47 pages • 1 hour read
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Content Warning: This section of the guide includes discussion of addiction and bullying as well as grief due to the loss of immediate family members (father and sister).
Twelve-year-old Jolene races down a sidewalk in Phoenix, Arizona, in blistering heat. The cooled air of the public library is refreshing. She logs on with her library card number to a computer and goes to Blipstream, a livestream website, to wait for The Desert Aviator to begin. The “aviator” is Addie “Earhart,” a 12-year-old pilot of an ultralight trike aircraft who livestreams her flights. Jolene thinks of Addie as a friend; she is Addie’s only fan and consistent viewer. Peers at school tease Jo about her crooked teeth, tattered shoes, and clothes that are too small, but Addie is kind and friendly when Jo converses with her on Blipstream’s message feature.
Addie never reveals her location during livestreams, but Jo strongly suspects Addie flies near Alamo State Park, northwest of Phoenix, based on land features she sees in the feed. Jo fetches an atlas so she can follow Addie’s path when the show begins. She also pulls from her backpack a map she drew of the Alamo Lake area. Jolene’s thoughts roam to other adventurers and mapmakers she admires like Marie Tharp, Kira Shingareva, and Eva Dickson.
Jolene’s thoughts also turn to her mother; she searches online for “How to quit oxycodone” (6). Jolene fears her mother is addicted to this drug due to a prescription for pain after a car accident they had two years before. Jolene recalls the terror she felt just before the truck hit them and still feels “the car-crash feeling” (9) at anxious times.
When Addie’s show starts, Jolene focuses on the screen. Addie says hi to Jo, acknowledging that Jo is, as usual, her only viewer. Addie takes off and maneuvers around an area with cliffs. She lands to follow a wild pig, then takes off again, commenting that the extreme heat will ground her the next day. After flying over a mud canyon, her engine cuts out. The ultralight goes down too fast, with Addie yelling to Jolene for help just before crashing.
This chapter, like several in the novel, begins with a text conversation between Addie and Jolene on Blipstream’s direct message feature. The timestamp is “30 Days Ago” (17). Addie and Jolene introduce themselves to one another; Addie says her father taught her to fly.
The chapter returns to the real-time narrative with the heading “Now.” Addie’s phone is pointed to the sky, but Jolene can hear her faint voice calling for help. Jolene yells aloud that Addie should get the phone. A librarian asks Jolene why she is upset; when Jolene says she just saw “something horrible,” the librarian assumes it was inappropriate and closes the session. Jolene frantically tries to connect again to the livestream, but her shaky fingers cannot input her ID. The librarian shuts down the computer because Jo is so upset, causing Jo more panic. Jo runs out when the librarian demands to know where her parents are.
Jolene finds a fire station, but the man on desk duty cannot understand how Jolene knows an accident happened. When she tries to show him the livestream on his computer, the screen is black. He wants a phone number to reach Jolene’s parents, but Jolene fears authorities will come to her house and see her mother’s inability to function. She gives a fake number, asks for water, and sneaks out when the man leaves the room.
This chapter begins with Addie and Jo’s direct messages from “26 Days Ago” (29). Addie and Jolene discuss their interests; Addie’s are math and science, while Jolene mentions travel books and drawing maps.
Back in the real-time narrative, Jolene runs home and wakes her mother. Despite Jo’s attempts to explain, her mother is angry that Jo met a stranger online: “No more library, no more online videos” (34). She takes two pills and goes back to sleep. Jo feels trapped: She cannot risk calling for help, since local authorities might come to their apartment and see the lack of food, its unkempt state, and her mother’s daytime sleeping.
Jo cannot think of anyone who can help her; Aunt Mallory is too far away, “not that [Jo] would ever, ever trust her again” (37). Jo uses her map to determine the location of the county Addie crashed in, La Paz, and calls the sheriff’s office there on her mother’s cell. She claims to be Eva Dickson, age 65, calling from Alamo Lake, where she witnessed the crash. The man is suspicious of “Eva’s” real age but says he will call back after checking with the rangers of Alamo Lake State Park. Jo’s mother wanders into the room, takes her phone, and returns to bed.
Jo takes the phone again once her mother is asleep. A message from the sheriff’s office says no planes in the area that filed a flight plan are missing. He specifies that a parent should call back with any questions. Out of options, Jo decides to go to Alamo Lake herself to find Addie. She packs water in an empty milk jug, some bread, a tin of sardines, and crackers in her backpack with her map. She takes her mother’s cell phone, charger, and credit card. She leaves a note of explanation and apologies for her mother: “I shouldn’t be gone very long—not even a whole day” (45). She also mentions in the note how her mother seems to have become someone who does not care about her.
This chapter begins with direct messages from “23 Days Ago” (47). Addie tells Jo she cannot do a show that day because she will be on a “girls’ day out” with her mother.
In the real-time narrative, Jo takes the city bus to the Greyhound bus station, using her mother’s phone, name, and credit card to buy a ticket to Quartzsite. From that station, she will have to find transportation to Wenden, a town on the way to Alamo Lake. Waiting for the bus at Greyhound, Jo meets Marty, a 17-year-old girl who dropped her phone in the toilet. With suspicion, Jo lets Marty borrow her mother’s cell phone. Marty is on her way to Quartzsite to help care for her grandfather. She offers to board with Jo so that Jo raises no suspicions as an unaccompanied minor. Marty asks many questions about Jo’s trip, but Jo evades the truth, saying only that she is going to help someone too. Inside, she is nervous, as Marty’s questions reveal how unprepared she is for her quest.
