124 pages • 4 hours read
Thomas HarrisA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Clarice and Crawford arrive at Potter’s Funeral Home to look at the body of Buffalo Bill’s latest victim, Kimberly Emberg. Clarice sits in the backseat of the deputy’s car, distanced from the conversation and forgotten when the deputy and Crawford exit the vehicle. In the funeral home, Crawford again leaves her out in the hall when he speaks to the deputy and coroner. The deputy informs Crawford that the local police didn’t call the FBI in for help, but Crawford convinces him to let them see the body before the Criminal Investigation Section (CIS).
Under the coroner’s supervision, Clarice and Crawford set up their forensic equipment as policemen wander around the room. Clarice reverts to her West Virginian accent to gain the men’s respect, and they leave when she asks. Clarice and Crawford begin photographing and fingerprinting the body. Kimberly’s wounds are like the other victims’, but Buffalo Bill also scalped her, shot her in the chest, and cut two triangles of skin from her back. The girl’s manicuring suggests that she was from a big city.
A funeral assistant, Lamar, helps Clarice photograph the girl’s teeth. Clarice finds a bug cocoon lodged in Kimberly’s throat, which she takes for evidence. Lamar tells them extra information about the men who found the body and about a possible cause for her burn. Clarice loads the fingerprints into Crawford’s transmitter while he speaks with multiple police departments. As he and Clarice leave, the CIS team arrives, and Crawford chats with them to gain their cooperation.
Nine hours later, the driver, Jeff, brings Clarice and Crawford to the FBI Headquarters in Washington, D.C. Clarice describes the Latent Descriptor Index, the keywords it uses for Buffalo Bill’s case, and the new details she wants to input. Clarice wonders if the other bodies had cocoons in them that pathologists overlooked as debris, but Crawford doesn’t want to exhume any bodies.
Lecter suggested to Clarice that Buffalo Bill would scalp his new victims, but Crawford dismisses this as Lecter’s way of teasing Clarice. Crawford thinks Lecter’s information is nothing but clever deductions. Clarice gets out with Crawford at the FBI building to discuss the dimensions of Buffalo Bill’s vehicle. Crawford apologizes for shutting her out when talking to the deputy. Clarice understands but asks him to be a better model of behavior. Crawford leaves and Clarice continues toward the Smithsonian.
Clarice arrives at the closed Smithsonian Museum, where a security guard escorts her to the entomology offices. Clarice interrupts a game of beetle chess between two young scholars, Noble Pilcher and Albert Roden. After they swear to secrecy, Clarice gives them the cocoon specimen and tells them how it was found. The FBI wants to know if the insect has specific habitats that could narrow down their search. The insect is a pupa in chrysalis that began fracturing its cocoon.
The two men narrow down the insect to a Noctuid—a night moth. They further identify that the insect is an Erebus odora, a Black Witch Moth. Clarice fears that the insect’s habitable zone is too large to be useful, but Pilcher believes the moth was raised in a greenhouse. They compile references on the Black Witch Moth and a list of entomological publications and their subscribers. Pilcher chats with Clarice as he escorts her to the exit. He finds moths more interesting than butterflies because they “live in all kinds of ways” like the moth who feeds only on tears (106). Pilcher asks Clarice on a date, but she politely refuses. Back at the Academy, Clarice types up her notes and a memo to Crawford, suggesting that they make another appointment with Lecter.
In East Memphis, Tennessee, Catherine Baker Martin and her boyfriend smoke weed and watch TV. Catherine walks to her adjacent apartment in the Stonehenge Villa complex for food, passing a strange truck. From her apartment, Catherine sees an injured man trying to move furniture into the truck, so she offers to help him when she descends to the street. The man—Buffalo Bill—allows her to lift a chair into his truck. He asks her to look for rope and knocks her unconscious with his cast when she bends down. He removes her clothes and examines her naked body and scalp. He drives away from her apartment as Catherine’s mom, Senator Ruth Martin, calls.
The FBI triggers a standard series of events after Catherine’s kidnapping. An unmarked van goes to Senator Martin’s office and home, tapping the nearby phones in case of a ransom demand. At the FBI office at Buzzard Point, the Reactive Squad and the Hostage Rescue Team go into high alert. The Memphis police seize Catherine’s slit blouse from a man collecting roadside garbage. Later that morning, Crawford speaks to the FBI director on the phone. Though the slit blouse implies Buffalo Bill took Catherine, Crawford doesn’t want to jump to conclusions. The Senator is flying down to Memphis and Crawford worries she will impose on the investigation. He reluctantly accepts her offer to travel to Memphis.
The same morning, Clarice hears news of the kidnapping and the Memphis investigation on the radio. She packs a bag and her forensics kit, thinking she will get to help, but hears nothing. Crawford’s secretary shoos her away to class without any information. Clarice tries to distract herself from feeling left behind. She joins Ardelia and other classmates in the common area to watch the evening news.
The newscast plays an interview with Senator Martin, who pleads with Catherine’s abductor to bring her home unharmed. She urges the man to recognize her daughter’s kindness and humanity using home videos and photos of a young Catherine. The Senator promises to help the abductor in any way she can if he keeps Catherine alive. The newscast cuts away to an interview with Dr. Alan Bloom, an expert on serial killer psychology, who recommends entreating the killer to come forward.
