Enoch

Enoch’s sharp tongue and unsettling craft give way, at the moment of farewell, to an unexpected tenderness. As one of Miss Peregrine’s peculiar children, he faces danger with theatrical alarm and prickly defiance; after Victor’s death, he places his finest clay man on the boy’s chest, making the figure a companion at the grave.

Identity and Character

Enoch is among the children endangered by Dr. Golan’s betrayal. When Golan withdraws toward the door, he warns that the four children together might be enough to restore Malthus from the degraded form in which he has long been trapped. Enoch responds not with bravado but with a fearful cry that he does not want to be eaten. Bronwyn rebukes him for crying and insists that they will have to kill their attackers. The exchange sets Enoch’s anxious, sharp-edged manner against Bronwyn’s practical resolve, while Golan’s pleasure at the prospect of watching underscores how exposed the children are.

His fear does not make him passive. In the face of danger, Enoch speaks plainly, and his reactions can be comic without making the threat itself less serious. The possibility of being eaten is not an abstract danger in this confrontation: Golan’s threat involves Malthus, and Enoch’s panic registers the bodily stakes of the children’s predicament.

Betrayal and Conflict Within the Group

After the children learn that Dr. Golan had been Jacob’s psychiatrist, Enoch fixes on the word doctor as evidence of betrayal. He calls the revelation outrageous and adds that Golan is mad, provoking Emma to shove him and demand that he take it back. Enoch is about to shove her in return when Jacob steps between them and pushes them apart.

Jacob then distinguishes between the accusation that he is crazy and the truth he is willing to admit: Golan had let him believe he was, although Golan must have known he was peculiar, and Jacob had betrayed the group by telling a stranger his grandfather’s stories. The quarrel therefore exposes two different injuries at once. Enoch sees the danger in Golan’s deception and directs his anger at the person who had trusted him; Jacob acknowledges his own part without accepting Enoch’s label. Enoch’s accusation helps bring the group’s distrust into the open, but the scene does not erase Jacob’s admission or turn the disagreement into reconciliation.

A Power with Limits

Enoch’s clay figures are also bound up with his response to the group’s desperate plan to reach the birdcage. When Emma asks whether anyone has a better idea, he begins to offer his soldiers. Millard immediately points out that they would fall to pieces in the water. Enoch hangs his head, and the others fall quiet.

The exchange shows both the existence and the limits of Enoch’s resourcefulness: his animated clay men can serve as soldiers, but a plan involving the water would destroy them. His lowered head marks the failure of a possible solution, not a lack of concern. The scene places his ability within the same material vulnerability that shapes the children’s choices; a remarkable power cannot make every danger negotiable.

Mourning Victor

After the bombing destroys Miss Peregrine’s home, the children bury Victor. Bronwyn carries his entire bed outside with Victor still lying in it. With all the children gathered on the grass, she draws back the sheets, tucks him in, and kisses his forehead for the last time. The boys lift the bed by its corners like pallbearers and carry it down into the crater left by the bomb.

Once the others climb out, Enoch remains in the crater. He takes a clay man from his pocket and lays it gently on Victor’s chest, saying, “This is my very best man,” and offering it to keep Victor company. The figure sits up; Enoch presses it down with his thumb, and it rolls onto its side as though going to sleep. The small gesture gives Enoch a role in the burial that is distinct from carrying the bed: he leaves behind a creation of his own, then gently stills it beside Victor.

The grave is covered, and Fiona drags shrubs and vines over the raw earth, beginning to grow them there. By the time the children finish packing, Adam is back in his old place, now marking Victor’s grave. Enoch’s clay figure thus joins a larger act of care: Bronwyn’s bedside farewell, the boys’ pallbearer-like procession, Fiona’s planting, and the marking of the grave each answer destruction with a different kind of keeping.

Departure and Significance

After saying goodbye to their house, the children take small keepsakes—chips of brick or flowers from the garden—and cross the island one last time. Their route passes through charred woods still smoking, across the bog scarred by bomb holes, and over the ridge into the town, where residents stand in doorways and on porches, too stunned and exhausted to pay much attention to the passing children. Enoch leaves with the group after the burial, carrying the memory of the house and Victor’s grave into an uncertain journey.

For Enoch, the farewell scene turns a frightening, potentially martial ability into an intimate memorial act. The clay man begins as one of his soldiers, a resource he offers when the children consider a perilous plan, but at Victor’s grave it becomes a companion that he places carefully beside the dead boy and gently lays to rest. The shift does not remove Enoch’s fear or sharpness; it reveals that beneath them, his creations can express care when speech and rescue are no longer enough.