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Content Warning: This section of the guide includes discussion of religious discrimination, sexual violence and/or harassment, rape, mental illness, child abuse, child sexual abuse, death by suicide, substance use, graphic violence, sexual content, cursing, and physical abuse.
Sibby’s worldview relies on the assumption that she can determine whether someone is good or evil, and she passes judgment on evil people, whom she calls “demons.” Superficially, this pattern of behavior aligns with Dr. Rosie’s conclusion that Sibby is delusional, but her actions open a broader discussion of vigilantism and the debate over how people should respond to “evil” acts and individuals. Dr. Rosie takes a hard stance on this topic, telling Sibby: “Even if every single one of them were evil people, that wasn’t for you to act on” (156), but Rosie’s position begs the question of how and what people should do in response to evil acts. Based on Sibby’s upbringing, the authorities are not a reliable source of justice, and she knows that for most people, “pure or not, murder is wrong in their eyes, even if it’s justified.” (19) However, she dismisses this view as weakness. Sibby sees people like Rosie as enabling their own victimization, rather than “tainting” themselves by killing evil people who would harm them. The clash between Sibby and Rosie’s worldviews exposes the ethical dilemma of committing heinous acts to stop others from committing similar acts.
Sibby’s justifies her violence as a means of evil people from the world and protecting the innocent, but the sexual pleasure she derives from this violence immediately calls this justification into question. When Sibby does not smell any evil people in the house: “Frustration grows, and I’m beginning to feel restless. I want to feel blood soaking into my flesh, feel my knife cutting through sinew and muscle and tearing apart delicate skin” (34). These visceral details make clear that Sibby relishes the physical act of murdering someone and hint at the danger that, in the absence of any deserving victims, she might soon turn her knife on the innocent. Rather than seeing herself as “crazy,” Sibby calls herself “passionate,” but this passion reframes her vigilantism as an excuse to commit violent acts. What she craves is not the elimination of evil from the world, but the physical pleasure of killing.
Key to Sibby’s self-perception is her role as an arbiter of good and evil. The subjective, unverifiable nature of this self-perception is the core problem of vigilantism, a problem literalized through Sibby’s placement in a psychiatric institution where she is told that she is delusional. Sibby believes that her supernatural insight into the character of others gives her a right to kill, but such perceptions are inherently subjective, and if everyone were permitted to kill whoever they felt deserved to die, the world would be a much more violent place. The criminal justice system exists to impose order and at least the semblance of objectivity on the otherwise chaotic terrain of crime and punishment. This is what Rosie means when she says, “that wasn’t for you to act on” (19). As a representative of the institution in which Sibby is confined, Rosie embodies the institutional order found in the criminal justice system. Sibby—whose unusual name evokes the sibyls, or female prophets, of ancient Greece—stands for a different notion of justice: one predicated on supernatural knowledge and far more concerned with punishing the guilty than protecting the innocent.
Sibby’s pursuit of justice is dependent on her supernatural ability to literally smell good and evil. “Good,” for Sibby, is associated with smells of plants, with flowers being the highest form of good in her mind. Evil, instead, smells like rotting eggs, sulfur, and brimstone. In the opening of the novel, Sibby’s identifies the smell of evil as how “I know I made the right judgment” (1), and she goes on to note of the demon’s girlfriend: “The girl didn’t know the vileness she was clinging to. I saved her” (8). Embedded in Sibby’s worldview is the idea that she can sense evil in ways that others cannot, and her role, beyond physically murdering demons, is to “save” the victims and potential victims of those evil people. Her phrasing lends a dogmatic layer to her actions, casting her as a messianic figure uniquely empowered to discern good from evil and—even more dangerously—to determine who is beyond redemption. Sibby that what she offers the world—deliverance from evil—is the same promise her father, Leonard, offered the members of his church. This admission suggests that Sibby and her father are more alike than she would like to admit: Each commits terrible violence in the name of a supposedly higher good, one that they alone are capable of recognizing.
A key detail in Sibby’s supernatural belief system is that she often decides that someone is “bad” rather than “evil.” Such people are redeemable without the need for intervention by an arbiter like Sibby. Sarah, for example, spreads gossip, but Sibby notes: “She’s a bitch, but not evil” (25), adding that Sarah smells like “grass,” which is less good than floral smells. Even though Sibby sees Sarah as a “bad” person, she will not kill her, because it would not offer salvation. Instead, Sibby kills Gary, who sexually assaulted Jennifer, therein saving Jennifer from Gary’s evil. In doing so, she determines not only that Gary has committed an evil act, but that he is beyond redemption and should be removed from the world. This absolute certainty frees her from guilt and allows her to take pleasure in killing Gary.
