60 pages • 2 hours read
Stephen KingA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Edgar and the others enter the ruins of Heron’s Roost, which look like they have not been visited in decades. In a rotting chest in a downstairs study, Jack finds a handwritten note from 1926, in which John’s friend Dave Davis writes of gifting John “Table X 2” (597). Edgar remembers Elizabeth’s remark that the table is leaking. He also recalls Mary Ire telling him that Davis used to supply Jack bootlegged liquor and disappeared at sea in 1926. He realizes the note refers to a whiskey brand. At the bottom of the stairway, the men find a ha-ha, a false step which serves as a box. Inside the box is a tin labeled “Elizabeth/Her Things” (602). In the box is the ragdoll Noveen. Edgar wishes Noveen could talk because it was through her that Perse spoke to Elizabeth at first. When Jack jokes that he knows a bit of ventriloquism, Edgar gets a flash of inspiration. Since the house is filled with Perse’s power and the remnants of Elizabeth’s potent imagination, Jack can actually try making Noveen talk.
Jack sits Noveen on his knee like a ventriloquist’s dummy and lets his mind wander as he practices a routine. Soon the doll’s voice is no longer Jack’s. Noveen asks Edgar to draw her. Edgar draws Noveen and begins to access not just Elizabeth’s memories, but also those of Nan Melda. Nan Melda too saw the frog Elizabeth drew turn real. Ever since then she suspected something malevolent was at work in Heron’s Roost. Drawing and erasing Perse had been Nan Melda’s idea. She and Elizabeth did it in the pool, which Nan Melda believed was the one safe space in the house. It hadn’t worked and Perse took her revenge on the twins. Noveen finally talks in her own voice and tells Edgar she wants to show him all the pictures. Edgar is ready to see them.
If one wants to create, they have to be prepared to dig deep, seek out the ugliest aspects of existence. Edgar keeps drawing so he can know what happened on Duma in 1927.
The novel flashes back to Elizabeth’s childhood.
Emery Paulson, Adie’s husband, is out on the beach, looking for the twins. He spots them in the water, wearing identical sweaters appliquéd with their initials. They call to him to save them, though they don’t look like they are drowning. Emery rushes into the sea, but when he gets close to the girls, they pull him under with strong hands. He notices their fishy smell and silvery eyes, senses someone waiting for him on a ship in the distance, and drowns.
Edgar faints when Noveen shows him the events of 1927. She also gives him a hint on how to stop Perse: Noveen acted as a psychic camera, storing Elizabeth’s memories, even the ones Elizabeth lost when she got Alzheimer’s disease. When the twins went missing, Nan Melda called John to give him the bad news. The way Nan Melda held the phone shows Edgar she was hesitant to use it—the rules of the southern white household must have restricted its use by Black people. Then Nan Melda called Adie, who came with Emery to Duma to look for the twins. When Emery was taken by Perse, Nan Melda took Elizabeth to the pool—the safe place where Perse could not overhear them—and told Elizabeth to drown the porcelain doll in fresh water in a whiskey keg marked Table. The doll would scream, but Elizabeth should not stop.
Jack wonders why drowning would stop Perse, since she comes from water. Wireman realizes that Perse becomes subdued in fresh water, since her element is salt water. They too need to drown Perse in fresh water. It is five pm, and the men have only a few hours to act. Perse’s zombie minions only come out after sunset. Edgar has also seen through Noveen’s memories that the heron is Perse’s spy, so Wireman must shoot it. Edgar takes the others to the ridge on which the mansion is located. From here, the path slopes down to the beach. Ahead of them they can see the ship, which now has its full name visible on the starboard side: Persephone. Edgar, Wireman, and Jack walk to the beach with their supplies.
The novel flashes back to Elizabeth’s childhood.
Nan Melda senses the ghost of Emery will call for Adie once night falls. Nan Melda wears her mother’s silver bracelets today for comfort. She goes to Elizabeth’s room and asks her if the little girl remembers what to do. Elizabeth says yes. They talk obliquely because the porcelain doll, which Nan Melda senses has a third eye hidden under its curls, is nearby. By the time Nan Melda comes to the kitchen, Adie has left for the beach. Nan Melda bursts into John’s study and asks him to bring his harpoon pistol to the beach immediately. They rush to the beach and see Adie on the edge of the water. Emery is pulling her deeper into the Gulf. Nan Melda screams at the shocked John to do something, but he’s frozen, so she gets in the water herself and fights off Emery. Emery’s skin burns where the silver bracelets touch it. As Adie tries to pry Nan Melda off Emery, John Eastlake shoots the spear pistol and accidentally shoots Adie in the throat.
