49 pages • 1 hour read
Jean Hanff KorelitzA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide contains explicit descriptions of sexual violence, rape, domestic abuse, and murder, including the violent death of a child.
Anna makes plans to meet with Martin in Vermont. Before the trip, she calls Wendy about the anthology project. Wendy can’t promise that Macmillan will publish it, but she commends Anna for being so generous toward Jake’s students. After the call, Anna sits in her apartment and studies Jake’s old furniture. The table where Jake wrote Crib is the same table where she wrote The Afterword. She starts to wonder if she should sell the apartment and move elsewhere. She realizes she doesn’t have to be in New York and is financially secure enough to relocate. She decides to focus on Martin before making any decisions. She books a room at the Ripley Inn and makes a dinner reservation in anticipation of her trip. She dreads returning to Vermont.
Anna and Martin meet at the Ripley Inn. Then they take a tour of the town and the old Ripley campus, where Martin shows Anna Jake’s old classroom. The college is now defunct, so they can’t tour the other buildings, and they return to the inn instead.
Anna and Martin spend the rest of the afternoon reviewing the anthology submissions. Martin tells her what he remembers about each student and their work. He doesn’t mention Evan at all.
Anna and Martin finish the submissions and go to the dining room for dinner. Martin perks up when Anna informs him Macmillan might publish the anthology. He thanks her for instigating the project. His sincerity makes Anna doubt that he’s behind the manila envelopes after all. However, her feelings change when Martin mentions Evan. He tells her that because Evan died “so soon after the program” he thinks they should honor his work in the anthology (171). Although horrified, Anna agrees. Martin suggests that he contact Evan’s last living relative, Rose, to see if she has any of his work. He assures her he can find Rose using the help of his robotics students at the public school where he teaches.
Disturbed, Anna dismisses herself from the table. She confronts the innkeeper, saying that Martin is her late husband’s friend who she’s taking pity on. She lies, saying Martin is drunk and made a pass at her. She asks him to book a room for Martin so he doesn’t drive home. She also requests the innkeeper’s number should anything else go wrong with Martin. The man is obliging. Back at the table, Anna and Martin order coffee. Anna slips a drug into Martin’s cup. After just a few sips, he becomes drowsy and can barely talk. She confronts him about the envelopes, accusing him of taunting her because he doesn’t think she deserves her success. He can barely protest. Then Anna leads him upstairs, making sure the innkeeper sees what bad shape he’s in.
Anna settles Martin in his room. Then she waits in her room until 1 am before returning to his room and waking him up. She leads him into the hallway, pulls down his pants, and pushes him down the stairs to his death. In her room, she sleeps soundly.
The innkeeper and the police chief knock on Anna’s door the next morning to inform her that Martin is dead. They don’t suspect Anna and assume Martin was trying to drunkenly sneak into her room when he fell and died.
In the spring, Anna puts her New York apartment “on the market” (185). Meanwhile, she spends her days at neighborhood cafés researching new places to live. One day, she and Wendy meet up about the anthology. Anna pays to have 100 copies printed and works with Wendy to host a reading at McNally Jackson bookstore. At the event, Anna gives an introduction, making sure to mention Martin’s tragic death. Then the contributors read.
Anna goes out with Wendy and Matilda after the reading. Wendy and Matilda talk at length about the publishing industry, scoffing at amateur writers and bemoaning the challenges of their work. Then they tell Anna they received a manuscript excerpt from a book resembling Jake’s Crib. They doubt there’s any merit to the sender’s accusation that Jake plagiarized but wanted to keep her informed. Anna initially worries Martin was behind the manuscript. She’s even more horrified when they reveal the envelope had an Athens, Georgia, postmark.
Macmillan sends Anna the envelope with the manuscript and enclosed letter. The letter accuses Jake of plagiarizing his former student Evan’s story. Anna realizes the sender is only worried about Jake’s alleged misdeeds and not hers. Then she reads the manuscript.
In the manuscript, Diandra decides to steal her daughter’s identity after murdering her. She stabs Ruby, buries her in the yard, and races away from home to take Ruby’s scholarships.
Anna scoffs at the pages, irritated with Evan’s lack of imagination. However, something worries her about the enclosed letter. The writing is different from the writing included with the other excerpts and has a legal tone. Then she remembers when she hired Arthur Pickens, Esq. in Athens to help her sell her alleged uncle Evan’s house in West Rutland. She wonders if he might be behind this as he’s the only one in Athens who might have information.
