62 pages • 2 hours read
Tom WolfeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Conrad lies wide awake, dreading the coming morning when the deputies will penalize him, when a rhythmic thumping sound from the floor makes him realize they are in the middle of a major earthquake. The earth shakes so hard that Conrad and Five-O are thrown off their bunks. As the badly maintained prison building starts coming apart, the bunks collapse under a rain of concrete, and the floor buckles. Buried under rocks, Conrad can feel a hole in the floor. Beneath the floor, there is a narrow crawlspace. Conrad crawls into the tunnel and asks a whimpering Five-O, whose leg is badly injured, to follow. As Conrad inches on his belly through the tunnel, he can see a large opening ahead, where the outer walls of the visitor’s area have pulled away from each other. Conrad realizes that Zeus has provided him an opportunity to escape.
Five-O tells Conrad to flee. Conrad replies he will escape but not because he is scared of the deputies or Rotto. He will run away because Zeus has laid out the path for him. Conrad says goodbye to Five-O and sprints off to the highway, aware that his copy of The Stoics has been left behind in prison. He decides to head to the freezing plant, where Kenny should be working the night shift. Kenny is overjoyed to see Conrad and takes him to Mai’s 24-Hour Mini-Mart to get help.
The mart, run by Mai, a 30-ish, beautiful Vietnamese woman, is a front for obtaining fake IDs, credit cards, and cell phone numbers, as well as other illegal activities. Mai’s “army” is a group of illegal immigrants and dissidents from various countries. Mai takes in Conrad and sends him away from California for his protection via her network. Before Conrad leaves, Kenny gives him $1,500.
Wes Jordan assigns Robert a “delicate mission,” his next project after crashing the André Fleet address. Wes wants Robert to tactfully approach Charlie Croker to testify to Fareek’s good character. Wes reveals that he has intel on Charlie that can force his hand. If Charlie is told that PlannersBanc will restructure his debt load in exchange for his endorsement of Fareek, Charlie might just take the deal.
Peepgass invites himself to Martha’s house in the fashionable neighborhood of Buckhead. The mansion, which Martha got in her divorce from Charlie, is huge and beautifully decorated. As Martha meets Peepgass in the living room, he notes that despite being older than him, she is pleasant-looking. Bowled over by Martha’s hospitality and tasteful lifestyle, Peepgass attempts to gain her confidence, telling her about Charlie’s impending bankruptcy. When Peepgass mentions Croker Concourse, the name triggers Martha since it was during the Concourse project that Charlie met Serena.
Reminded of Charlie’s betrayal, Martha tells Peepgass about Croker Concourse’s shady origins. Charlie used a series of clever ploys to obtain the land on which the building was constructed. When Charlie figured out that the next big growth in Atlanta real estate would be in the rural northern counties, he decided to buy 150 acres of cheap land in Cherokee. However, other real estate agents had already bought land in the county and raised prices. Charlie needed a way for the prices to fall. He discovered that Darwell Scruggs, an old racist classmate and a former member of the Ku Klux Klan, lived near Cherokee. He riled up Scruggs against a possible Black-rights march in Cherokee, and at the same time, he nudged André Fleet to hold anti-racism demonstrations in the area. A clash ensued between Scruggs’s men and Black protestors. The event blew up and made the news. Cherokee County gained a reputation for being the den of Klan members, and property prices plummeted.
Mai’s network gets Conrad to a town called Chamblee, outside Atlanta. Conrad’s point of contact is Lum Loc, a Vietnamese man. Lum Loc humorously refers to Chamblee as “Chambodia” and Meadow Lark Terrace, the apartment building he manages, as “Saigon West,” on account of the area’s large Vietnamese and Cambodian populations. Lum Loc puts up Conrad in a room at Meadow Lark and hands Conrad a new ID with the name “Cornelius Alonzo DeCasi” (517). Carrying the remainder of the money Kenny gave him, Conrad heads over to the highway to look for jobs.
Peepgass meets Herb Richman to propose a plan. Once Charlie hands PlannersBanc the deeds to four of his developments, including Croker Concourse, the bank will want to quietly sell off the assets. Peepgass can help facilitate the buy-off to syndicate of willing buyers, including Herb. Herb tells Peepgass he will consider the deal. A few days later, Peepgass goes over to Nassau, the capital of the Bahamas, where his Harvard business school classmate, Harvey Wyndham, runs a brokerage firm called Arthur Wyndham & Sons. Peepgass asks Wyndham to partner with him and broker the deal for the sale of Charlie’s properties. Wyndham agrees to Peepgass’s deal, sensing major wealth in the offing.
