62 pages • 2 hours read
Joyce Carol OatesA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Soon after Marianne’s rape, the Mulvaney children begin to leave the farm and the area. Mike Jr., having proved to be an unreliable worker for his father, joins the Marines without telling anybody, breaking Corinne’s heart. Marianne is already living 100 miles away with Corinne’s cousin, and even though Corinne calls her every Sunday night, Michael is never home to talk to her. Marianne no longer feels like part of the family; when Judd protests that Dad should not hate her because the rape “isn’t Marianne’s fault!” (194), Patrick replies that “it isn’t Dad’s fault, either” (194). Patrick left for Cornell in September 1976 and rarely visits home.
Patrick is valedictorian of his class, a talented student even though he is distant and unsociable with his peers. Asked to give a speech, Patrick is unsure what to do. On graduation day, Corinne basks in Patrick’s success, even though Michael is somber. Judd notices other parents openly avoiding their family: “Are we lepers? We, Mulvaneys?—lepers?” (198); in contrast, Zach’s parents, the Lundts, are “talking and laughing with friends” (200). Michael leaves the auditorium before Patrick’s appearance, and suddenly a stink bomb goes off, creating panic, causing people to vomit and choke. Although speculation is that seniors from a rival school have planted the bomb, Judd believes it was Patrick, and that this was his way of saying goodbye to Mt. Ephraim and his high school years.
In April 1978, Patrick is over an hour late to meet Marianne’s bus, on her visit to Cornell. The year before at her graduation, he was the only member of his family to attend. He also has not visited his parents in eight months, having discovered that Corinne failed to invite Marianne home for Christmas: “it’s just that your dad isn’t ready to see her yet, I’m doing a lot of concentrated praying about it” (208). Marianne spent her final year of high school with Aunt Ethel. Now, Marianne is a part-time student at Kilburn State College (since the Mulvaneys did not have enough money to pay for tuition), and she lives and works in a Green Isle Co-op commune.
As he looks for Marianne, his memory goes back to the radiant girl she used to be before the rape. Searching for her, he thinks back, knowing “he should have sought out Zachary Lundt, long ago, and killed him” (213)—but he too had not done anything about it. He witnesses a young man preying upon a sleeping boy, and soon realizes with horror that the boy is Marianne, “her hair cut cruelly short, face waxy-pale” (214). Patrick brings Marianne to his small apartment. Marianne’s new, waif-like appearance angers him as her presence reminds him of home and of past events. He also learns that Marianne has temporarily left school to help at the compound and is incensed, feeling impotent rage. Marianne comforts him: “I love you. We love each other. That’s enough” (225). As a surprise, Marianne has brought snapshots Judd took of the farm. She tells him she believes dad will soon ask her to visit home. Again, he is angered: “‘Dad’!—how can you call him ‘Dad’! He’s a blind, selfish man. He’s cruel. He’s crazy. The way he’s treated you—crazy! Why care about him, or her? Let them go” (233).
“The Huntsman” is a German woodcut Patrick has first seen in his mother’s shop when he was 11. It depicts a young hunter aiming his rifle at a mountain ram. Both are “heroic figures, very male” (238). The work represents them as “twins of a kind” (238). After Marianne’s visit, Patrick remembers the woodcut, and especially “a young male as hunter, warrior, killer” (239). He briefly asks himself, “Am I coded, too, to hunt?” (239), before rejecting the notion.
As an experiment in normality, Patrick decides to go to a rock concert, so he can experience the elation the majority of his peers share, because “Normal thrives. Normal enters heaven” (241). During the concert of the band called Plastica, Patrick experiences disgust and panic, feeling “This isn’t for me. I hate my kind” (243). As he fights his way out of the crowd to leave, he mistakes a young man for Zachary Lundt and realizes “he’d been thinking of Zachary Lundt compulsively” (247). He almost lunges at the man, before realizing his mistake.
