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59 pages 1 hour read

Hernan Diaz

In the Distance

Fiction | Novel | Adult | Published in 2017

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Symbols & Motifs

Håkan’s Physical Growth

Håkan’s physical growth serves as a motif for the theme of The Wilderness as a Source of Transformation and Growth. Over the course of his journey in the West, his stature grows to larger-than-life proportions, much like his reputation. The prologue quickly establishes that Håkan is a giant among men: “Only then did his colossal proportions [...] become apparent. The rifle seemed no larger than a toy carbine in his hand, and although he was holding it by the muzzle, the butt did not touch the ground” (2). Like the wilderness itself, the towering Håkan appears vast, rugged, and at once dangerous and awe-inspiring. People often assume that he will use his size and strength for violence. In actuality, Håkan’s body, like the West itself, is exploited for others’ gain over and over. For example, the amber-haired woman imprisons and abuses him in the town of Clangston, which springs up because of the Gold Rush.

Over the course of the novel, Håkan goes from a hopeful Swedish boy to a traumatized and misunderstood legend of the American West, and his physical growth is as dramatic as this transformation. The phenomenon begins on the ship that takes the teenage protagonist to San Francisco, but John Lorimer is the first to recognize how extraordinary it is. As a naturalist, Lorimer sees Håkan’s growth as part of the process of human evolution: “After studying his notes and making a few calculations, he told Håkan he had never seen or even read anything like it. [....] Was Håkan, reaching up beyond the rest of us, an example of what humans might become?” (78). Lorimer’s theory about Håkan’s growth is a reminder that humans are a part of nature, ever-changing along with their environment. Håkan’s growth is also remarkable because it continues his entire life: “[E]ven though he did not know how old he was, it was clear to him that he had reached the age at which the human body has matured and starts its decline. Still, he had never stopped growing” (208). Like his infamous reputation, Håkan’s physical proportions only become greater and greater with time. The novel does not explain the reason for his growth, which suggests that the bond between humans and nature transcends empirical knowledge. Diaz uses the protagonist’s extraordinary physical growth to underscore the novel’s themes and influence Håkan’s relationships with nature and the other characters.

The Snake

The snake that bites Håkan in Chapter 15 symbolizes a rebirth for the protagonist. Traditionally, snakes in literature represent rebirth, healing, and renewal because they shed their skins. At the time that the venomous snake bites Håkan’s heel, he has lost all hope of finding his brother. He spends months subsisting in a makeshift shelter under some bushes, “hoping that by staying there, without actually deciding anything, he [will] return, through a motionless path, to the peace of an inanimate state” (161). The snake bite shocks him out of his abject apathy and triggers a symbolic rebirth for Håkan by reminding him that he fears death: “He thought [...] the poison would soon bite into his heart and kill him or that he would die of cold or that wild animals would devour him or that he would faint and drown in the shallows of the pond” (160). Although the near-death experience is harrowing, it has the positive effect of rekindling the protagonist’s will to live. As if to keep this lesson close to his heart, Håkan adds the skin to his coat: “Around the neck and down the chest, the snake’s silver streak” (162). He resumes his journey eastward as soon as he recovers. The snake advances the novel’s plot by giving the protagonist a symbolic rebirth and restoring his motivation.

The Maze

The maze that Håkan constructs in Chapter 20 stands as a symbol of and a monument to his isolation. After Asa’s death, Håkan enters one of his many periods of solitude—by far the longest of these periods, as evidenced by the “complex network of tunnels” he creates during that time (204). The narrator repeats the comparison of Håkan’s burrow to a maze three times. World literature contains a number of meaningful mazes. Argentine author Jorge Luis Borges, one of Diaz’s major literary influences, composed many stories that use the image of a labyrinth to explore concepts like time. The labyrinth constructed by Daedalus in Greek mythology is built to contain the man-eating Minotaur.

Håkan, on the other hand, builds a labyrinth to contain himself. Within the depths of the burrow, he hides from other people and from the shame and terror he feels in their presence: “Little by little, his fears dissipated, and he withdrew into the maze, which he seldom left” (210). Like Håkan’s self-imposed isolation, the maze is difficult and dangerous to maintain, numbs his pain, and gives him a sense of safety. Without anyone around to help him, Håkan weathers threats to life and limb when lightning strikes and sets a tunnel on fire and when a collapsed roof cuts his leg to the bone. On top of these physical dangers, the isolation has a severe impact on his mental state. During his solitary decades in the burrow, he loses his sense of purpose and time because, as the narrator repeatedly states, a “year and an instant are equivalent in a monotonous life” (211). The maze gives a concrete form to Håkan’s isolation, offers the reader insight into his fraught psychological state, and represents the setting where the protagonist spends much of his life.

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