Meanwhile, a website breaks the story of Fareek Fanon’s assault of a young white woman. Roger and Fanon’s other lawyers—Don Pickett, who is Black, and Julian Salisbury, who is white—hold a press conference to address the news. Roger dismisses the news story as sensational since no charges have been brought against Fareek. The conference seems to be going well until Roger, hoping to impress a Black journalist in the fray, claims giant tarantulas want to bring down Fareek, a man who has risen from the disadvantaged neighborhood of English Avenue. The press seizes on the tarantula reference and asks Roger if he is referring to a white industrialist. Knowing he has made a faux pas, Roger asks the journalists to forget his remark about tarantulas.
Roger tells his wife, Henrietta, that he is worried about his poor performance at the press conference since the next day’s papers bear headlines like “Lawyer says: Tarantulas Seek Fareek” (546). However, as Roger heads over to work, several Black people compliment him for mentioning racial biases at the press conference. One young man even yells, “Gotcha back,” the same slogan used for André Fleet. Roger feels gratified and realizes that what he considered a debacle is actually a triumph.
Proceeding with Wes’s delicate mission, Roger visits Charlie with the offer of a debt restructuring. At first, Charlie is highly skeptical of Roger’s suggestion. Inwardly, he also worries that agreeing to Roger’s plan will be a betrayal of his friend, Inman. However, when Roger asserts that the reason Wes Jordan wants Charlie on his side is Charlie’s stature in Atlanta, Charlie feels flattered and begins to soften. He agrees to meet Fareek to see if the football star is worth vouching for.
Peepgass takes Martha out for dinner at a fancy restaurant. He tells Martha about the syndicate being formed to buy Charlie’s assets from the bank. Since Martha may stop getting alimony payments after Charlie’s financial collapse, she will need a source of income. It is only fair that Martha joins the syndicate. Martha is not very interested in making money off Charlie, but she is touched by Peepgass’s seeming concern for her well-being. Meanwhile, Peepgass has already decided to marry Martha so they can pool their money together in the syndicate. This way, he can also live in Martha’s beautiful estate and gain access to Atlantan high society. His resolve is strengthened when Jock and Adele Gilchrist, local real estate magnates, stop to say hello to Martha. For her part, Martha is surprised at Adele’s attention since Adele was one of the people who froze Martha out after Martha’s divorce. Martha realizes being seen with a good-looking man has raised her social capital.
Charlie and Fareek’s meeting takes place at the home of Buck McNutter, Georgia Tech’s head football coach. Like Charlie, Buck has a much younger, beautiful wife, whom the men ogle. Buck and Roger try to engineer a conversation between Fareek and Charlie, reminding Fareek that Charlie is the legendary “Sixty-Minute Man” of Georgia-Tech lore (577). Fareek wonders if the descriptor refers to Charlie’s ability to “keep a bitch happy for sixty minutes without stopping” (577). Charlie ignores Fareek’s comment and tells him that the moniker comes from making a straight play for 60 minutes in Division I football.
When Charlie describes his most legendary performance, Fareek asks if there were any Black players on the rival team. Fareek draws attention to the exclusionary history of football, but Charlie feels offended. The conversation goes south. Buck senses Charlie’s impression of Fareek is less than charitable and pulls him aside to tell him that he does not think Fareek committed rape. Buck believes Fareek’s version of the story, which is that the sex between him and Elizabeth was consensual.
Charlie receives a video cassette in the mail, branded like a movie tape. When he plays it, he sees the tape contains a documentary-like presentation on the history of Croker Concourse, complete with a voice-over, sinister music, and graphics. The serious-sounding voiceover tells the story of how Charlie got the land for Croker Concourse for only $200,000, 20 times less than its original value, by engineering a “duet” between André Fleet and Darnell Scruggs. The tape was sent by Harry Zale as a final warning to Charlie to pay his dues. If Charlie does not address the issue soon, the findings of the tape will be made public. Charlie is dismayed and briefly considers dying by suicide. Regretting his life choices and decisions, Charlie decides to call Roger and tell him that he is ready to take his deal.
Meanwhile, Conrad calls up Kenny to find out what’s happening in California. Kenny tells him that police are now actively searching for Conrad, and the FBI even visited Kenny to ask for Conrad’s whereabouts. Conrad tells Kenny he is sorry for endangering him, but Kenny says Conrad is his hero. Kenny hopes to see real life like Conrad did and end up in prison. Conrad chides Kenny that there is nothing cool about Santa Rita, where prisoners are mistreated.
Arthur Lomprey, the head of PlannersBanc, tells Harry Zale to cool off the Croker case for the time being. Peepgass is aghast when he gets the news since it throws his secret plans in disarray. He approaches Lomprey asking him to reconsider, but Lomprey tells him that backing away from Charlie is a “macro-decision” that has to do with the fortunes of PlannersBanc in the long run. Sensing Lomprey’s annoyance, Peepgass has no option but to leave the conversation.
