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61 pages 2 hours read

Paula Hawkins

A Slow Fire Burning

Fiction | Novel | Adult | Published in 2021

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Chapters 27-33Chapter Summaries & Analyses

Chapter 27 Summary

Carla packs for a trip, planning to go abroad. She debates whether or not to tell Theo that she is going away; she didn’t like the draft of his novel that he shared with her. Carla thinks back to a time about a year before Angela died: Daniel had come to her house, agitated about a number of problems in his life. Carla and Daniel drank together, and Carla abruptly went to sleep in her room. She woke up to see Daniel sitting near the bed sketching her. In the morning, Daniel asked if he could stay with Carla, but she refused because she didn’t want Theo to know that she had a relationship with her nephew.

Carla also recalls Daniel coming to Angela’s house after his mother’s death. He told her that he was renting a boat, and he collected his notebooks and sketch books. He confirmed with Carla that she hadn’t looked through them and expressed no interest in any of the other items in the house. A short time later, Carla found letters that Angela had written to Daniel’s father, Marcus, when Daniel was a young boy. The letters were returned to Angela unopened; in the letters, Angela expresses her unhappiness, dislike for her son, and pleas for help. Daniel has read the letters, and Carla is sad that Daniel has to live with the burden of knowing that neither of his parents wanted him and that he was “a boy who was never framed as anything but a problem, something about which something needed to be done” (223).

Carla went to Daniel’s boat in hopes of seeing him. Daniel wasn’t there, but Carla was able to enter the boat. Idly looking around, she saw Daniel’s old sketchbooks and flipped through one of them, which he titled “The Origins of Ares.” She was startled to see idealized and sexualized sketches of herself; in shock, she took the book with her and left the boat. As Carla left, Miriam caught sight of her.

Carla is jolted out of her memories by the sound of the phone: Both the police and Theo have called to tell her that there has been a breakthrough in the investigation.

Chapter 28 Summary

At his home, Theo reflects happily on what he has heard about the murder case. When Theo ran in to the police officer at the crime scene, the officer confided that they had located the murder weapon, arrested Laura, and are going to charge her with the crime. After learning this information, Theo feels immense relief and hopes that he and Carla can finally move forward with their lives: “the Sutherland mess, all that poison they had injected into his family, into his marriage, it could start to drain away now” (228). Now, he is preparing dinner for himself and Carla. Theo recalls how, on the night he saw Laura walking by covered in blood, Carla was not in bed when he went to sleep. When he woke up in the morning, Carla had just finished showering and seemed to have washed herself vigorously. A knock at Theo’s door interrupts his reverie.

Chapter 29 Summary

Laura is now being held in jail. After she left Irene’s home, she went to her apartment, where the police were waiting for her. Laura was confused as to why the police were searching her apartment and asking her questions about Daniel. The police reveal that they analyzed Laura’s bloody shirt, and it contained both her and Daniel’s blood.

Laura explains that during her altercation with Daniel, she bit him. She got his blood on her face and mouth, which she subsequently wiped with her shirt. Daniel had also cut his hand on a broken glass during their struggle, and that blood may have gotten on her shirt as well. Laura thinks back to the cruel comments that Daniel made and how she became enraged. These comments were what led to their altercation.

The police show Laura a small knife and tell her that they had found it in her apartment. She denies owning the knife and does not know how it got into her apartment. Laura then remembers that Miriam had the key to her apartment and could have snuck in and left the knife. The police are intrigued by this information but wonder why Miriam would have wanted to put the knife in Laura’s apartment. Laura argues that Miriam seems to have a grudge against the Myerson family and that Carla could have been involved in the murder. Miriam could also be the murderer: “[S]he’s seriously damaged, you know? […] I know what you’re thinking, you’re looking at me like, look who’s talking, but sometimes it takes one to know one” (236).

The police continue to question Laura about the key, revealing that they already know about her altercation with Miriam on the boat. Despite Laura’s arguments, the police charge her with Daniel’s murder. In desperation, Laura physically resists arrest and the officers have to drag her out of her apartment.

Chapter 30 Summary

Carla has now decided that she will go to Theo’s, spend one last night with him, and then slip away in the morning, leaving a note behind. After leaving Theo’s, but before catching her train, Carla will stop at Angela’s house one last time to retrieve some items she doesn’t want Theo to see.

Carla thinks back to the day that she took Daniel’s sketchbook from the boat. Once she got home, she looked at the drawings and was impressed with Daniel’s talents: “[H]e captured movement, he registered nuance, he was empathetic on the page in a way he never seemed to achieve in real life” (240). Daniel had depicted recognizable scenes and individuals from his childhood, making it clear that he loathed both his mother and himself. In contrast, Carla and Ben were depicted in a loving and idealized way.

The scenes in the sketchbook tell the story of the visit during which Ben stayed with Daniel and Angela. Daniel drew scenes of himself catching Angela having sex and scenes that expressed the rage he felt afterwards. There was also a scene showing Daniel waking Ben up and luring the toddler towards the broken balcony with a toy truck. The doors to the room off of the balcony are depicted closed, but Daniel opens them. The final image implies that Daniel intentionally sent Ben to his death and then passed it off as an accident.

Chapter 31 Summary

When Theo opens his door, Irene is standing there. Irene explains that she urgently needs to speak with Carla; she doesn’t have Carla’s address, but she knows Theo’s from the envelope containing the drawing of Carla. Theo tells Irene that Carla will indeed be arriving shortly and invites her to come inside and wait.

