61 pages • 2 hours read
Paul MurrayA 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 novel describes sexual assault and domestic violence.
Maurice’s celebratory dinner is being held in the same hotel where Imelda and Dickie got married. Imelda is worried that Dickie will not ask his father for money, so she tells Maurice that Dickie wants to talk to him about the business.
Cass is upset that Imelda didn’t let her go to Dublin with Elaine and Big Mike earlier that day to go apartment scouting. Another girl from school named Jane happened to be looking at the same apartment as Elaine.
Imelda can see that is something is wrong with PJ, who looks pale and worried. She is ashamed of not noticing that he needed new shoes, and of him not being comfortable enough to ask her even though he was in pain. When Imelda can’t find PJ in the hotel’s dining room, she panics, certain that he is gone. Dickie finds PJ by the door and returns him to a worried Imelda. PJ smiles at his mother, but Imelda sees that it’s the same smile she uses when she needs to lie about being okay.
Maurice is introduced, and everyone stands up to cheer him. Imelda has a flashback to her wedding reception and looks around the crowded room for Frank.
The novel flashes back to Imelda’s childhood, told in stream-of-consciousness narration.
Imelda was once told a story about a traveler who gets lost. The traveler lay down by a hill and went to sleep. He woke up to the sound of music and saw a door in the side of the hill. He entered the door even though he was afraid of the fairy stories he’d heard. Inside, there was a feast in a grand hall. The traveler was welcomed warmly and given a ring. After falling asleep, he woke once again on the hillside. Returning to his village, he discovered that his wife and children were long dead—he had been in the hill for decades. The traveler spent the rest of his life futilely searching for another door in a hill so he could go back in time.
Imelda grows up in a poor family in a tiny house surrounded by trash and broken appliances. Imelda’s mother is bedridden, and her father Paddy Jo is terrifying; he violently abuses her brothers, but spares the beloved and beautiful Imelda, who should remain “untouched An untouched beauty like a princess in a fairy tale” (189).
One day, when Paddy Jo is gone, two vans pull up to the house and thuggish men get out. Imelda’s brothers Lar and JohnJoe send her upstairs to hide, but one of the men finds her and drags her downstairs. The invaders force her brothers to watch as they attempt to rape her. Just then, Rose walks in nonchalantly, and asks the men about a black dog outside. Out of nowhere, the men hear bizarrely loud barking and are frightened, recalling stories about people being cursed after seeing a black, barking dog. The men are also afraid of Rose’s powers, so they leave the house without doing further damage. Lar follows them outside; he cannot see or hear the black dog, but the attacking men do. Six months later, one of the men dies after being stabbed with a screwdriver. Lar and Imelda wonder why these men wanted to punish them in their father’s stead.
While Imelda’s father stays away in England for weeks, Rose collects Imelda to stay with her in a small cottage far from anything else in the town. When Paddy Jo returns, he is angry that Rose has taken Imelda, but Rose calmly tells him that Imelda isn’t safe at his house. Rose is a healer and seer; women from all over come to her for treatment or to have their cards read.
When Imelda’s mother dies, Rose still won’t let Imelda return home to take care of her brothers and father, though Imelda visits home often to check in on her family. Imelda can tell that her father has been beating her brothers Lar, Golly, and Christy. One day, Lar tells her that their brothers and father are gone. Imelda assumes they’re away on a job, but Lar shows her an enormous stack of cash he found in their shed. He wants to go to London together, change their names, and never speak to Paddy Jo again. Imelda is tempted. First, they decide to treat themselves to a night out at the local club, Paparazzi’s.
At the club, she’s approached by Frank, a handsome and popular star player in the Gaelic football league. She’s instantly attracted to him. Because of her beauty and her overprotective and possessive father and brothers, she doesn’t typically get to talk to boys. The handsome player invites her to the match the next week. Surprisingly, while Lar agrees to take Imelda to the match, Paddy Jo is the one who takes there in his car. After the game, Imelda and her father go to the pub, where he is impressed and charmed by Frank. When Frank’s father Maurice arrives, decked out in ostentatiously expensive clothing, Imelda immediately understands the importance of impressing this self-made man, who can see that Imelda and Paddy Jo come from a much lower socio-economic class, if she wants to be with Frank and escape her father. Frank also knows that to be with Imelda, he needs to keep charming her father. Imelda and Frank start dating and fall in love, both of them playing one another’s families so they can stay together.
Maurice owns Maurice Barnes Motors; Imelda’s father sees Imelda as an opportunity to get closer to that wealth. Frank has a shy and bookish older brother named Dickie who studies in Dublin, prepping to take over his father’s business.