Martha and Peepgass attend a program of the Atlanta Symphony that evening. During the concert, Peepgass’s mind drifts to the hole he is in. He is in debt because of the trouble with Sirja, and now the brokerage plan also seems to be languishing. Martha appears his only hope for the moment—his ticket into a comfortable life. For her part, Martha is aware Peepgass might only want her for her social connections and wealth, but she is ready to accept that reality. Peepgass and Martha hold hands in the dark, looking not at each other but at the violinists.
Roger and Henrietta are at the concert as well. Roger notices many people looking at him and whispers to Henrietta that he is now a recognizable figure because of his defense of Fareek. Henrietta retorts that people are looking at them because they are Black in an overwhelmingly white crowd. Roger knows Henrietta is partly right, but he is too: People do recognize him now.
Conrad’s luck shifts at the start of this section, signaling a narrative endorsement of his growing embrace of Stoic philosophy. Chapter 19 builds suspense by ending with Conrad on the verge of being sent to the rubber room. In Chapter 20, Conrad’s narrative is transformed by a deus ex machina, a plot device wherein a seemingly hopeless situation is resolved by an unexpected event. The deux ex machina arrives in the form of an earthquake that splits the very foundation of Santa Rita. Far from being sent to the rubber room, Conrad is given an opportunity to escape prison itself. The earthquake and escape are closely tied in with the rising elements of serendipity, spirituality, and religion in the text. Conrad shows faith in Zeus and the philosophy of Epictetus and is rewarded for that faith.
Various narrative threads begin to converge in this section, revealing the characters’ underlying motivations. For example, Martha and Peepgass’s narrative arcs intersect, Roger and Charlie finally meet, and Charlie’s connection with André Fleet, foreshadowed in the prologue, becomes clear. The story of Charlie’s acquisition of the Cherokee County land parcel on which Croker Concourse is built highlights the corrupt link between capital and politics. It also underscores that despite the narrative’s increasingly sympathetic portrayal of the struggling tycoon, Charlie has an unethical past. His actions nearly caused a race riot in an already divided city. Thus, Charlie is shown as capable of facilitating violence to further his business interests. The narrative suggests that unless Charlie pays his dues, there can be no true redemption for his character.
The link between capital, power, and politics is further emphasized by Wes Jordan’s actions. Wes wants to appeal to the Black voters in the city not because he wishes to improve their lot but because the way to a second mayoral term lies with the influential Black vote. To this end, Roger observes that he affects a performative Blackness. Roger notes that Wes’s recent love for golf has nothing to do with the sport or the outdoors. Instead, Wes wants to play golf to network with influential people and to darken his skin for the election campaign so that he appears more “authentically” Black. Further, Wes has little interest in either Elizabeth or Fareek beyond their role as pawns in his electoral battle. He directs Roger to introduce Charlie and Fareek, guessing that Fareek’s physical prowess, athletic ability, and impetuous nature will appeal to Charlie. Wes epitomizes the wily, puppet-master-like politician.
As Roger grows aware of Wes’s insincerity, he reveals his own evolving beliefs about the Black experience, especially his own. Nicknamed Roger Too White for his love for elitist Eurocentric art and music, Roger has always been conflicted about how Black people should behave. For example, in the first section of the novel, he finds the wild antics of college students at Freaknik objectionable, yet he also feels proud when a young man moons the Piedmont Driving Club. In the previous section, he dreads leaving his Lexus in a Black neighborhood for fear of it being stolen but draws succor from a Black spiritual. At the symphony in Chapter 26, Robert recognizes that he has indeed been trying all his life to emulate a white ethic. When Henrietta reminds Roger that people are staring at him and her because they are a minority, he realizes that he has always been “dragging her off to these white ‘cultural events’” because he is not comfortable in his own skin (617). As Roger’s defense of Fareek brings him into the limelight, his growing political clout makes his personal identity more solid and self-aware.
As Charlie’s foil, Peepgass wishes to supplant himself into Charlie’s former life with Martha. However, the text stresses that Peepgass is also very different from Charlie, who represents animalistic masculinity. In comparison, Peepgass is too soft and calculating. Martha herself notes this difference when she observes that Peepgass “was no Charlie, but he has Charlie’s passion for the deal” (569). Martha often compares Peepgass’s good-looking but “soft” appearance with Charlie’s “sheer massive physical presence” (569). While Peepgass and Charlie are both radically different and quite similar, Martha and Charlie are more alike than others. When Peepgass visits Martha, she displays the same brand of Southern hospitality as Charlie, introducing her Black employee Carmen to Roger, “adding the sort of warm smile that […] Southern women used to show their guests how considerate they were of their help” (505). Peepgass, for his part, demonstrates his manipulative nature in this section. Though he does not love Martha, he loves the status and convenience she represents. His choice to ingratiate himself to Martha and manipulate her against Charlie demonstrates his alignment with Epictetus’s wily fox, in contrast with Conrad’s bull-like Stoicism.
By Tom Wolfe