56 pages • 1 hour read
Sebastian BarryA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Tom catches the train to Dublin. He remembers fruitlessly investigating a young man’s body that was found without a mark in an unused tunnel. The train passes through places where he courted June; he feels overwhelmingly connected to the landscape and its history.
He gets off in Dublin and is assaulted by memories of a bomb attack in 1974. He and Fleming heard explosions and ran straight there. The gore and carnage contrasted with his imaginings of the people’s ordinary lives the second before. There were simultaneous attacks across the city, maiming and killing civilians. Later, at home, he and June felt thankful they and their children lived outside the city. He began shaking, though he never had in the army in Malaya. The doctor said it was different being so close to home.
At the police station, he chats with Dymphna, the competent, glamourous telephonist. Alone in the incident room, he feels panicked by the photos of him, Billy, and a number of priests he recognizes. The officers come back from break. He meets his replacement, DS Scally, who is the first female officer they’ve had. He privately thinks June would’ve been a good detective. They all chat cordially; Wilson and O’Casey say they enjoyed visiting him.
Tom wakes on a bench. He realizes he must have sat down on his way to the station and sunk into a dream. He slaps his face, which feels real, and yells at the schoolchildren who stare at him. He sets off toward the police station, he hopes.
At the police station, Fleming asks Tom about Father Byrne and Father Matthews. Tom explains that Byrne had been developing photographs of young boys naked. He and Billy planned to go and question him, but the chief commissioner instead gave the photos to the archbishop, McQuaid, to handle the issue internally. Nothing happened to Father Byrne, and Tom and Billy were furious.
Byrne now has a swimming pool that attracts local children. Fleming asks Tom’s advice for Wilson and O’Casey; Tom says they must gather evidence and ensure it is properly recorded before approaching anyone higher up. He wants them to succeed and hopes their investigation will set a precedent to make it easier for the police to get the next priest who abuses children. Tom says he investigated Byrne further by himself; he thinks Byrne was also abusing children in the confessional. Tom wonders how many lives Byrne ruined over the 30 years since his and Billy’s investigation was shut down.
Fleming then asks Tom about Father Matthews. Tom says he was like Byrne; they were a team. However, he didn’t hear anything more after the initial case was closed. Fleming says Tom must’ve forgotten: He and Billy were investigating officers on Matthews’s unsolved, violent death. Tom feels physically unwell as he suddenly remembers; he asks June’s forgiveness. Fleming reveals Wilson and O’Casey took Tom’s toothbrush to get a DNA sample. Tom asks about DS Scally; Fleming says she was killed on duty.
Back in his flat, Tom looks out the window and sees the neighbor’s two children dancing on the jetty. The girl pushes the boy into the sea. Tom rushes down, but when he arrives, there is no trace of either of them.
Tom runs to tell his neighbor about what he saw; she reassures him that her son Jesse is safe in bed, and she says her daughter is dead. She introduces herself as McNulty, which is her maiden name; she says she’s not sure if she’s a Miss or Mrs. now. She tells Tom that she would like his help since he is a retired detective. She explains the older man who visits is her father. Tom can hear the cellist next door playing and wonders what type of gun he has. Tom was a sniper in his army days in Malaya. He experienced nightmares afterward, but they subsided when he was back in Ireland.
McNulty tells Tom that she found out her husband had sexually abused their daughter after she died of internal injuries when she was six years old. However, the authorities took her husband’s word that he didn’t do it. She fled with Jesse in the middle of the night but is afraid that he might find them. Her father used to be in the army; he doesn’t know the full story but says he’ll kill McNulty’s husband if he shows up. Tom has flashbacks of seeing abused, incapacitated children; he’s not sure if they’re his memories or June’s. Tom advises McNulty to get a barring order and says he will keep an eye out for her; he still has two guns. Jesse appears in his pajamas and waves to him.
Tom goes to bed. He feels his nine months’ retirement is like a pregnancy—something is emerging. He thinks about how the police write up evidence to make it watertight; taking the toothbrush isn’t admissible in proper law.
He remembers that when Joe was seven, he pushed a girl into a pool, nearly drowning her. That was the only time Tom ever hit Joe; he and June had sworn not to hit their children like they’d been hit. He remembers the brother telling him that as a sex worker’s child, he was worthless.