Once on the bus, Marty’s questions continue; eventually, Jo tells her the truth about seeing Addie’s plane go down. She claims her mother gave her permission to help Addie and that she (her mother) is busy tending to a friend who takes too much oxycodone. Marty upsets Jo by talking bluntly about the dangers of oxycodone addiction. Jo reveals she needs to get to Alamo Lake and find the Flipside Café. From the café, Jo thinks a desert hike of about three miles will bring her to Addie. Marty explains there are no taxis or other public transit from Quartzsite to Alamo Lake—an 80-mile trip. Marty also questions Jo about her last meal and her old shoes. Concerned, Marty decides Jo should come to her grandfather’s so they can find a more logical solution than Jo trying to get to Alamo Lake alone.
This chapter begins with direct messages from “20 Days Ago” (76). Addie reveals her father died in a car accident six months before; Jo tells Addie about the car accident with her mother but does not mention that her mother still takes oxycodone.
Marty and Jo walk to Marty’s grandfather’s mobile home. Jo asks if Marty’s grandfather can drive her to Alamo Lake, but Marty indicates he is too old; Marty has only a learner’s permit. Marty calls the police near Alamo Lake. She explains that a girl named Addie was livestreaming a flight video and may have crashed. The officer claims someone will check the area in the morning. Jo thinks a flyover might be best, but Marty thinks they will not authorize that without evidence. Jo tries to get an Uber, but there are none in the area. She claims she will walk, but Marty points out the distance and heat. Jo agrees to eat and spend the night there, but vows to herself to leave once Marty falls asleep.
In Across the Desert, Jo is introduced as already dealing with conflict seemingly out of her control before Addie’s crash incites the events of the story and the heroic action Jo must take. Jo attempts to cope with her mother’s addiction, which results in both external challenges (the apartment’s lack of food; Jo’s outgrown clothing) and internal challenges (Jo worries about her mother’s health). Additionally, this information brings to light the inciting incident behind these issues, the car accident, which still causes Jo anxiety-ridden memories. Thus, Jo lacks agency in her life and suppresses some of her struggles with her adventurous interests and hobbies. This backstory adds depth to the novel’s events by revealing the underlying conflict in Jo’s day-to-day life and how the present events will impact her.
When the inciting incident of the second conflict occurs (Addie’s crash), Jo struggles to gain footing with the crisis since each attempt is confounded by her strong need to keep the first conflict (her mother’s addiction and consequent negligence) a secret. For example, the librarian and firefighter want to contact her parents, so she flees their presence; she cannot call the police locally, as they might come to the apartment. These interactions show how her pre-existing troubles complicate the emergent conflict in ways that offer little choice but an independent quest to help Addie.
As the rising action progresses with the bus trip, plot complications impede Jo’s progress continuously. Marty’s questions, for example, irritate and upset Jo as they point out all the holes in her plan. Jo’s fabrications in response to the questions highlight and indirectly characterize her youthfulness and immaturity, setting the stage for development in the theme of Personal Growth Through Adversity. Despite her immature reactions to Marty, Jo never wavers regarding Addie’s accident and her confidence that she can save Addie, introducing the theme of Believing in Oneself Despite Others’ Doubts.
The author’s style choices also indirectly characterize Jo. Jo’s interior, first-person monologue sets a “full-steam-ahead” pace with her actions and descriptions. Word choice and connotation are helpful techniques with this: Jo races down the sidewalk, “burst[s]” through the library doors, is “fuming” at the search results that offer no help about her mother. Later she is “hyperventilating” and “snatch[es]” the map away from the librarian. Jo’s actions represent a loss of control and exasperation that she cannot get what she wants (help for Addie), which establishes a pressing, suspenseful mood. Jo’s discussion of too-small clothing and lack of a computer at home carries a deprecating tone but also communicates her socioeconomic concerns and implies that her mother is unemployed. Each style choice with viewpoint, mood, tone, and pace helps to build a picture of a pre-teen facing multiple struggles.
Literary techniques employed in these chapters include figurative language and foreshadowing. The author utilizes figurative language in a way that provides visual imagery for abstract ideas. For example, Jolene’s metaphorical “little boxes” show that she harbors anxiety about the car accident. Imagery, descriptions, and similes regarding the heat bring focus to Jo’s setting, keeping the temperature at the forefront of the reader’s mind with visuals like cookies baked inside a car. Combined with figurative language regarding the climate, the foreshadowing detail regarding Addie’s plans to stay home the next day firmly establishes the potential danger inherent to being trapped or injured in the desert. Figurative language and foreshadowing in this section work together to pique interest and clarify complex character points.
Finally, references to women’s history abound in these chapters. Addie’s livestream name, Earhart, refers to American aviator Amelia Earhart (born in 1897) who attempted to fly around the world. She disappeared while flying in 1837 and was never found. Addie’s choice of names implies she has profound respect for Earhart’s goals and courage. Additionally, Jo refers to historical figures Marie Tharp, Kira Shingareva, and Eva Dickson. American geologist Marie Tharp (1920-2006) helped to create detailed topographical maps of the floor of the Atlantic Ocean. Kira Shingareva (1938-2013) created a map of the surface of the moon. Eva Dickson (1905-38) drove a car a long distance on the Silk Road, the first to do so. Each reference serves to indirectly characterize Jo as a girl who looks up to female adventurers, discoverers, and mapmakers. That Jo remembers each woman’s traits implies that they inspire her; later, though, Jo reveals her fears that her goals will be unachievable due to socioeconomic challenges.
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By Dusti Bowling