72 pages • 2 hours read
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.
This chapter is written as a newsletter from Cordelia to the town. As president of Pluto’s historical society, Cordelia reflects on how the number of Pluto dead now outnumber the living and how many of the local businesses have closed because they have agriculture but no highways. Like many other people, Cordelia spends a lot of her time at the 4-B’s as a repository of the town history. “My friend Neve Harp is one of the last of the original founding families” (296), whose grandfather suggested they name the town Pluto, not realizing he was the God of the underworld.
Cordelia recounts the history of the Lochren murder, the lynchings, and the idea that the murderer was supposedly a teenage neighbor boy, Tobek, in love with the daughter who escaped. She talks about how Neve Harp’s great-uncle, the owner of the local bank, tried to escape to Brazil with the town’s money, then killed himself. She speaks of the WWI memorial in which community members chipped off Tobek’s name. She speaks remotely being adopted and raised by Tobek’s older sister, Electra, before becoming the region’s first female doctor, although she refused to treat Native Americans and fell in love with a much younger Antone. She recounts her marriage to Ted and final affair with a swimming coach, who left her for a student.
Cordelia describes her friendship with Neve, the daughter of the suicidal banker’s brother. They walk around the town, orbiting like moons. Neve tells Cordelia the true story of Octave, Neve’s father, who drowned himself in two feet of water, although she refutes the general consensus that it concerned the love of a woman. Neve describes how important and valuable stamps were to Octave: so important that he kept them in the bank. She recounts how Octave acquired the rarest stamps, especially ones that were processed in the wrong color. He became interested in stamps that survived natural disasters and man-made accidents. Neve suspects that he stole the bank’s money to purchase a stamp on a letter from Pliny the Elder to the Younger when Vesuvius blew up. Neve admits that Octave’s stamp collection held him up at customs when he tried to leave, allowing Murdo to catch him. Octave suffered a breakdown and began drinking, then got a letter from the woman who owned the Pompeii letter that her son had destroyed it: “’So in a way it was a letter from a woman that broke his heart’” (304).
Cordelia reflects on how if there were a theoretical cataclysmic volcanic event at that moment, people would find her and Neve’s forms calmly lying in in the ash. Unlike Neve, Cordelia is not lonely because she has no stepchildren to miss, although both are surprised at being old. Sometimes Neve calls Cordelia and talks about Billy, who kidnapped her. Neve talks to her on the phone about how her brother, Evelina’s father, cheated her out of the inheritance by culling Octave’s valuable stamps upon his death, whereas Neve merely inherited the bank. However, she discovers that Octave was experimenting with forged disaster mail. Neve’s phone call reminds Cordelia of the valentine she carries with her, which Tobek had made for her sister and which makes her reflect on the murder. She remembers finding small, folded money in places where she or her adopted mother would find them. Cordelia believed that the lynched Native Americans were responsible until she spoke with Neve. Cordelia thinks now about how lucky she has been in her life, despite its tragic beginning. When she looks at the valentine from Tobek, she knows he did not commit the murder. She wonders why someone would kill her family.
Cordelia remembers once treating Warren after a cow had trampled his leg. The first time Warren sees her, he recoils, although eventually she works to save his leg and he dotes on her. “He’d shuck off his forbidding and strange persona just for me, they said, and sink back into an immobilizing fury once I’d left” (309). When Warren dies, Cordelia is contacted by his lawyer who gives her a box of folded bills. She asks what happened, and a nurse tells her that the music killed Warren. Cordelia recognizes the music as the tune playing during the murders.
Cordelia signs off the newsletter and declares the historical society dead. In her last act, she declares a town holiday to commemorate when she saved Warren’s life. Cordelia feels she is very close to the invisibility of death as an old woman.
Cordelia Lochren writes the final section in the form of a newsletter, theoretically to be disseminated within the dying town of Pluto. Cordelia writes with a great deal of emotional distance, often speaking of herself in the third person, especially when she talks of her family’s murder. Cordelia attempts to be unbiased as she writes, rendering her version of history as absolute truth. However, as the author has pointed out many times before, truth is not absolute but relative. In this way, Cordelia must reconcile the relativity of truth throughout her supposedly factual newsletter, often admitting the biases that people like Neve proved to be untrue. For example, Cordelia recognizes that the four Native American men did not kill her family, ultimately understanding that even though she was told this growing up, this fallacy is in fact a lie.
This chapter concludes the narrative’s murder mystery element The audience knows before Cordelia mentions Warren that he was the Santa Claus who left the folded bills for Cordelia when she was young. However, the audience only knows about Warren’s folded money because Evelina went to the mental hospital in a previous section. If not for Evelina’s depression, the audience might not have been able to piece together the depth of this obsessive behavior. The author suggests that within life and death, there exists a reason for everything, even a beloved character delving into the uncomfortable depths of her own psyche. Indeed, the audience must see this in order to understand death itself.
In this final section, the author makes clear that this book, more than anything, concerns death. The audience sees the town dying around Cordelia and Neve and also understands that it was named for the God of the dead while being filled with the histories of the dead. Cordelia represents the dying population of a dead historical society in a similarly dying town, suggesting the omnipresence of death as it consumes the people and places in the book. The author also suggests that Cordelia’s newsletter is written to ghosts, as it seems that no one ever reads the words written by her and Neve. However, even in death the author suggests that things do not truly end, as ghosts seem to haunt the characters of this town. For example, Warren’s ghost haunts Cordelia just as his ghost haunts the audience themselves. The audience never learns why Warren committed these murders, leaving readers haunted by this past trauma, just like the rest of the still-living characters. The author uses the imagery of a haunted past in order to evoke the idea that the past never really dissolves but remains living, continuing in cycles that span generations. The audience witnesses this cyclicality in the interplay between life and death: a Peace ends up killing Warren just as Warren inadvertently led to the death of a Peace; similarly, two different Peaces save Cordelia even though she inadvertently causes Cuthbert’s death. The author uses this concept of cyclicality to suggest that history never finishes, but rather continues forever in human life cycles. In a way, the author argues that humanity can never be free of history, especially regarding past trauma.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By Louise Erdrich