Frank’s football team makes county, increasing his celebrity. Imelda often feels on the margins because of Frank’s fans. As talented an athlete as Frank is, he is lazy, so Maurice doesn’t know if he can trust Frank with the family business. Frank internalizes the pressures his community places on him as an athlete. In the lead-up to his big match, Frank spends time smoking weed and drinking. In the match, Frank slips when he’s about to make the decisive goal, so his team loses. People in the town are kind about the loss, but they all know that Frank was out drinking the night before. Overwhelmed and drinking more, Frank becomes so unreliable that his coach removes him from the team. Frank floats the idea of moving to London without Imelda to start a Fantasy Football business.
Desperate to keep Frank in her life, Imelda tells Maurice about Frank’s plan. Maurice decides to bring Frank into the business as a car salesperson. Frank earns a lot of money, finds happiness again, and stops drinking. The job gives him structure and he even gets back on the football team. He proposes to Imelda, who decides to not have sex until their wedding night. Imelda is overjoyed until Rose has a vision about the wedding: a hay bale on fire, mist, and a ghost. Imelda sees this as a betrayal, but three days later, Imelda wakes up in dread and calls Frank, who doesn’t pick up. It’s misty outside, and Frank has crashed his car into a hay bale that has caught on fire because of fermentation. Frank dies.
After the funeral, Dickie invites Imelda to stay over. She sleeps in Frank’s room and when she cries in her sleep, Dickie comes in to comfort her. In their grief, they start sleeping next to each other and eventually develop a sexual relationship. Maurice has Dickie take over the car shop early, so he will not return to Dublin. When Imelda becomes pregnant, Dickie asks her to marry him to escape loneliness: “No one can replace Frank…I’m not talking about replacing him But that doesn’t mean you have to be alone. To go on suffering” (272). Imelda doesn’t want to marry Dickie, but she remembers Rose’s prophecy of a ghost at her wedding—maybe if she marries Dickie, Frank’s ghost will appear.
Everyone in town thinks that Imelda never loved Frank and that her engagement to Dickie proves she just wanted to marry into a rich family. Imelda doesn’t tell her father about the engagement. Lar warns Imelda that Paddy Jo will hurt her when he finds out, which Imelda doesn’t believe. On her wedding day to Dickie, Imelda searches everywhere for Frank’s ghost, but when she sees her reflection in a bridal veil, she realizes that this is the ghost Rose.
The narrative returns to the present.
At Maurice’s honorary dinner, Cass passes out drunk after sneaking drinks from the bar throughout the evening. She is brought to the hospital, where her stomach is pumped. The adults assume Cass is stressed out waiting for her Leaving Cert results. Privately, Imelda tells Maurice that Cass is also worried that she won’t be able to afford to move to Dublin because of the family’s financial problems. Maurice agrees to help: He will give Cass money for school and help Dickie fix the business. Cass gets top marks on her Leaving Certificate.
Maurice discovers that the failure of the business is not just due to the recession; there are also serious mismanagement issues. Customers have had their catalytic converters—parts that trap toxic gases and contain gold—stolen. The main suspect is Ryszard, a mechanic. The business’s reputation has been destroyed, and Maurice blames Dickie: Phil, the head mechanic, reported Ryszard to Dickie, but Dickie didn’t do anything about the problem. Maurice can’t bail out the business on his own since he also took a major financial hit in the crash, so he asks Big Mike to partner in the car dealership and garage.
Imelda remembers meeting Ryszard at the garage. He claimed that he had her name tattooed on his butt and took her into a back room to show her. Despite herself, she was curious and attracted to him. However, when he removed his pants to show her a tattoo reading “Your Name,” Imelda felt humiliated that she fell for his mocking seduction.
Big Mike offers to give back Imelda’s old car back, but she accuses him of being a crook. Big Mike sends her a beautiful bouquet of flowers as an apology and texts her about signing apartment rental documents for their daughters, who will room together in Dublin. Imelda meets Big Mike at his farm to sign the papers. He confides in her about his failing marriage and his affair. Alarmed by his openness and her loneliness, Imelda rushes away.
Maurice and Big Mike discover a big discrepancy in the business’s accounts: A huge amount of money is missing from an account that only Dickie has access to. Imelda defends Dickie as a moral person who is perhaps not good at business, but not a crook.
Meanwhile, Dickie stops going to work and spends more time on construction projects in the woods with Victor and PJ. When Imelda goes out to see what Victor, PJ, and Dickie are building, she finds out that they’ve been hunting grey squirrels with Victor’s gun because grey squirrels are an invasive species. Imelda is frustrated with Dickie and what he’s prioritizing.
Imelda visits Rose in the nursing home. Rose’s dementia is getting worse; she can’t remember names or events. Imelda wants help, but Rose can no longer predict the future.