Michael has lost his standing in the community, everything he cared for, and therefore his dignity. As he enters the bar in his country club, he catches his former friends “exchanging a quick startled glance—a look of warning, caution passing between them” (248). He drinks a glass of beer at the bar, nursing his impotent rage at this betrayal, orders another and then walks to the group sitting in the booth and “empties his glass of beer in Judge Gerald Kirkland’s face” (250).
Patrick needs Judd’s help, which thrills and touches Judd, as he longs for his brothers. Patrick rarely visits, and his “life in Ithaca was private, and we weren’t to inquire” (251). Meanwhile, Michael has been arrested for assault, disorderly conduct, and resisting arrest, and is awaiting trial. The country club has expelled him. The family will need to sell the farm. Patrick needs help getting revenge on Zachary, so he wants Judd to get him Mike’s old rifle.
Michael’s brittle pride has taken an immense blow. The hurt he originally felt for his daughter has transmuted into a festering wound of recrimination, bitterness, and sense of betrayal by the larger society to which he has always longed to belong, and it culminates with Michael’s ultimate faux pas. By throwing his beer into a judge’s face, he commits a crime that is in a small-town society’s eyes worse than his daughter’s rape: He has challenged and negated the established pecking order. In this sense, there is a parallel between his behavior and its consequences, and Marianne’s. Both have suffered from the inability of the unbending hierarchy to accept their fall and incorporate it into its fold, and both earn exile for “breaking the rules” of the game.
As opposed to Michael, Patrick finds a way to take his revenge on the Mt. Ephraim society subtly yet effectively, as depicted in Chapter 23. Oates deliberately leaves the act of planting the stink bomb at the school unseen, just as she does with Marianne’s rape, to indicate that some facts are unknowable, especially for the biased narrator. Patrick’s choice of revenge on the society that has shunned his family is rational and a product of one kind of premeditation. His developing need to punish Zachary and avenge his sister requires him to abandon strict rationality and becomes an obsession. This is how Patrick becomes The Huntsman, a man tasked with ensnaring the original offender in an act that his father and older brother have failed to perform.
In Chapter 24, he witnesses the profound change in Marianne, who has transformed from a popular cheerleader into a boy-like wraith of a girl, contented to perform menial tasks that allow her to spend most of her time mentally absent. Marianne has divested herself of her female attributes (losing her curves and cutting her hair brutally short), thus removing the risk of becoming a temptation for men. This revelation brings Patrick’s simmering anger to a boil, and his curt behavior towards his sister hides an overwhelming burst of understanding just how much the family has wronged Marianne after her ordeal. However, his initial rational reaction is similar to his family’s: He decides he should not meddle into his sister’s affairs, as he has his own life to think about.
The rational choice, however, proves unfeasible for Patrick, whose grasp on his well-ordered life begins to slacken dramatically, once he has identified himself as The Huntsman. Chapters 26 and 28 thus chart his psychological journey from attempting normality (with consequences that push him deeper into his obsession) to becoming an avenger. While not outwardly traumatized by events at home, Patrick develops a deep-seated fear of connection, dreading the idea that any sort of attachment implies hurting the other person or oneself. The image of the picture-perfect unity of the Mulvaney family has permeated Patrick’s consciousness for most of his young life, and the shock of Marianne’s exile and subsequent events have awoken in him mistrust in people and deepened his underlying resentment for everything ordinary. Patrick attends a hard-rock concert to experience normality, which creates Patrick’s vision of Zachary Lundt, who might attend such an event because Zachary represents normality in Mt. Ephraim. The submerged rage against Zach manifests itself in Patrick’s failure to achieve normality.
In Chapter 28, Patrick enlists Judd’s help in supplying Mike’s old rifle for purposes of revenge, purely because Judd is the suitable vehicle for this action. Yet “Judd the narrator” supports “Judd the child” in believing that his brother calls upon him from a brotherly bond, because both versions of Judd need to believe in the magnitude of this idea. Abandoned on the farm with his mother as sole companion, Judd craves the attention of his siblings, and when his brother whispers the magic words: “Judd, you’re the only person I can trust in the world,” “Judd the child” replies in the only way he can, “scared but excited, trembling, ‘O.K., Patrick. I’m your man’” (255).
By Joyce Carol Oates