41 pages • 1 hour read
Henry is back at work the next day when Mr. Hairston approaches him to say that the owner of the diner where Henry’s mother works is a friend to whom Mr. Hairston has loaned money. The man owes Mr. Hairston a favor, and it is in the grocer’s power to get a raise for her or get her fired. Mr. Hairston suggests that Henry destroy the village that evening and tells him to leave and only come back if he has done so. Henry is surprised to see Mr. Hairston’s bland, “everyday” face after he issues this order.
Telling himself he will go to the craft center but not smash the village, Henry races through the streets. However, he can’t help thinking of the rewards if he does destroy the village. George greets him and says Mr. Levine is resting up for his big day. Henry looks around and sees a wooden mallet. He slips inside the storeroom with the mallet and pictures his mother as a hostess instead of a waitress, as well as the monument placed on Eddie’s grave. He falls asleep and wakes up when he hears a rat in the storeroom.
Picking up the mallet, Henry stumbles to the door and walks to Mr. Levine’s bench. He takes the sheet off the village and touches the figure that represents Mr. Levine. Raising the mallet over his head, he is unable to move, although he tells himself to let the mallet drop “like an atomic bomb falling from a plane” (88). Then he sees a rat leap onto the bench and run among the buildings and figures. Henry gasps and drops the mallet, breaking part of the village. The figure of Mr. Levine falls. The bench breaks in two, and the little farmhouse and figures disappear into the crack. Henry cries out in anguish, and his eyes fill with tears. As he heads for the door, he thinks that he didn’t want to do it, but “he had done it, after all” (90).
Henry steps out into a thunderstorm and comes face to face with Mr. Hairston, who asks if the village is smashed. Henry says it is but that it was an accident because he dropped the mallet. The grocer congratulates him and says Henry will be rewarded with a raise, his mother’s promotion, and the monument. Henry asks why it was so important to Mr. Hairston to smash Mr. Levine’s village, and Mr. Hairston replies, “He’s a Jew” (93).
Henry persists, asking why he had to be the one to do it. Mr. Hairston mockingly says it was because Henry was so good—“so innocent.” Henry, the truth dawning on him, realizes that Mr. Hairston didn’t just care about Mr. Levine and his village: He didn’t want Henry “to be good anymore” (93). The grocer affirms this truth, saying that Henry is just like everyone else in his pursuit of the rewards Mr. Hairston offered. Henry protests that he doesn’t want the rewards and that he is quitting the job. The grocer says Henry has to accept what he offers: They had a bargain, and the smashing will mean nothing otherwise. Henry continues to resist and runs away. He shivers because he finally knows what Mr. Hairston is.
The family moves back to Frenchtown three weeks later, the day after Henry’s father is discharged from the hospital. His mother says that they can’t run away from the past and should not try to forget Eddie. Henry’s father now smiles sometimes and helps to pack for the move.
Henry has been avoiding the grocery store and the craft center. He looks for a news story about the exhibition or the village being smashed but doesn’t find one. He does meet Doris but can’t find the words to tell her that her father is an evil man, instead calling him weak and afraid. He urges Doris to stand up to him, as Henry himself did in the end. Henry realizes he needs to help Doris and says he is moving but will come back to visit. She touches his cheek and thanks him.
Henry goes to the craft center to say goodbye. George greets him cheerfully. At his new bench, Mr. Levine is busy working on the village, which has fewer buildings and figures but still exists. He beams at Henry. George explains that some “wise guys” damaged the village but didn’t finish the job. He tells Henry to look at Mr. Levine, a survivor who has just started over again. The exhibition has been postponed.
Henry explains that he is moving, and Mr. Levine embraces him. The elderly man gives Henry a tiny, smiling model of himself, which Henry promises himself he will keep forever in memory of the summer. He hopes someday he will be able to return the little figure’s smile. Back in Frenchtown, he finds Eddie’s old bat and ball and places them on the grave, thinking that for this moment, Eddie has his monument. He prays for his parents, Eddie, Doris, Mr. Levine, and George, concluding, “Deliver us from evil.” At this he thinks of Mr. Hairston, but then he whispers, “Forgive him” and thinks, “Forgive me too” (100). The moon comes out, illuminating the bat and ball.
In these final chapters, the author uses the situation with Mr. Hairston to catalyze and illustrate the boy’s loss of innocence. Cormier has sowed seeds throughout the novella that set the stage for the transformation of Henry’s worldview. From the death of his brother to his father’s spiraling depression, Cormier’s narrative presents a series of events that can rob a young person of their innocence. However, it is Mr. Hairston’s manipulation that sends Henry over the edge. In personifying The Everyday Nature of Evil, Mr. Hairston particularly represents the idea of the banality of evil, a phrase coined by the 20th-century philosopher Hannah Arendt in reference to the Holocaust. The phrase refers to the way in which seemingly ordinary people can carry out the most inhumane tasks. Cormier evokes this idea through Henry’s horror at Mr. Hairston’s bland, “everyday” expression.
It is also suggestive that Henry, in searching for a less blunt synonym for “evil,” settles on describing Mr. Hairston as weak and fearful. While Mr. Hairston is largely a flat character, Henry’s assessment hints at psychological depth, implying that Mr. Hairston behaves as he does not because he delights in cruelty but rather because he is insecure: Exercising power over others makes him feel strong, while corrupting those who seem good reassures him that he himself is no worse than anyone else. These human motivations do not conflict with the idea that he is evil but rather complement it, as evil as Cormier conceives of it is essentially human.
Chapter 18 is the story’s climax. Two symbols established earlier in the story recur in this chapter: the rat and the bomb, two of Henry’s greatest fears. The image he summons as he holds the mallet is a bomb, but it is his other fear, the rat, that causes him to drop the mallet. The juxtaposition of a symbol of absolute destruction with a mere pest again underscores the continuity of various forms of evil; in this instance, the rat does as much damage as the bomb. By contrast, Cormier uses Henry’s tears as a symbol of the boy’s innocence. His tears seemingly have the power to build bridges at times when words fail him, as they often do. He is no longer a stranger to evil after he drops the mallet; where earlier he was unable to put his feelings about Mr. Hairston into words, he now recognizes him as “an evil man” (97). Yet when he cries after dropping the mallet, he shows that although he can now recognize evil, he is not fundamentally evil himself. This sets up the story’s redemptive ending.
This ending isn’t exactly a happy one. Eddie is still dead, Mr. Hairston is still an abusive father, and the horrors of the Holocaust can never be forgotten. Instead, Cormier shows a more measured happiness in which evil is always present but in which goodness can counter evil if people have the courage to choose it.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By Robert Cormier