What is most infuriating to Sibby is the lack of appreciation for her job. When she finds Jennifer upset over Gary’s disappearance, she is unable to comprehend this reaction: “Is she…she couldn’t possibly be upset that her boyfriend didn’t show up? He raped her! How could she be upset over something like that?” (46). For Sibby, she just saved Jennifer, not only physically from a rapist, but metaphysically from the evil Gary brought to her life. However, as the only person who can smell evil, only Sibby knows the salvation she offers others, and she has no way of convincing anyone that her methods are both justified and beneficial.
Two other characters share Sibby’s general worldview and validate her moral certainty, even though they manifest their duty in different forms. Zade smells of “fire and brimstone,” but Sibby considers the possibility that “people with dark souls aren’t all bad. Just because they’re dark, that doesn’t mean they’re not redeemable” (128). This consideration opens the possibility that Sibby sees herself as “bad,” but her efforts to kill evil people serve as a means for her own salvation, rather than the salvation of others. Sibby’s certainty about the irredeemable evil of her victims allows her to use them as raw material for her own project of self-redemption. Glenda, too, is “dark,” smelling of poison berries, and she tells Sibby: “We see the world for what it is. This Earth is layered, just like an onion, and we’re only living in one of those layers” (145). Glenda’s spiritual worldview is distinct from Sibby’s more traditionally religious view, but they share the common perspective that a supernatural means of judgment exists. The implication of Glenda’s story is that she killed her family because they were abusing her, much like Sibby killing her father. Sibby and Glenda, though, differ from Zade, who investigates crimes to confirm his suspicions without supernatural aid. Nonetheless, the fact that Sibby reaches the same conclusion Zade reaches regarding Mark lends credibility to Sibby’s abilities, suggesting that, as Glenda says: “The things we see—they’re not in our heads” (145).
The layers of attraction and trauma in the text cross between sexual desire, the need for companionship, delusion, and hallucinations, but Sibby’s experience frequently underpins these complexities with a sense of sympathy. Sibby provides a partial background on each of her henchmen, including Mortis, whose mother “ignored his existence” until he was “put in the system at a young age”; Baine, whose father sexually abused him; and Cronus, whose mother “locked him in a closet when he was young and refused to let him out for months” (14). The commonality among the henchmen is that their parents or guardians abused them, leading to lasting damage, such as Mortis’s need for attachment or Baine’s refusal to eat. These issues mirror Sibby’s own story, in which her father, Leonard, abused her and the entire cult by forcing them to perform sex acts on him and beating her when she refused. In the end, Rosie concludes that Sibby was “experiencing auditory, visual and somatic hallucinations” (153) brought on by brain damage caused by her father’s abuse. However, Sibby’s response to trauma, her ability to create lifelike friends to support her, and her desire to eradicate evil all suggest that her behavior is designed to protect herself from further abuse.
In the cult, Sibby knows that the other cult members doubt Leonard’s validity as a spiritual leader but are afraid to say so: “They’re all just sheep. Too scared and brainwashed to speak out against him” (27). These two elements, fear and brainwashing, are the same ones Sibby’s delusion seeks to protect her from. She is supernaturally convinced of her ability to detect evil, which protects her from brainwashing, and she is determined to use violence against that evil, resolving the possibility of fear. Fighting Zade, Sibby thinks: “I’ve been fighting my entire life. Fighting Daddy and his punishments. Fighting to get out of a dangerous cult, just to fight the demons that riddle this Earth with filth” (103), exposing how Sibby sees her life as a singular, continuous struggle against the same evil. Periodically, Sibby sees evil men as her father and their victims as her mother, reflecting how she never truly overcame the trauma of her youth. Instead, she relives the moment of killing Leonard by finding new, evil men to kill, each time hoping that she can save her “mother,” even as new women take on that role.
The henchmen are an additional component to Sibby’s delusion, allowing her to combine any and all “good” feelings into a carefully crafted group. In the cult, sex was an instrument of punishment, and violence was the result of disobedience. After leaving the cult, Sibby needed a way to reframe sex and violence to distance herself from her trauma, so she placed herself at the top of a violent, sexual hierarchy of equally traumatized men. Rosie simplifies this process, saying: “So to bring yourself comfort in a time of loneliness, you created friends in your head, inspired by the mannequins in the house” (153), but Rosie does not understand how Sibby’s creation of her henchmen transcends the physical mannequins at Satan’s Affair. Mortis, Timothy, Baine, Cronus, and Jackal are also mirrors for Sibby’s experiences, and because they have a shared trauma, she can trust them to fulfill the roles for which she cannot depend on other people. With the henchmen, Sibby can express her anger and lust, since she knows they will not take advantage of her like her father would, allowing her to exist freely within the confines of her own delusions.
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By H. D. Carlton