Tessie and Lo-Lo emerge from the water, and Nan Melda tries to repel them too, but they call for John Eastlake to help. Behind the twins, Melda can see a red-cloaked figure on a ship, telling Melda she should not have interfered. Just then, the woman’s head snaps around in panic: Back at the mansion, Elizabeth has drowned the doll. The figure disappears. Melda turns to John and tells him things will be all right now. John Eastlake screams a vile racist epithet at Nan Melda, tells her to keep her hands off his daughters, and shoots her with the spear gun.
Edgar tells the reader that his second-last work of art shows the harpooned Nan Melda clutching her heart. After John killed her, he must have heard Elizabeth’s screams from the house. He realized he still had three living daughters to care for. To avoid prison, he hid Adie and Nan Melda’s bodies. Edgar senses them in the barn, along with Perse. They need to find a container to drown her, but when they get to the barn, someone has smashed all the whiskey kegs. There is a cistern, covered by planks and by another heavy lawn jockey. The men pry open the circular cap to the cistern. It is obvious that the water from the cistern has leaked because of a fissure in the ground. Jack holds up a flashlight. At the bottom, they see the skeletons of Adie and Melda overrun by beetles and toads. Jack nearly faints in disgust from the emanating stench. As Edgar climbs down into the cistern, Wireman throws down the flashlight and asks Edgar to remove its batteries so they can use the flashlight casing to drown Perse. In the cistern, Edgar finds a ceramic Table whiskey keg. There is a rock on the keg, which must have cracked it, causing the fresh water to leak out and awaken Perse. He wonders if the rock falling on the keg was an accident, or if Perse summoned it using her powers.
Edgar tries smashing the keg and Perse screams in his head. His nose bleeds and he is overtaken by a fit of rage as he pounds the keg till it bursts. Inside, in an inch of water, is a wrapped-up porcelain doll with red hair. Meanwhile, Wireman and Jack scream at Edgar to hurry because the sun has set. Perse’s minions are swarming the house. Wireman shoots harpoons at them. Edgar stuffs the doll in his chest pocket, but as he opens the cap of a plastic water bottle, the doll starts chewing on his chest. A bleeding Edgar takes out the doll and puts her in the flashlight. He pours water over her, and calls Jack to the cistern so Jack can find the cap of the flashlight. Jack screws on the cap and Perse is imprisoned—for now. The men climb out of the cistern and see that Wireman has finally killed poor Emery Paulson.
Back at Big Pink, Edgar decides to go for a long walk on the beach, carrying the flashlight, despite Wireman and Jack’s protests. On the beach, he finally weeps for Ilse, remembering her childhood. He wishes she would come back. A sand figure of Ilse rises from under Big Pink and moves towards Edgar. It is the drawing he made of Ilse in the sand, come alive. She asks Edgar for the flashlight. After that, they can both go to the ship and be together. Edgar remembers that Mary drowned Ilse in salt water, which means that this is not Ilse, however tempting it may be to believe his daughter has returned. Edgar asks sand Ilse for a kiss in exchange for the flashlight. As she draws close, Edgar grabs her hand. On his wrist are Nan Melda’s silver bracelets. The figure shrieks and explodes. Knowing Perse has finally been stopped, Edgar sinks to his knees and thinks of Ilse.
A couple of months later, Edgar and Wireman take a boat out to Lake Phalen, near Edgar’s lake house, and drop the flashlight in the water. Fishing is restricted in the lake, so Edgar believes Perse will not be reeled out for a long time. Wireman has moved to Mexico, given the north end of Duma Key to Elizabeth’s squabbling relatives, and kept the cash and securities for himself. Jack plans to move to Port Charlotte, Florida, with his mother after finishing his term at FSU’s Tallahassee campus. Edgar plans to draw one last picture, and then his artistic career will be over. He knows that if he gives his phantom limb free rein again, “all bets were off” (685). Wireman realizes that Edgar’s last picture will be a deathly storm hitting Duma Key and wiping it out. Wireman and Edgar say goodbye. Wireman dies two months later.
The day they drown Perse in Lake Phalen, Edgar gets to the lake house and paints Big Pink, with Reba and the doll Kamen got Edgar on Ilse’s suggestion, propped against the pilings. Over the gulf gather black ominous clouds. The sand has begun to blow onto the beach, obliterating everything.
One should know when an artwork is finished, Edgar thinks, and then put down one’s brush. Now one can return to life.
The novel’s climax is action-packed, and filled with reveals and resolutions. It brings together most of the novel’s important themes and symbols. The twin narrative strands of Elizabeth and Edgar’s timelines converge, the horror reaches its peak, and good has a bittersweet victory over evil. Several plot points introduced early in the text are resolved, adding meaning to oracular predictions, themes, and symbols.
