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A central theme in Chasing the Falconers is the increasingly porous boundary between criminality and innocence. At the beginning of the novel, Aiden believes that he and his family are exceptional in their innocence—the only innocent parties among those who are deservingly incarcerated for their crimes. However, his and Meg’s escape from Sunnydale Farm transforms them into the outlaws they never intended to be, and breaking the law becomes an absolute necessity for their survival. In addition to having to rethink their own identities, Aiden and Meg must transform their views of Miguel, who they knew in Sunnydale as a bully convicted of manslaughter.
With their parents imprisoned and no relatives willing to take them in, Meg and Aiden suddenly find themselves in a hostile environment without support. They are forced to make criminal decisions in what Miguel would term an “unlucky” situation. Outside Sunnydale, Aiden understands that surviving means breaking the law: “If this is what it takes to survive as a fugitive, pretty soon our rap sheets will be twice as long as anybody else’s” (33). Aiden finds himself in a moral conundrum. He believes him and Meg to be good, law-abiding citizens whose “honesty [i]s what separate[s] them from people like Miguel” (69), yet as a fugitive, he must steal to survive. He concedes, “What was to be gained by denying themselves a couple of Mars bars? He and Meg were in a desperate situation” (70). When Miguel steals a car, Aiden writes to the owners, saying, “We’re not bad people, but we’re DESPERATE!” (94). This demonstrates Aiden’s belief that criminal actions are not only undertaken by bad people since his criminal actions are excusable by circumstance.
Miguel, however, views his behavior as a result of circumstances and poor luck. His childhood was one of abuse in a poor New Jersey neighborhood. He explains his manslaughter conviction to the Falconers as follows: “Felony shoving. Aggravated shoving. First-degree shoving” (107). He also says that his conviction was the result of poor luck: “Think my old lady’s going to blow her savings on a lawyer for the kid who put her husband in the cemetery?” (107). Though Miguel understands that he is a product of circumstances and poor luck, he does little to convince anyone of this, instead accepting the labels that have been applied to him: “There’s no innocent and guilty, just lucky and unlucky” (107). By the novel’s conclusion, Aiden will come to realize that not all criminals are bad people, some are desperate—just as he and Meg are during their escape from Sunnydale.
Family loyalty lies at the heart of Chasing the Falconers. It is a tale of two children willing to risk everything out of a fierce loyalty to their parents. This loyalty defines their characters, directs their actions, and reveals the strength of family bonds. The Falconer children first appear in the On the Run series as two children who have lost everything. Their parents are behind bars, no family will take them in, and their names have been tarnished. Despite this, the power of loyalty keeps Aiden and Meg from turning on their infamous parents.
The Falconer children have become wards of the state, abandoned by living relatives. Aiden explains, “The Falconer kids were at Sunnydale because none of their relatives would take them in” (5). They are outcasts from their own tribe because of their parents’ convictions. Meg and Aiden also lose their names and are assigned a pseudonym when they are sent to juvenile detention in Nebraska: “After the media circus of their parents’ trial, Falconer might as well have been Dracula for a last name” (5). Despite the sensational arrest and media frenzy surrounding the trial and conviction of their parents, Meg has undying loyalty to her parents. Without hesitation, she explains her goal: “Our parents were framed, and we’re going to prove it!” (106). At moments of conflict or difficulty, Meg focuses on unifying her brother to her singular cause: “Our parents are in jail because we can’t get our act together to get them out!” (42). She understands that as the children of wrongly accused inmates, they are uniquely invested in and capable of proving their parents’ innocence: “We’re the only ones who can prove our parents are innocent, and you know it!” (7). Her self-assurance and confidence in her parents’ innocence drives her to convince Aiden to escape Sunnydale. “This is what we’ve been praying for—a chance to get out of here, to help Mom and Dad!” (29), she says.
Aiden, slightly older at 15, isn’t as certain: “What if he and Meg set out to exonerate their parents, only to discover that they had been guilty all along?” (7). As Meg attempts to convince him to run away, Aiden responds selfishly: “Don’t you think we’re in enough trouble already?” (28). Unlike Meg, Aiden begins the novel unconvinced of his parents’ innocence and unwilling to risk himself or his future in the pursuit of justice. Likewise, he understands the degree to which they are already affiliated with their parents’ crimes. When they are attacked, Aiden understands why instantly: “The whole country hates our parents, I guess it was only a matter of time before somebody tried to take it out on us” (151). By the conclusion of the novel, however, Meg’s unwavering familial loyalty and fiercely determined focus have convinced Aiden that his flashes of doubt, although logical, are unwarranted. He thinks, “As long as there was a place to start, a lead to follow, a stone left unturned in the quest to prove their parents’ innocence, then there was hope” (154).
Just as important as their loyalty to their parents is Meg and Aiden’s loyalty to each other. As much as they annoy each other as siblings, they are utterly committed to each other, refusing to leave the other behind at key moments. Most dramatically, Meg nearly causes Miguel to crash a stolen SUV in order to ensure that they don’t abandon Aiden at the service area. She prevents Miguel from driving the Tahoe back onto the highway by pressing her hands over his eyes and holding on. Here, her quick thinking is bolstered by her attachment to her brother—an attachment so strong that it overrides any fear she has of Miguel’s temper and that shows she’s willing to risk her and Miguel’s life: “Shaken and terrified, Meg glared right back into the teeth of his rage. ‘I’ll crash the two of us, don’t think I won’t! I’m not leaving my brother!’” (102). Meg’s courageous, if foolhardy, expression of family loyalty offers a sharp contrast with the reception that Miguel receives at his brother’s house. Freddy’s home, with its giant television screen, has long been the goal of Miguel’s escape and the source of many of his bragging rights. However, in contrast to the Falconers, whose bond seems unassailable, Freddy reacts to Miguel’s presence with anger and fear; he no longer considers his brother to be part of his family worth protecting. All three main characters register this rejection in different ways. Miguel seems broken by the cruelty, revealing a vulnerability that the Falconers did not think he possessed. Meg takes on a quieter role, leading Miguel out to the car. Aiden, however, finds himself uncharacteristically emboldened by rage: He yells at Freddy for his failure to help his brother as they leave. More importantly, however, Miguel’s dejection moves the Falconers to demonstrate greater empathy for him than they have until this point, and Aiden makes sure to communicate that he is not entirely alone in the world.
One of the strongest features of all three young protagonists is their capacity for resilience and ingenuity. While their emotional strength sometimes flags—as with Aiden’s exhaustion at Sunnydale’s grinding routine and Miguel’s despair at being rejected by his brother—the other characters appear to encourage them and stay focused on their survival and the ultimate goal of exonerating John and Louise Falconer. All three of them have experienced recent trauma, whether the Falconers’ treason trial or the abuse that led Miguel to accidentally kill his stepfather, but the central characters remain committed to surviving and finding better places for themselves.
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By Gordon Korman