logo

54 pages 1 hour read

Ann Patchett

Tom Lake

Fiction | Novel | Adult | Published in 2023

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapters 6-10Chapter Summaries & Analyses

Chapter 6 Summary

Lara’s story resumes. Lara flew to Michigan, and was picked up at the airport by a member of the Tom Lake crew. She found out that, beyond their trouble with the actress cast to play as Emily leaving, there was another issue: Albert Long, who played the Stage Manager, was misusing alcohol and had become unpredictable onstage. Albert Long was the production’s most famous cast member, as he had been on a long-running television show as Uncle Wallace, which is how the rest of the cast now think of him. As they drive from the airport, Lara can’t take her eyes off the cherry trees.

Lara learned that she would also be playing Mae in Fool for Love, even though she hadn’t read the play. The previous actress had been cast in this second role.

Tom Lake was a compound consisting of the theater, an amphitheater, tennis courts, administrative buildings, and housing. It ran along the lakeside. The nearby town supplied their needs and was dependent on the tourists that the theater attracted. As Lara unpacked, she thought about her peers back home, who had families and children now.

A young man came to her room with the rehearsal schedule. According to him, Tom Lake got its name when a nanny told her young charge that the lake was named after him; the boy’s wealthy family, finding the story amusing, kept the name. Lara realized partway through the telling that the young man—Peter Duke—was making the story up.

In the present, Lara’s daughters don’t believe Lara when she tells them she is over her love for Peter Duke. Lara remembers how deeply she had fallen in love with Duke, before he was famous. Her feelings for the young man he was are still complex and unresolved, unlike her feelings for the movie star he became. 

Chapter 7 Summary

Lara, Joe, and their daughters gather for dinner, a ritual that Lara worried wouldn’t happen anymore. Nell asks Joe what he thought of Peter Duke. The girls aren’t satisfied when Joe responds that he liked Duke. He remembers that Duke could walk on his hands and brings up Sebastian, Duke’s brother, a tennis player that almost went pro. After distracting his daughters from their actual question without them realizing it, Joe excuses himself from the table.

Lara’s story resumes. At Tom Lake, Lara began rehearsals immediately, as the cast had been waiting for her to arrive. She was introduced to Uncle Wallace, who hugged her and set her at ease, and the director, Mr. Nelson. They did a table read, and the cast and crew were excited to realize that she already knew the part by heart. During the reading, however, Lara realized that she wouldn’t be able to play Emily forever—in fact, this might be the last time because of her age.

In the present, Lara’s story is interrupted by a call for Maisie in her capacity as vet. Emily leaves to go home, and Nell helps Joe in the barn. Lara has always thought her lack of talent ended her acting career, but now thinks maybe she just wasn’t brave. However, she feels lucky, not regretful, about the end of her acting career.

Lara’s story resumes. After rehearsal, Duke offered to show her Tom Lake. He told her that the director, Nelson, was famous, and all the actors hoped he would take them to his next play. Then Duke kissed her, and offered her a cigarette—her first—and they went to her room.

In the present, Joe and Lara suddenly have the house to themselves. He asks where she’s gotten to in the story. She regrets starting to tell it, but he reminds her how persistent the girls were. They go upstairs, leaving a light on for the girls.

Chapter 8 Summary

The next morning, Lara finds a box of eggs in the kitchen—payment for Maisie’s vet skills. Nell, who had spent the night in the little house where Benny and Emily live, tells Lara that they are getting married. Lara feels stung at not being told—Emily hasn’t shared so many other things. Although Nell is grateful they are all safe during the pandemic, she is struggling because her interests and education don’t give her a purpose on the farm, like Maisie’s and Emily’s do.

Maisie and Emily are already in the orchard, picking. When Lara and Nell come out, Emily is defensive about keeping her engagement a secret. She cries, upset about the uncertainty of the pandemic and the orchard’s future. She wants to use the pandemic as an excuse not to have a traditional wedding, asking the others not to tell Joe until she and Benny can talk to him. Then, to change the subject, Emily asks whether Lara wanted to marry Duke. When Lara says no, they don’t believe her.

Lara’s story resumes. The morning after they first slept together, Lara and Duke woke up just in time for morning rehearsal. In the hallway outside her room, they met Pallace, an actress, singer, and dancer in Cabaret, another Tom Lake production. Duke explained that Pallace was also Lara’s understudy. Lara asked why Pallace didn’t step in when the first actress playing Emily left. Pallace told her it’s because she is Black; Tom Lake wanted to be a progressive theater, but couldn’t imagine casting a Black woman as Emily.

The cast was eager to rehearse. Uncle Wallace was missing, so they used his understudy, who was so bad that Lara began to doubt the production.

In the present, when Lara’s daughters protest she is too hard on the understudy, she reveals that he had the part because he was a wealthy donor. They also ask about George, but Lara doesn’t even remember him. She wants to explain that the events of life accumulate, and many things are forgotten, until you can’t remember that you ever wanted something different.

Chapter 9 Summary

Lara’s story resumes. Uncle Wallace drank while he worked, but his performance didn’t suffer. The entire company knew about Lara and Duke’s relationship. During breaks, they swam in the lake with Pallace. One day, a man Lara didn’t recognize yelled to Duke from the shore.