Irene is hesitant to talk with Theo before Carla arrives but reveals she has come because she found a notebook containing a series of Daniel’s drawings. Theo asks Irene why she was in Angela’s house, and Irene isn’t sure how to explain. She heard on the news that Laura had been charged with Daniel’s murder and became distressed. Desperate to speak to Carla and advocate for Laura, Irene went to Angela’s house with a vague hope she would find something with Carla’s contact details. Looking through the house, Irene found a pile of letters and a notebook. The contents alarmed her and made her even more determined to find Carla.

Theo becomes increasingly insistent that Irene give him the notebooks, but Irene refuses. Theo wonders if the notebooks contain similar themes to the drawing Daniel sent him, asking, “are there pictures of Carla in it? He was fixated on her, you know, in an unhealthy way” (248). Eventually, Theo grabs her handbag and seizes the notebook by force; it is “The Origins of Ares.” Theo begins to look through it, becoming increasingly distressed while Irene begs him to stop. Irene begins to feel faint.

Chapter 32 Summary

The perspective switches to Theo as he becomes angrier and angrier. He throws the notebook into the fireplace and helps Irene recover, even as he contemplates how easy it would be for him to kill her.

The narrative switches to an excerpt from The One Who Got Away, in which the killer is dying at the hands of the surviving girl. The scene describes his surprise since “when he woke up that morning, he never though he’d be the prey” (251). Then, an extended scene depicts the killer catching up to the girl as she tries to run away. Rather than fighting him, she lies limply and continues staring him in the eyes. The killer becomes distraught and tells her to leave. However, the girl picks up a large rock and strikes him on the head with it. She continues beating him with the rock until he dies. She later tells the police that she fought back and killed him in self-defense.

Chapter 33 Summary

Miriam reflects that she has felt shame and guilt ever since the incident. She also feels deep anger towards the man who killed her friend and also towards Theo, who stole her story. One day, Miriam found Theo’s dog on her porch, tearing into her garbage. In a fit of rage, she killed the dog and dropped the body into the river near Theo’s house. She is aware that Theo spent a lot of time looking for the dog, which she finds satisfying; she has kept the dog’s tag.

Miriam takes the dog tag to Theo’s house, intending to confess her actions. However, as she approaches the house, she is shocked to see Theo being led out by two police officers and getting into a police car. Miriam wonders, “had she won? Had some justice been done, at last?” (258). As Miriam watches, she notices an elderly man in a wheelchair across the street. The man in the wheelchair is picked up by a taxi, but something about him makes Miriam very uncomfortable.

Chapters 27-33 Analysis

This section of the novel quickly resolves the question of incest between Daniel and Carla, revealing that Daniel sketched Carla while she was sleeping. This information absolves Carla of any devious behavior and casts Daniel in a more sinister light. When Carla wakes up to find her nephew in her room, she comments, “Daniel […] you scared me” (221) and later recalls “the whiteness of his teeth” (221). Up to this point, Angela’s complaints about her son seemed rooted in her own bitterness, unhappiness, and inability to bond with him. However, Daniel’s voyeurism towards his aunt shifts his narrative from a victim to a possible predator.

The notebook’s title reveals Daniel’s arrogance and his self-loathing. By calling it “The Origins of Ares” Daniel alludes to the Greek god of war. By linking himself to Ares, he positions himself as powerful agent of violence and chaos. Carla initially interprets the title sympathetically and seemingly misses the foreshadowing of Daniel as someone who can cause death and disaster: She focuses on how Ares was “the most hated of all the gods, the one even his own parents couldn’t stand” (224). Daniel either fantasized about causing Ben’s death or actually did cause it. If the notebook is accepted as an accurate record of events, then not only was Ben’s death intentional rather than accidental, but Angela was effectively framed for it. If Daniel’s sketches tell the truth, Daniel shifted the blame for Ben’s death onto his mother just as Miriam attempted to shift the blame for Daniel’s death onto Carla. While the notebook provides context for and information about Ben’s death, it also reveals that evidence can be misinterpreted. By implication, if there was so much hidden context behind Ben’s death, there might still be much to uncover about the deaths of Daniel and Angela.

While readers learn about Carla’s discovery of the notebook, Laura is charged with Daniel’s murder. The notebook implies that Daniel may have been a much darker figure than anyone realized, which changes the dynamics around the need to locate his killer. Laura insists that she is innocent, but the evidence against her is damning and hard to explain. Laura tries to explain her vulnerable position, telling the police, “I was already in trouble—I’m always in fucking trouble” (234). Laura’s attempts to protect herself end up only making her more suspicious.

This section reveals Theo’s alternative ending to Miriam’s story. Miriam’s account makes it clear that the killer who abducted her got away and was presumed dead. Theo depicts the young woman who escaped from the killer surviving a final attack and then killing the murderer. The scene is narrated from both the killer and the girl’s perspectives. By having the murderer become prey, Hawkins shows how this plot twist subverts expectations and power dynamics within the traditional murder mystery plot.

Theo’s alternative ending might simply be a concession to readers who want a narrative of female empowerment. By flipping the ending, Theo misses the point of what it is like to truly experience terror and vulnerability. His ending betrays a traditionally masculine scenario of good triumphing over evil. He describes the girl feeling “joy fizz[ing] up in her” as she beats the killer to death, rendering her someone who takes pleasure in violence. While this may be a valid description, it parallels her with the killer, who had a similar bloodlust.

Further complicating the pseudo-feminist perspective of Theo’s ending is that the killer relents and lets the girl go, even though she is at his mercy. This turns the girl from victim to predator: The killer is described as “limp, beaten” (253) and weeping while the girl hits him over and over. She later lies about the incident, claiming she killed him in self-defense. The role reversal foreshadows the complications that will arise in determining innocence and guilt in Daniel’s murder.

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