Todd’s changing relationship to the knife that Ben gives him represents Todd’s coming-of-age journey, specifically how he comes to think about the relationship between maturity and violence. For much of the beginning of the novel, Todd feels like a coward because he isn’t able to bring himself to kill with his knife—not even after the preacher Aaron seemingly attempts to kill Todd, and Todd has the chance to stab him. Todd associates the ability to kill with the ability to be an adult and make difficult choices. Although Todd is still naïve at this point, his views on violence have some truth to them, as adult characters like Cillian and Hildy each attempt to use violence to protect the people they love from even greater forces of violence.
Still, Todd’s relationship with his knife changes when he finally works up the nerve to use it and ends up killing a Spackle. Todd realizes shortly afterward that the Spackle was likely innocent, and he soon learns, with help from Viola, that everything Mayor Prentiss taught him about the dangers of the Spackle was a lie. Todd learns that perhaps the even greater test of his manhood is learning when not to use the knife, in order to resist becoming the type of violent man that Aaron and Mayor Prentiss want him to become.
Later, when Aaron stabs Todd with his own knife, Todd begins to hallucinate (due to the Spackle blood on the knife), illustrating how violence can distort the way a person views the world. Ultimately, Viola saves Todd from becoming a killer by using Todd’s knife against Aaron so that Todd doesn’t have to. As the first in a series, the novel deliberately leaves open the question of what type of adult Todd might grow into if he ever killed another human. But Todd’s growing understanding that the knife is a huge responsibility, and that violence has major and unforeseen consequences, points to his growing maturity.
Knife Quotes in The Knife of Never Letting Go
Ben reaches behind his back and unclasps something. He wriggles it for a second or two before it comes unlatched completely. He hands it to me. It’s his hunting knife, the big ratchety one with the bone handle and the serrated edge that cuts practically everything in the world, the knife I was hoping to get for the birthday when I became a man. It’s still in its belt, so I can wear it myself.
“Take it,” he says. “Take it with you to the swamp. You may need it.”
It’s a girl.
Aaron turns, not even fast like, just turns like someone’s called his name. He sees me standing there, knife in the air, not moving like the goddam coward idiot I am, and he smiles and boy I just can’t say how awful a smile looks on that torn-up face.
A shadow steps into the far doorway.
Matthew Lyle.
And his Noise is saying, Ye ain’t going nowhere, boy.
“How can you keep saying that?” she asks, her voice finally snappy. “How can you keep saying that he’s a man and you’re not? Just because of some stupid birthday? If you were where I came from you’d already be fourteen and a month!”
And (no no no no no) I see the fear that was coming from his Noise–
(No no no, please no.)
And there’s nothing left for me to throw up but I heave anyway–
And I’m a killer–
I’m a killer–
I’m a killer–
(Oh, please no) I’m a killer.”
There’s a knife-shaped hole all the way thru and out the other side. The knife is so sharp and Aaron must be so strong that it’s hardly ruined the book at all. The pages have a slit running thru them all the way thru the book, my blood and Spackle blood staining the edges just a little, but it’s still readable.
And I raise the knife higher–
And I aim it at his heart–
And he’s still smiling–
And I bring the knife down–
And stab it right into Viola’s chest.
“No!” I say, in the second that it’s too late.
“It won’t work,” says the boy, still outta sight.
And Aaron wrenches his arms and there’s a CRACK and a scream and a cut-off yelp that tears my heart in two forever and forever.
And the pain is too much it’s too much it’s too much and my hands are on my head and I’m rearing back and my mouth is open in a never-ending wordless wail of all the blackness that’s inside me.
And I fall back into it.
And I know nothing more as the river takes us away and away and away.
It’s saying Not you–
And Viola’s raising her arm–
Raising the knife–
And bringing it down–
And down–
And down–
And plunging it straight into the side of Aaron’s neck–