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50 pages 1 hour read

Katherine Arden

The Warm Hands of Ghosts

Fiction | Novel | Adult | Published in 2024

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Themes

The Impact of Grief and Trauma

The theme of grief and trauma is particularly pointed in the context of the novel’s World War I setting. While the physical effects of war are obvious, such as Laura’s leg wound and the scars on her hands, the novel is principally concerned with war’s mental and emotional impact, which it suggests via both literal and symbolic means (the latter including, for example, the ghosts who populate the narrative). Through contrasting character arcs, the novel demonstrates how loss can damage, change, or incapacitate a person, but it also makes the case that efforts to suppress or erase one’s trauma are futile. The only path forward, the novel concludes, is to face one’s trauma head-on.

Laura is the first character the novel introduces, and her arc sets the tone for its broader consideration of trauma. Laura’s grief and loss lead to guilt and the belief that she could and should have done more to save everyone, from soldiers she cared for at Brandhoek to her mother. According to the Parkey sisters, she collects ghosts in her wake like “penitent-beads,” implying that grief has led Laura to punish herself with constant reminders of her loss and failures. However, the secondary impact of Laura’s grief is her renewed determination to save her brother. Rather than become paralyzed by her grief, Laura uses it to fuel her motivation and resilience.

On the other hand, Freddie is so traumatized by war that he becomes frozen. The narrative depicts this both literally and figuratively. For instance, Freddie wakes from a nightmare in Faland’s hotel in Chapter 25, momentarily paralyzed—a common symptom of PTSD. Furthermore, his entire time with Faland is characterized by a kind of mental and emotional immobility. Unable to face his grief and guilt, horrified by the trauma of war and his own actions, Freddie elects to stay in the nowhere space of Faland’s hotel, which exists outside the time and geography of the war. He is even willing to relinquish his own memories and identity in an effort to escape his own grief and trauma—a symbolic evocation of how trauma shapes identity, rendering any attempt to ignore it tantamount to self-destruction.

The third character deeply impacted by grief and trauma is Pim, whose story mirrors and contrasts with Freddie’s. Pim demonstrates that even families far removed from the battlefield can be grievously wounded by the war. Though she hides it well throughout much of the novel, Pim’s loss of her husband and son proves too ruinous to survive. Freddie slowly relinquishes his identity but then just as slowly rebuilds, recognizing how his experiences have changed him but also refusing to define himself by suffering alone. By contrast, Pim’s sense of self is subsumed by her grief, leading to hatred and an all-consuming need for revenge. Freddie thus demonstrates that one can survive grief and trauma with love and resilience, while Pim depicts the consequences of grief that completely consumes one’s identity.

War and the End of the World

Due to the unprecedented destructiveness of World War I, many characters of the novel come to believe that the world is ending. Laura and Freddie in particular adopt their mother’s religious obsession with Armageddon and view the war as proof that the Bible’s prophesies are more or less coming true. The novel itself does not totally discount this perspective, suggesting that the war does represent a decisive break with the world that previously existed. This break, however, is not an absolute ending but rather the beginning of something new.  

Laura’s reflections on her mother’s fears encapsulate the sense of apocalypse that many characters feel:

It caught us up after all. War, plague, famine, death, the sky on fire, the sun black. Aren’t you glad you were right? You couldn’t change anything, couldn’t stop anything. But at least you knew it was coming. The end of the world. Was that comforting, in the end? (28).

Laura’s belief that the world is doomed stems from experiencing losses and traumas—both individual and collective—so painful and all-encompassing that she cannot imagine a way beyond it. Though she keeps herself moving forward for the sake of others, she does not believe anything good could possibly come out of the hell around them. There is a sense of resignation, almost relief, that the end should come, as it will at least mean the ending of their suffering. Freddie too cannot picture a world that could possibly survive the tragedies he has witnessed on the battlefields of Flanders, which is why he is so eager to embrace the personal apocalypse that Faland offers.

However, while Laura and Freddie believe the world is ending, other characters see beyond that ending to a new beginning. Two characters state this explicitly. First, Agatha Parkey tries to comfort Laura in Chapter 9, urging her not to give in to despair over her losses because endings “are beginnings too” (52). Then, at the conclusion of the novel, Winter comforts Freddie with similar words. As Freddie mourns the end of the world, Winter agrees that the world has indeed ended, “but it went on too” (306). Rather than ending, the world has simply changed. To be sure, that change involves loss. One of the final chapter titles quotes the last line of Paradise Lost, which describes the now fallen Adam and Eve departing Eden; the implication is that WWI entails a similar loss of innocence. Nevertheless, the world—like the individual characters—proves resilient.

The Resilience of the Human Spirit

The third major theme arises as a direct response to the first two. In the face of overwhelming grief, trauma, and despair, several characters find renewed hope and determination to face the future.

One of the first characters to display this resilience is the secondary character Dr. Stephen Jones. Jones retains his hope for the future, as evident in his efforts to perfect methods for blood transfusion to save more lives. Laura is inspired by his belief that something good can and will survive the war, placing him in stark contrast to Laura and Freddie. Jones’s resilience in the face of so much pain and tragedy fuels Laura’s renewed sense of hope.

That Laura takes such comfort in Jones—a relative stranger at the time—highlights the importance of human relationships to the ability to persevere. For example, Freddie’s resilience arises out of love for both his sister and Winter, while Winter’s strength likewise comes from his love and loyalty to Freddie. The strength and support the two men receive from each other is paramount to their physical and emotional survival, both while they are trapped in the pillbox and when they must build new lives from the wreckage. Later, Freddie’s grief and trauma lead him to ruin and oblivion at Faland’s hands, and it is only through his love for and faith in his sister that he is able to regain the fortitude to escape the hotel. Meanwhile, Winter wanders through the fringes of the narrative, fueled by his single-minded need to save Freddie. Thus, love of all kinds (familial, romantic, or otherwise) forms the foundation of the resilience of the human spirit, allowing these characters to face the new beginning that arises from world-ending war.

Even the ghosts who haunt the narrative, though on the one hand symbols of the grief and trauma that hold the characters back, can contribute to this resilience when properly understood. As the central image of ghosts with warm hands suggests, the ghosts who trail in Laura’s wake are symbols of love as much as of guilt. Laura feels at first that her mother’s ghost is angry over Laura’s failure to save her. However, she eventually realizes that her mother is trying to help her. These ghosts represent the lingering presence of loved ones, whose “warm hands” do not punish but protect. Once Laura accepts this, she begins to heal.

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