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Joel DickerA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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December 18, 2008: Harry visits Marcus for his final goodbye. Marcus shows him the recording of Jenny’s interrogation. She claims she never suspected anything until they found Nola’s body, at which point she heard Pratt talking to Travis, claiming Harry would get the blame. She confronted Travis, who confessed to the murder. She protected him by threatening Marcus and setting fire to the car and the house. Pratt was cracking under pressure, so they eliminated him and the gun he had kept.
Next, they watch Travis’s interrogation. Pratt was going to confess, so Travis hit him with the nightstick, the same one he used on Nola. Jenny asked her father to get rid of the things because she did not trust Travis with them. When they arrested Robert, Travis decided to let him take the blame, at least until he and Jenny got out of the country. Travis kept Nola’s necklace as a memento, he reveals, saying, “That necklace was my punishment. It reminded me of the past” (577).
Crying, Harry refuses to watch the final truth revealed. Marcus discloses that Harry did not write The Origin of Evil: There are no seagulls in the novel, and Harry swore to Nola he would include them. The Seagulls of Somerset is Harry’s novel, and Luther Caleb wrote The Origin of Evil. Harry used Marcus to burn the manuscript that would have shown it was not his handwriting. Marcus understood this after the arrests, when Stern asked to see him.
November 14, 2008. At Elijah Stern’s estate, Marcus apologizes to Stern, who says he, too, thought Caleb had killed Nola, as Caleb stalked the pair: “he was living a love affair through them” (581). In his room, Stern found Nola’s letters to Harry, which Caleb must have stolen. Late on the final night, they argued, and Caleb recognized the voice and realized Stern—part of a fraternity at Harvard that beat up poor people—was one of the men who disfigured him. (Troubled by guilt, Stern gave Caleb a job and everything else he wanted.) That night, Caleb left, and Stern could not find him. Stern kept the Mustang and the letters.
The letter with the photos Nola left for Harry never reached him, as Caleb took it and started a correspondence with Nola, as Harry. Harry was unhappy with his writing, and then one day Caleb showed up, asking Harry to read his book. Harry accepted, staggered at how well written it was. He never saw Caleb again, and a month later he realized Caleb was dead, so he claimed the manuscript as his own. Caleb left the typed manuscript in Nola’s mailbox together with the last letter because he knew she was going to elope, but Nola thought this, too, was from Harry, and she had her final breakdown.
Marcus offers his hypothesis on the final day of Nola’s life: August 30, 1975. Luther picks up Nola, who has just run away, wanting to check whether Harry is at the motel. Travis spots them and goes after them, as he wants to deal with Luther. Caleb admits he wrote the letters. As police approach, Nola begs Caleb not to stop. They escape into the woods so Nola can get to the motel. Deborah Cooper sees them running and calls the police. Travis phones Pratt from Mrs. Cooper’s home. He believes Caleb plans to hurt Nola. In the forest, Pratt and Travis find Caleb and beat him. Nola has a vision of her mother, who tells to go back to her father, as Harry will wait for her. She runs back to Caleb, who is dead by now; she has witnessed a murder. Pratt and Travis follow her to Mrs. Cooper’s house, and Pratt kills the woman. Nola runs again, but they catch up, and Travis hits her on the head, killing her.
Pratt stages the scene: Travis is going to get rid of Caleb and Nola’s bodies. They enact a chase because someone spotted the car Travis was driving and go to Goose Cove, where they leave the car in the garage. Late that night, they go back and bury Nola in the yard. Travis then drives the Chevy to Sagamore, where he stages Caleb’s accident.
In the present, Harry admits he knew about Nola’s illness and wanted to run away with her so she could get help. He repeats that they can no longer be friends, as he has relinquished the ideals of what a writer is, whereas Marcus still has greatness in him. Marcus feels he owes everything to Harry and his 31 rules of writing. Harry leaves Marcus for the last time.
Marcus has rebuilt the house and created the Harry Quebert House for Writers. We learn Marcus has managed to get The Seagulls of Somerset published under Luther Caleb’s name, and it has been hailed as a masterpiece. Marcus’s new book is called The Truth About the Harry Quebert Affair. Now he can move on in search of love.
The last chapter of the novel (Chapter 1 in the countdown towards the conclusion), marked by an almost fully blackened rectangle, bears the same title as the novel itself. The concept of Truth, which has been the driving force throughout the novel, reaches its apotheosis in the final chapter, and it gives full meaning to the title of the novel: The story is Marcus’s quest for Truth. He searches not just for the truth of who murdered Nola, Deborah, Caleb, and Pratt, but also for the truth behind his mentor Harry Quebert’s glamour (in its original meaning of casting a magical spell, or illusion). As he finds the way to look behind the curtain, he is able to outgrow his idol and find a place of truth for himself, where he will be able to grow, both as a writer and as a human being.
Marcus and Harry’s final meeting is fraught with hurtful truths, as they sit together to watch the various confessions explaining what happened the day Nola died. Dicker structures the scene with multiple breaks that he fills with transcripts from interrogations of Jenny Dawn, Travis Dawn, and Robert Quinn. In this way, the two major points of Marcus’s investigation reach their climax simultaneously. Harry no longer has power over Marcus; he states, “I’m just a ghost now” (572). In a sense, as Nola and Caleb become real for us (and real victims), Harry slowly fades, his guilt pushing him into the background. Similarly, by being a good mentor to Marcus (and it has by now become clear that his Rules for Writers are, in effect, rules for living), he has allowed Marcus to overcome him on his way to freedom from his youthful ego. By exposing Harry to the confessions and to the truth of what he has done to Caleb, Marcus forces him to face his guilt, and more importantly, his obsolescence, hurting him in the process. As Harry breaks down, he finally admits, “my whole life is a lie” (591), and claims “I regret everything” (607).
Dicker chooses to end the chapter by offering us Marcus’s final version of events, the one that will eventually find its place in his next book, metafictionally entitled The Truth About the Harry Quebert Affair. In this version, Marcus correctly traces the reasons for Nola’s death to many factors (her illness, young Caleb’s misfortune, the silence of Nola’s father, and the arrival of Harry Quebert to Somerset). The author emphasizes the plurality of causes that contribute to any momentous event by utilizing anaphora—a literary device most often found in rhetoric and poetry that implies repetition of a word or a phrase at the beginning of multiple sentences. The phrase “This is the story of” (592) inexorably places responsibility where it lays, and ironically, the true responsibility does not lie with the murderers, but with those who have created an environment that allowed the murders to occur: Nola’s parents, Elijah Stern, and Harry Quebert. Accordingly, we realize there are two layers of guilt: “the origin of evil,” and its consequences. The titles of all the fictional books thus reflect the moral complexity of the story.
It is clear by the end of the novel that Harry has grown as a character and learned to accept himself as he is and his own responsibility for the events of the past. This is why he recognizes that his and Marcus’s relationship must end: “Our paths are taking different directions now. We have different destinies. It was never my destiny to become a great writer […] Your destiny was always to be a writer, Marcus” (608). It is the ultimate gift of the mentor: To set his student free of his influence and allow him to continue to find his own voice.
The epilogue finds Marcus and Perry finally as friends. Although they still quarrel, it is a sport they both enjoy. In the tradition of the amateur detective subgenre, Marcus has relinquished his role as investigator, and yet he is aware that “the police are not the only ones who can dispense justice” (614). He has done his best to correct the omissions of the past, thus freeing himself to pursue his own life. This represents the final step of the protagonist’s journey: “I am setting off in search of love” (615).