to her sister show how present Margaret is in her thoughts. Isabelle’s unresolved trauma informs her suspicion that she hurt Mason, requiring a conversation with her mother, who also struggled with motherhood, for closure. Her pursuit for truth allows her to reconcile her guilt (over her “culpability” in Margaret’s death and Mason’s disappearance) and begin the process of healing as she is finally reunited with her son; she even begins to forgive her parents. Isabelle’s grief over Mason’s disappearance is nonlinear in that she does not follow a script for mourning. She remains angry and devoted to finding her son, even when her separated husband declares Mason dead and moves on with his life. Her desperation contributes to her unreliability as a narrator but ultimately gives her the determination needed to find Mason. Isabelle thus shows the ways in which grief can be productive, reinforcing how no person should be rushed in their grieving process. Her experience with grief is mirrored by Waylon, who also uses activity to mourn: He spends almost a decade trying to solve his older sister Allison’s murder by Ben. His final podcast episode becomes an act of closure and symbolic storytelling with the truth at its core.
The other mourners in the novel are Isabelle’s parents, though the source of their grief is hidden until late in the story. Their loss of two daughters (Margaret and Eloise) is compounded by the necessity of keeping the deaths a secret, creating a process of mourning that is stifled before it can truly begin. Isabelle’s mother is especially affected due to her postpartum psychosis at the time of Eloise’s death; this death is what caused her to kill Margaret. Even this act of murder is an expression of grief, as Isabelle’s mother does so in a misguided attempt to keep her daughters under her protection. The family’s acts of grief are restrained to keep up appearances, a joint performance that strips them of their actual emotions and reduces their relationships to ones of secrecy. This stagnancy is only disrupted decades later by Isabelle’s pursuit for the truth. Overall, Stacy Willingham explores short-term and long-term mourning through her characters’ many losses. By showing the different ways that mourning can manifest, she highlights the variable nature of grief.
Many of the tensions at work in All the Dangerous Things hinge on the difference between story and truth. Isabelle is both an inheritor of and creator of narratives; her storytelling efforts align with her search for truth but, in many ways, hide reality. Her journey reveals both the disconnect and overlap between narratives and facts.
Isabelle uses stories to frame her life, with her relationship with her own narrative being complex. The stories of three people in particular dominate her life: Mason, Margaret, and Ben. The first of these three stories, the story of Mason’s disappearance, has both external and internal layers; Isabelle possesses a story (speech) that she uses to elicit sympathy from crowds, angling at finding more help for Mason by using pathos and rhetoric. However, her internal story is one of doubt and self-hatred, rooted in her suspicion that she is not a good mother and therefore played a part in Mason’s disappearance. The differences between these two narratives disrupt her peace and contribute to her insomnia, showing the power that stories have to shape the physical world. The second story comprises Isabelle’s understanding of Margaret’s death, which centers her as an antagonist. She believes she killed Margaret, with the physical manifestation of her trauma—her sleepwalking—linking her to a crime she did not commit. She uses both Mason’s disappearance and Margaret’s death as evidence that she is not enough, creating a cycle of self-doubt that conflicts with the realities of both stories. It is only when Isabelle learns the truth (regarding her innocence in both cases) that she regains autonomy and can more effectively shape the narrative of her life.
The third story comprises Isabelle’s understanding of Ben and is fraught due to Ben’s manipulation of their love story to mitigate truth. He withholds information from Isabelle during their first meeting, intentionally manipulating her so she is caught off guard when she discovers he is her boss at The Grit. This discrepancy in power allows him to control her flow of information (which he also does to current girlfriend Valerie), such as him already being married. Ben’s influence prevents Isabelle from seeking the truth, and this continues even after their separation, when she believes his version of events (regarding Mason’s disappearance, the nature of his relationship with Valerie, etc.) until she is presented with contrary evidence. It is the truth that allows Isabelle to sever her emotional connection to him and change the narrative of their relationship. The novel’s conclusion sees Isabelle take control in two ways. Firstly, she plants evidence implicating Ben in Valerie’s death, ensuring that he is finally brought to justice for past crimes. Secondly, she participates in a final podcast episode with Waylon, telling Allison’s story and fully taking control of Ben’s false narrative. Overall, Isabelle’s search for clarity highlights how story and truth can both be at odds with and complement each other. When narratives are believed without consideration for truth, innocents are hurt and manipulators are rewarded. However, truth without narrative often lacks emotional connection. Isabelle’s transition from being the subject of stories to a possessor of truth highlights the importance of both emotions and facts in understanding anyone’s full story.