For instance, the upside-down heron of Elizabeth’s childhood paintings is revealed to be Perse’s spy. This adds to the significance of the heron in Elizabeth’s paintings, and also amplifies the meaning of the name Heron’s Roost. Elizabeth’s old home is not just the roost of the bird, but that where the evil spirit Perse has come to roost. Similarly, the full meaning of Elizabeth’s advice—“you will want to, but you mustn’t” (455)—is only revealed in Chapter 21.
The most important disambiguation involves Perse’s history and her motives. Her story comprises a single piece of exposition, or explanation of plot and background, eschewing suspense in favor of providing narrative satisfaction. Perse is an ancient malevolent entity linked with the sea and salt water. She commands the Persephone, a ship crewed by zombie undead. She is hungry for souls to add to her army of minions, and uses a human medium—typically a gifted artist with a history of traumatic brain injury—for this purpose. As the artist draws Perse and her ship, they become corporeal. That is why Elizabeth notes that the Perse in Edgar’s series of ship pictures is stronger than she has ever been. Perse also likes playing games with humans, taunting them with terrifying visions and voices, such as when she tells Ilse (perhaps through Mary) that Edgar is dead. When her medium become aware of her malevolence and wishes to stop her, Perse turns vengeful, killing their loved ones. Symbolically, Perse stands for unhinged creativity, selfishness, and The Power and Perils of Art. When art’s only aim is to shock and terrorize, rather than empathize, it becomes selfish.
Another key revelation happens in Chapter 19, which overtly exposes the racial animus that has only been hinted at in the novel so far—a legacy of the Eastlake family that is not motivated by otherworldly malevolence. When John Eastlake harpoons Nan Melda, Perse has already been subdued by Elizabeth. Yet, crazed by fear and grief, he accuses the family’s Black housekeeper of attacking his daughters, yelling a racist epithet at her as he kills her. John’s makes The Link Between Real Horror and Supernatural Terror evident. Nan Melda’s death is tragic and unfair; yet she continues to guide the characters even after her death. It is she who suggests to Elizabeth, and through her memories, to Edgar, that fresh water counters Perse’s salt-water malice; Edgar puts on her silver bangles to repel Perse for the last time. Although the portrayal of this character is heroic, it is also an example of some tropes of benign racism, or the stereotyping of a person of color via reductionist representation. Nan Melda has no inner life, desires, or history outside her function as Elizabeth’s caretaker, and she also has inexplicable access to knowledge about the supernatural that she uses to help the novel’s white characters—features that make her a version of the harmful trope of the Magical Negro, a term coined by director Spike Lee.
Edgar’s descent into the cistern rife with crawling beetles and the stench of rotten bodies makes literal the archetypal hero’s descent to the underworld—a common plot element in ancient epics and later adventure narratives. Symbolically, the trope represents a character braving the most terrifying parts of themselves and the world to effect change. However, unlike in traditional hero journeys, Edgar does not confront the demonic along. Instead, he, Wireman, and Jack join forces, Resisting Evil through Human Solidarity. Edgar submerges Perse’s doll in fresh water, Jack helps him by also going down into the horrifying space to locate the cap of the flashlight, and Wireman fends off invading zombies to buy them time. The scene is fast-paced and bloody, though some of the details add humor to this climactic finale. Verging into the tone of the mock epic, which comically elevates mundane details, King has the protagonist’s success hinge on the ability to open a plastic water bottle and find a missing battery compartment cap—very everyday annoyances—and avoid the gnawing teeth of a doll, a humorously undersized assailant.
Edgar faces one last temptation in his defeat of Perse. Because he drew an image of Ilse in the sand, Edgar did what Elizabeth had told him he must not; now, through an undead version of Ilse, Perse tempts him to bring his daughter back. The offer plays on Edgar’s feelings of guilt over Ilse’s death; Perse is inviting him to die by supernatural suicide in the hopes of reuniting with his beloved child. Finally listening to Elizabeth’s warning, Edgar forces himself to see that the sand-Ilse is not really his daughter and vanquishes her with Nan Melda’s bangles. Yet the victory is not joyful; rather, it is cathartic as Edgar finally grieves, recalling Ilse as a small child. This elegiac scene at the end of Chapter 21 suggests that sometimes there are no perfect endings, and enhances the novel’s mood of loss.
Edgar’s decision to paint Duma destroyed by a storm shows the extent of his transformation. While he loves Big Pink and the artistic flowering it brought him, he deliberately demolishes it all for the larger good. Sometimes, life has to be chosen over art, and that is what Edgar does at the end.
By Stephen King
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