Anna thinks about her relationship with her father. The one thing he taught her was to value cash. Before leaving Vermont, she adopted his habit “of setting aside extra cash” (212) and hiding it in a toiletry bag in her suitcase, which she hid in her closet. After she killed Rose by lighting her tent on fire in the woods, she took her stash and fled. She has continued to hoard cash throughout the years, hiding it in a Coach bag.
Anna’s realtors Lori and Laurie plan an open house for Anna’s apartment. During their walkthrough, they exclaim at the space and encourage Anna to declutter. Anna agrees and feels relieved after she puts Jake’s old furniture on the street. Afterwards, she takes her Coach bag and a wig and heads out of town.
Anna’s ongoing efforts to solve the manuscript mystery and to bury her past augment the narrative tension and accelerate the narrative pacing. Throughout Part 2, Anna begins to take more concerted action to find out who is behind the manila envelopes and incriminating letters. She returns to Vermont, meets up with Martin Purcell, works on the anthology project, murders Martin, finishes the anthology publication, puts her New York apartment on the market, and makes plans to confront Arthur Pickens in Athens. These plot points propel the narrative forward through time, while heightening the stakes of Anna’s story. Until this juncture of the novel, Anna’s life as a murderer is largely in the past. When she was Diandra, she killed her parents and daughter. When she was Rose, she killed her brother, and when she first became Anna she killed her husband. In the narrative present, she is identifying as Jake’s widow: an identity that she hopes distinguishes her past from her present and offers her the chance to establish a new truth about who she is. However, the more she tries to control the events of her past, the closer she comes to reassuming her old identity. This is particularly true in the context of Martin, who she ends up killing for the same reasons she killed the rest of her family members: to claim autonomy over her story and agency within her life. Indeed, traveling back to Vermont is symbolic of her journey back into the past, a realm she is still desperate to control. Therefore, the novel is using these dynamics to illustrate the ways in which the individual’s true self will always reveal itself no matter what fictions she invents to overcome this core, essential identity and its root origins.
This excerpt particularly uses setting as a literary device by which to further the exploration of The Intersection of the Past and Present and The Tension Between Truth and Fiction. Anna’s life in New York is symbolic of the present, and thus of her current reality and truth. However, once her past begins to intrude upon her present, Anna realizes that there is “no reason not to move on to a place of her own choosing and her own design” (152). New York isn’t “exactly anonymous for her, not now, not in the version of the city she [is] inhabit[ing]” (152). She therefore begins to take steps to dismantle this world and thus this facet of truth and identity. She not only puts the apartment on the market, but she gets rid of her and Jake’s old furniture: an action symbolic of her desire to eradicate this version of herself and to separate from this era of her life. Meanwhile, Vermont is symbolic of Anna’s past. “God, she hate[s] Vermont” (154) the narrator declares as Anna plans her trip to go see Martin in Ripley. Anna’s fraught relationship with the setting is tied to her traumatic experiences there. She hasn’t spent time in the state since she killed Evan and therefore has a visceral response to returning. In these ways, Anna’s emotional responses to various settings provide insight into her character and capture her desire to control her interiority. She believes if she can distance herself from specific locations and spaces, she can negate how these places have affected her and who she has become because of them. Indeed, she is trying to dismantle her past life and an old version of truth in the same way she dismantles her apartment in New York.
Another series of flashbacks and novel excerpts reveal more about Anna’s character and her desire to control her story. These dynamics in turn ask questions about The Ethics of Storytelling. In Chapter 24, Anna reads Evan’s version of her teenage trauma, an experience that induces a formal revelation on the pages of Anna’s narrative: that Anna was raped by Evan’s childhood best friend. Experiencing this act of violence made Anna disinterested in becoming a mother. However, in Evan’s version of events, Anna was a proverbial seductress and slept with Patrick to hurt him. This iteration of Anna’s story effectively disempowers Anna and dilutes the suffering Patrick subjected her to. Her desperation to punish Evan for exploiting and manipulating her pain in the past carries over into the present, and remains a driving force behind Anna’s behaviors. This is why Anna hasn’t given up on destroying the envelope-sender by the end of the section: she is determined not to let her past dictate her present and to claim authority over her life story. Her unrelenting drive for justice mobilizes the narrative plot line and sustains the narrative tension.
By Jean Hanff Korelitz