Isabelle is a woman who suffered a traumatizing childhood. As a child, she loses both of her younger sisters (Margaret and Eloise) and is unable to process her grief, as her parents insist on keeping up appearances; Isabelle’s father in particular likely emphasized secrecy to protect his political legacy. In not being able to face her past, Isabelle’s trauma emerges in unexpected ways, growing even more intense after the loss of her son, Mason. These compounding experiences reinforce The Longevity of Trauma.
The novel’s first mention of trauma is Isabelle’s insomnia. She spends a year being unable to sleep following Mason’s disappearance. Sleep has thus stopped being a state of security and rest and instead is a source of anxiety. The idea that terrible things can happen while unconscious leads Isabelle’s mind to cut her sleep. This insomnia permeates her life until she finally finds answers to Mason’s fate. Upon discovering Mason’s fate and those involved in his kidnapping, Isabelle begins to sleep again, as her mind and body recognize that the threat in question was not the unknown, but rather people intimately familiar with her. The same logic applies to Waylon, who spends years trying to find closure for his older sister Allison’s death (through the medium of a podcast). But unlike Isabelle, he immediately links Allison’s fate to a familiar threat—Ben, his former brother-in-law. It is with Isabelle’s help that Waylon is able to rest at long last.
Isabelle’s year-long insomnia juxtaposes her sleepwalking, which stems from childhood trauma. She sleepwalks for months following Eloise’s death and begins sleepwalking again during Mason’s infancy. This return to sleepwalking shows the compounding nature of trauma. Isabelle has not yet processed or even acknowledged Eloise’s death, as Eloise was a sibling lost to miscarriage (making her grief somewhat disconnected, but present nonetheless). However, being around the infant Mason and grappling with postpartum mental health result in her return to old expressions of trauma. The restfulness of sleep is taken from her as both mind and body insist on activity. Isabelle’s trauma spans decades, exacerbated by suppression and only alleviated by an open conversation with her mother—who shares Isabelle’s trauma.
Although Isabelle’s trauma is explored the most due to her status as narrator, her mother’s trauma is just as crucial to the plot. Isabelle’s mother’s ongoing struggle with her mental health stems from the trauma of losing her youngest daughter, Eloise—which resulted in her killing Margaret (which she saw as protecting her while suffering from postpartum psychosis) due to her trauma going unaddressed. The circumstances surrounding Margaret’s death cause a rift between Isabelle and her mother and force Isabelle’s mother to distance herself from her grandson, Mason, out of fear. This fear also prevents the two women from having open conversations about maternity and mental health, exacerbating Isabelle’s maternity-related difficulties through isolation. The women’s shared trauma showcases not only the longevity of such pain but also the ways that pain can become generational in the absence of intervention.
Overall, the novel explores different forms of trauma to showcase the way that suffering alters people’s thoughts and actions. This underscores the difficulties of healing and the necessity of compassion to heal. Isabelle and her mother continue to carry the burden of trauma as the novel ends, but the progress they make through dialogue and compassion ensures that their story ends on a hopeful note.
By Stacy Willingham
Family
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Grief
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Guilt
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Horror, Thrillers, & Suspense
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Memory
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Mothers
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Mystery & Crime
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Psychological Fiction
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Safety & Danger
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Trust & Doubt
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Truth & Lies
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