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Mitchell's death gives weight and density to Jeru's story; his guilt and anxiety are ever present, even at the book's most throwaway, sentimental moments. Beautiful passages illuminate the boy's awkward attempts to be a good kid, to calm his obsession with doom. "It was not lost on me that by expecting the worst every breathing moment, I backed into prophecy once in awhile." When President Kennedy is assassinated, or when his pseudo-philosopher father almost leaves the family, Jeru can't help but think that he saw it all coming, that somehow he has always known that the world is a violent, abandoned place. Dog attacks, race riots, dead presidents, dead brothers--these misfortunes pile up one by one. As he grows older, Jeru wishes that the world would stop, that the dog would have halted in its tracks, and that his family would be released from the past's dark spell. Tommy Hays skillfully evokes this unrelenting longing in tight, cinematic scenes--the kind of prose best read aloud in a deep Southern drawl. --Emily White