For Imelda’s perspective, Murray modifies traditional stream-of-consciousness narration. Typical stream-of-consciousness prose, which doesn’t use punctuation or standard grammar, attempts to mimic the natural flow of inner monologue. Stream-of-consciousness narratives are abrupt, jump from idea to idea in a chain of associations, and seem to lack structure. While Imelda’s narration features some of these rhetorical devices, this section of the novel is not fully stream-of-consciousness—it has more structure, and the use of the third-person limited omniscience prevents full immersion in Imelda’s thoughts. Nevertheless, this differentiated voice develops Imelda’s character, highlighting her lack of formal education and lower socio-economic background, aspects of identity that separate Imelda from her college-educated husband and similarly-minded children. Murray’s use of the stream-of-consciousness technique is a self-aware reference to the work of famed and seminal Irish author James Joyce, whose most famous novel, Ulysses, also features the inner life of dissatisfied wife Molly Bloom through a stream-of-consciousness chapter.
Imelda trauma-infused past strongly develops the theme of Personal Tragedy and Resilience. As a survivor of sexual assault, emotional domestic abuse, and financial privation, Imelda no longer appears to be the somewhat spoiled and shallow woman we have seen. Instead, her life story shows the complicated gender expectations of late 20th-century Ireland. For instance, Imelda’s beauty is an extremely double-edged sword. It protects her from her father’s physical abuse, but also leaves her vulnerable to gender-based violence at the hands of thugs who want to harm Paddy Jo through his family. Moreover, the special privileges accorded to her because of her looks distance her from her brothers in the dysfunctional turmoil of her home. Relying on her sexual appeal is Imelda’s only way to secure a future because her family doesn’t encourage her to pursue school or a career; however, it is clear from her present-day anxiety about still being beautiful enough to sway Maurice to bail out the family financially that whatever power her looks have won’t last forever.
Murray explores the important role of class differences in Irish society. Some of these differences are also wrapped up in different conceptions of male power. Imelda’s terrifying, violent father is implied to be a criminal, whose illegal activities endanger the family. The money Paddy Jo makes is not enough to lift the family out of poverty, but he embodies blue-collar machismo that builds respect out of fear. Frank and Dickie’s father, on the other hand, owns a thriving business and a large home, garnering more socially-approved respect from building his own successful business. Frank and Imelda’s relationship is seemingly impossible because of their class differences: Their small community judges Imelda’s low status harshly; in a mixed class marriage, she would be viewed as a “gold digger”—which is exactly what townspeople accuse her of when she marries Dickie. In Imelda’s adult years, this socio-economic anxiety is still formative to her identity. Being married to Dickie has given Imelda financial security that she didn’t have growing up. Therefore, his financial downturn activates her well-founded fears of returning to poverty. What’s more, Imelda has internalized shame over social mobility, so she is similarly harsh in her judgment of others with her background, seeing newly acquired money and power as deceptive. For example, she doesn’t trust Big Mike because he comes from a background similar to hers. However, her discomfort with Big Mike is psychologically quite complex: He reminds her brothers and father, but without the violence and dysfunction—in other words, he is the man Imelda’s father wanted to be, one respected for his achievements rather than feared for his brutality.
The introduction of Rose, a fortune teller and healer, comes with allusions to Irish folklore and pre-Christian faith. Despite the influence of the Catholic Church in Ireland, traditional beliefs and superstitions remain powerful. Part 3 opens with a folktale about a traveler cursed by exposure to fairies, typically depicted as otherworldly beings interested in wreaking havoc on humans. The story warns of succumbing to physical pleasure and thus becoming a person out of time, or a stranger in a formerly familiar place—feelings that echo those of several of the novel’s characters. The obliqueness of this enigmatic warning play into the theme of The Difficulties of Open Communication—knowledge of life is disseminated by parable rather than direct explanation. Later, drawing on Celtic cultural history, Rose saves Imelda from rape by playing on her attackers’ fears. When Rose describes a black, barking dog, the men can suddenly see and hear this harbinger of doom based on Cú Sidhe, a mythological black dog whose terrifying bark can kill. Rose also further delineates class distinctions: The low-information thugs believe in her powers of prophecy and magic, whereas the educated Frank finds the idea of fortune telling silly. The novel doesn’t fully side with one opinion or the other—Rose’s vision of Frank’s fiery hay bale and Imelda’s ghostly wedding ensemble seemingly come true, infusing the supernatural into the novel. Likewise, Rose’s worsening dementia links her to the cursed traveler from Imelda’s childhood folktale—a woman who has lost access to her past and whose knowledge and abilities are increasingly out of touch with modern life.
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