49 pages • 1 hour read
Adrienne BrodeurA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Ken arrives at George’s office for his session after canceling for three weeks. Ken notices a new mask, and George explains that he only counsels men to help them navigate a world where they have consequences. As Ken grows defensive, George offers incisive comments about his relationships with women and his fear of rejection. He tells him that he covers his vulnerability with bravado and defensive strategies. George offers to call Ken anytime Ken needs help.
Steph buys lobsters and prepares a clambake for her parents’ arrival, honoring a tradition that began with her and Toni’s trips to Provincetown. She sees a whale from the beach. After they eat, she and her father walk together, and he urges her to move past her hurt. She prepares to argue with him. He sobs, and his knees buckle. Michael claims that only he is her father—Adam didn’t raise her. Michael can’t understand why Steph is getting to know Adam.
Abby faces the challenge of naming her painting and signing it. Her signature means she has finished the work, and she hesitates. She thinks about her brother’s molestation and how her stepmother, Gretchen, criticized Adam for not responding to the abuse. She recalls Jenny breaking her favorite mug and repairing it, turning a quotidian object into something deeper. Abby names her painting Little Monster. She signs it with her middle name, Emily, after her mother. Waking up from a nap, Abby sees David, who announces that he is leaving his wife, Rebecca. She doesn’t tell him that she’s pregnant.
Adam packs up his office at the CCIO (Cape Cod Institute of Oceanography), touching and remembering some of the mementos from his office. He recalls a piece of ambergris, which he and Emily discovered on their honeymoon, and a seahorse, which represents his lone affair with Steph’s mother. Adam considers how the CCIO has pushed him out due to his lack of grants. He bemoans their emphasis on grants—and the CCIO’s loss of curiosity for the sea. He packs up a family portrait of Adam, Ken, and a pregnant Emily and leaves the CCIO one last time.
Jenny thinks about a recurring dream she had again the night before, where she experiences her mother’s last moments. Her dream-mother has commanded her to be Jennifer Lowell.
She checks her email, noting the number of emailed RSVPs to Adam’s party from strange emails. Adam has invited people without her knowledge, and she goes to Ken’s office to enlist his help. She discovers him making a detailed model of his senior living center for Adam. He tells Jenny that he used his mother’s tools and feels that she assisted him. Jenny presses him for more information, but he demurs. He asks her to shred a tie Jenny’s father bought him to make a rug for the model.
Abby gets a call from Jenny while a famous photographer takes photos of Abby’s paintings and studio for Art Observer. Jenny tells Abby that her father is experiencing mania. After the shoot, Abby ponders her father’s condition, recognizing that she has thought mostly of herself, her pregnancy, and her artwork. Remembering how her father had disappeared for days when Abby and Ken were children, she entertains the worst possibilities. Abby searches Steph’s name online and recognizes her as the woman she’s met several times.
Steph notes that Adam texts her often but that she doesn’t know much about Ken and Abby. Toni warns her to be honest and admit her true motives. She reads through a series of texts from Adam. Adam invites Steph out on his boat to see baleen whales, which he calls by their scientific name.
Searching Facebook, she finds a post from Jenny announcing a fundraiser for the Episcopal Church. She and Toni prepare to go.
Ken and his family arrive at the church, and he confiscates his daughters’ phones. A group of boys approach, flattering Ken’s golf game and helping to carry flowers into the church. Tessa and Frannie follow the boys, and Jenny stops Ken from interfering. As Ken sits through the sermon on the Seven Deadly Sins, he analyzes himself, narrowing his sins down to pride and anger.
Steph and Toni win the bid for Jenny’s flowers. Ken notes that the lesbian couple could help him burnish his image for the 2018 election. He tries to campaign in front of them until Jenny takes a photo of Steph and Toni with her floral arrangement. They offer to include Jenny and Ken in their photo, and Tessa recognizes them. Steph tells Ken that they met Abby, and they compliment her artistic ability. Tessa recognizes the familiarity in Steph’s appearance. On the way home, Ken and his family playfully guess each other’s sin, and they all agree that Ken’s is envy.
The novel gears up for its climax, where its conflicts will reach a boiling point. Little Monster, Abby’s masterpiece and record of Ken’s abuse, takes final shape. Adam’s symptoms of mania will soon dissipate, leaving him exhausted. His cetacean discovery slips away, remaining locked in the recesses of the deep sea and his mind.
The novel continues to explore Family Dynamics and Secrets. Both Toni and Steph’s father warn Steph about her subterfuge with the Gardners. Her father sees Adam as a predator, one who embodies Toxic Patriarchy. He worries about her living in the past for “a man who got a teenage girl drunk and took advantage of her while his wife was pregnant” (171). In spite of his accolades, Adam ignored Abby’s trauma and covered for his son’s abuse. Adam’s avoidance of criticism, feedback, and vulnerability echoes throughout, appearing in Ken.
George illuminates Ken’s character. Responding to Ken’s three-week absence, George links him to Adam, framing their patterns in a wider context of patriarchal structures. George acts as a moral center in the novel, or a character who reflects the narrative’s beliefs. He reminds Ken, “Grandiosity has always been the master narrative of your relationship” (160), and outlines the costs of toxic masculinity. He explains, “[W]e men are being forced to reckon with how we’ve subjugated women to maintain our power” (159). Through George, Toxic Patriarchy has both produced and wounded Ken and men like him. Patriarchy in the novel functions as a prison, alienating Ken from his family. Ken’s fragility is exposed through Jenny, who reflects on the “vulnerable Ken” she married and misses.
As she paints Little Monster, Abby processes the pain she’s suffered under the patriarchy, from Ken’s refusal to sign over the Arcadia to the “misogynistic comments of a certain presidential candidate” (175). Adam’s neglect becomes apparent through Abby’s memories. She recalls “her stepmother telling her father that he needed to do something about Ken’s ‘inappropriate’ behavior and her father telling Gretchen to mind her own business, they were just kids” (173). George makes clear that this behavior didn’t stop in childhood but has reverberated throughout the years, as Abby’s catalogues of wrongs clarifies. Signing the painting and titling it Little Monster, she embraces her talent.
Abby feels that Jenny’s keen artistic instincts are muddied by her concentration on “the sunny image of the Gardner family” (171). Jenny has suffered her husband’s indignities for the higher purpose of doing good in office. In these chapters, her obsessive protection of Ken begins to break. Jenny’s familiar dream of her deceased mother’s last moments changes. Her mother commands her to “[j]ust be Jennifer Lowell” (184), emphasizing Jenny’s identity outside of marriage. In encouraging her to embrace her birth name, her dream mother is really encouraging her to embrace herself. Jenny starts to rethink her devotion to Ken and their domestic life.
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