Tom wakes in the night. He feels physically unwell and wonders if he’ll die. He imagines St. Peter and remembers closing his eyes and thinking of heaven as a child. He remembers reading to Joe at night, when he was afraid of witches. He struggled to fully understand Joe’s homosexuality. It reminded him of the brother’s abuse at the orphanage, though he knew it was different. However, with June’s support, he tried. He remembers visiting Joe in the United States and seeing that he was loved in his community; Tom felt enormous pride at Joe’s achievements and sense of self. He remembers when Joe left Ireland for the last time for his doctor’s practice in the desert in New Mexico. At the airport, Tom told him he loved him and would always be his father.
For the next few weeks, Tom watches Tomelty gardening from the window; he reminds Tom of June, who’d created their beautiful garden. It was a bad sign when she stopped tending it. This thought prompts him to think that he needs to keep his mind in check, like men in the army used to. Many of them were abused as children, so the army was a relief in comparison. He thinks of the helplessness of the children in church-run institutions and of the brothers doing what they pleased. He remembers his anger at the Byrne and Matthews case being closed; he came home and vented to June. However, June realized at that time that Father Matthews was the priest who abused her, and she broke down.
In the present, Tom stops smoking his cigarillos. He wants to live long enough to see what happens, like a child emerging from a forest in a myth.
This section develops the novel’s plot. Tom visits the police station and exchanges information with Fleming, and this provides exposition and the backstory about Byrne and Matthews, along with the reveal that Matthews was murdered. Later in the section, there is another plot twist: Father Matthews was June’s abuser, as well. This creates more context to the clues given in the earlier chapters, and this gradually develops the idea that Tom’s anxieties about the past relate to these events. Moreover, Tom’s mental contradictions relate specifically to Matthews: He is genuinely shocked when Fleming reminds him that he investigated Matthews’s murder, and he internally asks for June’s forgiveness, without revealing why. Tom is blocking out his unpleasant memories. While the plot develops the mystery of Matthews’s murder, it also builds tension as the case against Byrne is in the present day, setting the scene for possible action.
This section also shows that the Systemic Violence in Institutions that Tom, June, and others like them have experienced has a backdrop of a more broadly violent society and violence on an even bigger institutional scale: colonialism, bipartisan politics, and religious strife. Ireland’s politics explicitly enters the narrative for the first time through Tom’s reliving of the car bomb attack. He describes Dublin as the “city of death” and feels that “memories were lying in ambush everywhere” (105). This image of his memories ambushing him reflects the terror of PTSD, which can suddenly flare up. Tom describes the horrific carnage vividly, contrasting the unhuman pieces of flesh with the ordinary people who were living their everyday lives moments before. Danger is lurking constantly beneath the mundane, which is a description of the incendiary political situation in Ireland at the time as well as of Tom and June’s lives. In this way, the novel shows the interconnection between the systemic and the personal, comparing The Lasting Impact of Trauma at a societal and an individual level: Neither Tom nor Ireland has been able to heal from their pasts.
This section also explicitly portrays how unreliable Tom’s narration is, exposing the gulf between Subjective Reality Versus Objective Reality. The entire, detailed scene of Tom’s first visit to the police station is presented as real, but Tom then comes back to himself on a bench, realizing that none of it had actually happened. Tom’s emotional journey in this imaginary scene indicates why his mind might have created it. He is prepared to confront with Byrnes and Matthews in the office, as he has already seen their photos, and this elicits a panicked response in the imaginary version of his visit to the police station. His imagination also presents an idealized version of this event: He banters with the telephonist, and O’Casey and Wilson eagerly and convivially thank him for his hospitality. Tom meets his replacement, Scally, who is the first female detective on the team and a sign of the changing times.
In The Search for Healing, Tom’s mind offers hope for the future and projects an image of himself as being easygoing and popular. This is in contrast with the reality he finds when he actually gets to the police station: The officers are polite but not warm, and Scally is dead. Fantasy offers a bearable way to approach reality and a means through which to process it. Tom places himself not only into imagined versions of events, but also into the realm of fairytale or myth; he describes feeling like a “medieval childe in the old stories” who is trying to get through the “dark forest” (154). A fantastical version of his life is easier for him to deal with and understand. Metaphor or mythology offers Tom a way to express or confront truths that are unbearable or inexpressible in words.
By Sebastian Barry