In the present, Emily interrupts the story, knowing that this is Sebastian, Duke’s brother. Sometimes Emily’s comprehensive knowledge of Duke’s life bothers Lara, but she sets it aside. Everyone called him Duke’s brother Saint Sebastian, even to his face. Emily tells them about Duke and Sebastian’s sister, who died when they were young, and Lara begins to doubt what she knows about Duke.

Lara’s story resumes. Duke was thrilled by Sebastian’s appearance and introduced him to Lara and Pallace. After her own rehearsal, Lara watched the rehearsal of Cabaret, amazed by the charisma of the dancers—charisma that reminded her of Duke. Pallace asked Lara whether Sebastian had said anything about her after she left.

In the present, Lara and her daughters discuss whether dating an actor is a good idea. Lara says it didn’t hurt her, although inside, she wonders. They debate the merits of Duke versus Sebastian, and discuss Sebastian’s failed tennis career.

Chapter 10 Summary

Lara’s story resumes. That summer, Sebastian coached tennis and worked at the local yacht club, where he was a legend for having once played John McEnroe. He spent his time off at Tom Lake, visiting Duke and playing tennis while the cast and crew watched. Lara realized that Pallace was in love with Sebastian, but thought that Pallace and Sebastian’s relationship was a summer thing, while she and Duke were different—they were going to move in together in LA. Lara was sure her agent could find work for Duke.

A week away from opening Our Town, they began rehearsing for the next play, Fool for Love. When he was there, Sebastian watched Duke closely, as if waiting for something to happen, which made Lara watchful as well.

In the present, Lara’s daughters protest when she refers to Duke as “crazy.” Emily says Duke wasn’t, but Maisie and Nell object to the judgment and diagnosis the derogatory word implies. Lara brings up examples of his behavior: He punched out windows and put a cigarette out on his arm.

Benny and Joe arrive for dinner, and they realize that Joe knows about the engagement. They set the table with good linens and glasses to toast. When Lara wonders aloud if Emily is pregnant, Emily announces that she and Benny aren’t going to have children. All Emily wants to do is save the farm. Nell chimes in that she also doesn’t know if she wants to have kids.

Chapters 6-10 Analysis

This section features several examples of nested stories. Not only does Patchett include the continuation of Lara’s narrative, but, within that narrative, Duke tells a story about the origin of the name Tom Lake. The fact that his version of the name’s etymology is a made-up joke plays into the novel’s interest in How Storytelling Shapes Understanding. Duke’s unquestioned ownership of this possible story and his decision to mold it to his whims—in this case, flirting with Lara, for whom he feels an instant attraction—echoes the ways in which Lara is also editing and shaping the way she describes that summer to her daughters.

Patchett also addresses the issue of story in a different way: Emily insists that Lara’s story is primarily about Duke, while Lara prefers to center herself in her narrative—after all, she is describing a piece of her own life. Lara makes a quick concession to Emily’s point of view when she says, “This is a story about Peter Duke,” but then amends this summary to include herself: “This is a story about falling in love with Peter Duke” (79). For Emily, Lara is incidental to the life of an actor whom she obsessively wished to be her father, but for Lara, Duke represents a period of time when she was a different version of herself. This small conflict between Lara and Emily builds the theme of Who Owns Personal History: Lara wants sole ownership of that summer, but Emily wants to claim a piece of it in Duke’s name. Even Joe gets to own a small piece of what happened when he adds new details about Duke to the story: “He could stand on his hands” (84). With this, the idea of history ownership expands, especially since Lara has forgotten and Emily doesn’t know this piece of Duke’s lore.

The revelation about Emily’s secret engagement to Benny offers readers a different example of the complex relationship between mother and daughter. Lara finds it hard to look for Emily’s perspective—instead, she conflates her daughter’s motivation with her own reactions. This is possibly another way that the novel explores How Daughters Reflect and Refract Mothers: Emily is named for the role that launched Lara’s adult life, which prevents Lara from seeing Emily as an independent being. When Lara immediately assumes that Emily kept the engagement from her purposefully, her hurt is “a very old prick of exclusion” (100)—Emily has often tried to create a separate identity from her mother by keeping things private. Lara sees this need for independence as a break in their relationship, blaming Duke for being the first thing that “tore the fabric that bound me to my daughter” (100). However, Patchett complicates reader perception by showing Emily’s reaction to Lara’s hurt: “It’s not like we were making plans behind your back. […] We were only having a conversation” (103). Emily is not simply a reflection of her mother, who is not fully qualified to determine her daughter’s motives just because she feels a certain way. The connection between mothers and daughters—and parents and children—more generally comes up in these chapters in another way. Nell’s career is a refraction of her mother’s acting stint; however, unlike Lara, Nell hasn’t had success fall in her lap. She also resents the fact that her sisters can continue to work in their chosen professions at the farm, while the pandemic has stalled her acting career. Lara understands Nell’s issue intellectually, but isn’t able to separate her own feelings: She asks Nell, “Don’t you sort of love it, though?”, but quickly follows that up with an aside to the reader—“I am projecting, or course. I know this” (102). Lara’s inability to fully individuate herself from her daughters also informs her response to her daughters’ announcement that they have decided (or are strongly considering) not to have children. The younger generation is upset about the climate and the pandemic—“The planet is fucked” (144)—while to Lara and Joe, this decision feels like a repudiation of the idea of family, legacy, and continuity of their family’s life on the farm. Lara wonders who “will give these quilts [that Lara has made] to their daughters and those daughters will sleep beneath them” (142).

blurred text
blurred text
blurred text
blurred text