Thoughts on Tragedy in Holes

The story of Katherine and Sam, tragic as it is, serves an important function in Sachar's novel: it reinforces a key theme - that of cruelty breeding cruelty in ongoing cycles.

I think it can be said that the entire plot of the novel is cyclic. Stanley's misfortune (or, as it might be called, fate's cruelty to him) is a result of his ancestor's neglect of Madame Zeroni. Similarly, all of Green Lake is cursed with a relentless drought in response to the townspeople's cruelty toward Kate and Sam. We even see the cycle of cruelty bearing on Stanley specifically: when at the Camp, "his heart...hardens" due to the harsh - and often abusive - conditions there; thus he coldly refuses to teach Zero to read when first asked, because "he needed to save his energy" - and kindness, apparently - "for the people who counted."

Kate and Sam's story is another element of the plot which enforces this prevalent theme of the cyclical nature of cruelty. In response to the town's cruelty to her and Sam, Katherine becomes Kissin' Kate Barlow - a murdering, thieving outlaw - and commits cruel atrocities in turn.

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In Sachar's novel "Holes," the flashbacks often relate to the events of the main storyline. For example, in chapter seven of the book, the series of flashbacks recounting how the curse of bad luck had come to the Yelnats family follows alongside Stanley's first arduous day digging, when he feels as though "he was digging his own grave" - ie. when he realizes that he is doomed as if cursed.

The flashback which relates the brutal murder of Sam and its aftermath wherein Katherine becomes a notorious murderer similarly serves to reflect events in the story. Just as Kate is pushed over into anger and recklessness by her townpeople's cruelty, Zero is pushed over the edge into a violent outburst against Pedanski when he is taunted and humiliated beyond his limits.

As such, I would say that another purpose served by the tragic characters is to foreshadow upcoming events.

SOURCE

Sachar, Louis. Holes. New York: Yearling, 1998. Print.