Clarice finds a note to call Roden and receives a phone call about meeting Crawford at the Smithsonian. Ardelia urges Clarice to get Crawford’s assurance that she won’t be kicked out of school for missing important tests. Clarice drives to Washington, thinking back to the strength she found at the Potter’s Funeral Home. She arrives at the FBI building and walks to the Smithsonian.
Clarice meets Crawford in the Smithsonian. He chats about the Memphis investigation’s minimal findings. Crawford agrees with Dr. Bloom that Buffalo Bill likely won’t hold Catherine as long as the other girls. They turn toward the anthropology offices, and Crawford reveals that John Hopkins Hospital found a cocoon in Klaus’s head. Three anthropologists inspect the preserved head, while Jerry Burroughs from Behavioral Science dictates his observations to the remote FBI offices. Using Burroughs’s machine, Crawford tells his unit how to search for Klaus’s identity. Lecter likely lied about Klaus’s murder and Raspail’s involvement, as the cocoon is too distinct for multiple killers to use. Crawford thinks Buffalo Bill committed both murders.
Chapter 12 represents the extra hurdles Clarice must overcome as a woman in law enforcement. We see the symbolic and tactile barriers to her inclusion: In the deputy’s car, Clarice is relegated to the back seat, behind a “prisoner screen” (78). In this position, she physically cannot be involved in the conversation between Crawford and the deputy. Crawford and the deputy then forget Clarice in the car as they walk into the funeral home, locking her away from participating and treating her as an afterthought. They shut her out inside the funeral home when they have a discussion behind a closed door because Crawford and the deputy want to speak “just between us men” (80). These barriers—the prison screen, the car, and the door—all epitomize Clarice’s social battle to be included and taken seriously in her field.
The events at the Potter Funeral Home catalyze Clarice’s transformation as an agent. Until this moment, Clarice found strength in the memory of her father and his masculine bravado, but when she faces Kimberly on the autopsy table, she finds a uniquely feminine strength in a memory of her mother. Clarice remembers how strong her mother was after the death of her father when she “wash[ed] blood out of her father’s hat […] saying, ‘We’ll be all right, Clarice’” (82). Clarice channels this strength into her caretaking of Kimberly. The small-town police recognize this strength, which Crawford notes is because “Clarice Starling [has] a special relationship to [the girl]” (82). Clarice’s understanding of human behavior also changes in this moment. In Chapter 17, she reflects on the brutality she saw the killer inflict on the innocent girl, and she recognizes the true extent of evil in the world:
In her life she had seen some of the hideously offhand ways in which the world breaks things. But she hadn’t really known, and now she knew: sometimes the family of man produces, behind a human face, a mind whose pleasure is what lay on the porcelain table at Potter, West Virginia (116-17).
The memory of Kimberly haunts Clarice for the rest of the book and motivates her to continue the investigation regardless of her own fears.
Harris expands the motif of classifying humans to include the classification of insects, and he contrast their degree of difficulty. Pilcher and Roden methodically run through various identifiers—like “distinct respiratory organs on the dorsocephalic region” and “functional mandibles” (102)—to arrive quickly at the species of moth in Kimberly’s throat. In contrast, Chapter 13 shows the FBI’s attempts to codify and categorize criminal behaviors using the Latent Descriptor Index. This index attempts to match criminal proclivities to keywords from unsolved cases, but Crawford explains that errors can easily occur depending on an investigator’s vocabulary. He corrects Clarice’s keyword of “flayed” to “skinned” because they “can’t be sure the damned thing will read a synonym” (92). Unlike the universalities between insects of the same species, human behavior is disorderly both in how it presents and in how people describe it.
Harris draws a parallel between Crawford and Lecter; both men manipulate to get what they need. Crawford subtly manipulates on the investigation. Clarice notices that Crawford gets the Potter’s police force “into a male bonding mode” that leads them to trust him more (90). Crawford later explains that personability in cross-jurisdictional investigations is important. By congratulating the police for their work, “they get more friendly [… and] remember to call us if they get something” (94-95). Harris places Crawford’s benign manipulation directly after Crawford exposes Lecter’s manipulation of Clarice. Both Crawford and Lecter manipulate others for an end goal, but Harris distinguishes the two based on their motivations: Lecter is motivated by personal amusement while Crawford is motivated to save lives. Crawford’s performance of camaraderie and ego manipulation appears less threatening than Lecter’s deceit, which Harris paints as deeply devious.
Harris offers the moth as a symbol of destruction and violence. Pilcher enthusiastically describes moths as “anything that gradually, silently eats, consumes, or wastes any other thing” (106). Pilcher tries to impress Clarice with the fact that some moths feed only on tears, but Clarice connects this to the sinister behavior of Buffalo Bill, who she believes feasts on his victims’ pain. The depth of the moth’s symbolism grows in later chapters through Jame Gumb’s perspective. The moth found in Klaus’s head provides a moment of hope for Crawford and Clarice, who believe they can connect the murders and open new opportunities for leads.
Harris introduces Buffalo Bill/Jame Gumb as a character whose perspective the reader will have access to. Harris uses dramatic irony to give the reader information about the killer that Clarice and the FBI have yet to discover. The reader learns that Gumb uses a ruse of vulnerability to kidnap Catherine—and likely his other victims—and that he appears primarily concerned with the physicality of the girls’ bodies. Gumb checks Catherine’s scalp, the softness of her skin, and the size of her breasts, declaring aloud that they are “Gooood” for his project (111). By offering this perspective to the audience, Harris encourages the reader to question Gumb’s motivations for killing. Harris creates suspense: Will Clarice will uncover this information in time to save Catherine?
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