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57 pages 1 hour read

Taylor Adams

The Last Word

Fiction | Novel | Adult | Published in 2023

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Part 3Chapter Summaries & Analyses

Part 3, Interlude Summary

Before the next chapter begins, Adams inserts a post from Kane’s website. He writes in the first person about being able to handle negative reviews. When he reads negative reviews of Deacon Cowl’s book, he is reassured that even the best writers must endure people’s criticism of their work. He reasons that Deacon is not invincible.

Part 3, Chapter 21 Summary

In Emma’s perspective, she has a memory of Shawn scolding her for driving while distracted. In the memory, Shawn warns her that she is going to kill someone. One day, while she is driving, she keeps checking her phone in hopes that she will get a message from work that will allow her to spend less time with Shawn’s family. When she looks away from the road for a moment, an 18-wheeler veers into her lane.

The narrative returns to the present moment. Emma apologizes to Deek for stabbing him. She tries to staunch the bleeding with her sweatshirt, then finds some tape to cover the wound. She longs to drown herself in the ocean and compares this desire to her mother’s decision to drown herself in alcohol.

Part 3, Chapter 22 Summary

In Murder Beach, the narrator describes two police officers arriving at the house and knocking on the door.

From Emma’s perspective, she hears the officers announce their presence. Kane comes up behind her and puts the barrel of his gun to her head. When the police continue to knock, he tells her to claim that everything is fine. Kane turns the gun on Deek, threatening to shoot the man if Emma doesn’t comply.

Part 3, Chapter 23 Summary

Emma opens the door halfway, and the police ask her if anything suspicious has happened. She lies and says that she is alone watching TV. While talking to the officers, she realizes that Deek has brought his gun; it is somewhere in the house. Emma asks if Deek called them. The police confirm that Deek has a superfan stalker, but he did not call them. Jules arrives just as the police explain that she called in the wellness check.

Part 3, Chapter 24 Summary

Jules apologizes, saying that she was worried when Emma did not answer the phone, so she called the police. Emma claims that everything is okay and that she has received the stun gun. Jules and the police discuss whether the testicles are the most painful place to tase someone. Then, Jules rants about the local population of unhoused people, saying that a masked man showed up at the house even before Emma arrived to housesit. Emma is unable to answer further questions, and an officer starts to peek behind her.

In Murder Beach, Kane describes seeing the police through the window and rustling the curtain.

The narrative returns to Emma’s perspective as she continues to be unresponsive to the officers’ questions. An officer tries to get her to signal if she needs help. Emma claims that she is experiencing challenges to her mental health. She talks about her grief, and Jules and the officers offer condolences. Internally, Emma vows to be more outgoing if she makes it through the night. As Jules leaves, Emma grabs her arm and mouths the words “Howard. Grosvenor. Kline” (291). Jules nods. One of the officers tells Emma that he lost his wife the previous year and that her grief will lessen over time. The officers and Jules leave.

Part 3, Chapter 25 Summary

After the officers leave, Emma asks Kane if Deek is still alive. He responds to her admission of grief and loneliness to the officers, claiming that he and Emma are similar, and cries.

In Murder Beach, Kane claims never to cry and states that he saw Emma mouth his name to Jules.

Back in Emma’s perspective, Kane sobs and says that he didn’t want anyone else to die.

In his book, he claims to be a merciless killer.

In Emma’s perspective, he punches a wall and expresses remorse for killing Jake. Emma is confused, stating that he has done this before. Kane claims that the other books were only fiction and states that he wouldn’t write about real-life killings. He also says that he accidentally killed Laura, but he keeps her teeth, earrings, and the sword that killed her in his bedroom. He confesses to stalking Emma in the house even before she wrote her review. Kane offers to spare her life if she runs away with him. She is revolted at the idea of being his girlfriend, and as he threatens her, she sees Deek pick up his gun and point it at her.

Part 3, Chapter 26 Summary

This chapter returns to the flashback of Emma’s car accident. The 18-wheeler hits her car and sends it off the road. Shawn, Emma, and the other driver all survive the crash.

In the present moment, Deek tells Emma to get down and aims at Kane/Howard. He tells Howard to lower the sword and gun. Howard complies, and Emma takes Howard’s gun. Howard spits out one of Laura’s teeth and tells Deek that he will kill him with his sword. Deek suggests that Emma leave, but she refuses. Then, Jules returns and reveals that she is Howard’s mother.

Part 3, Chapter 27 Summary

Jules tells Howard to turn himself in. Emma realizes that Jules never called for help when Emma mouthed her son’s name.

In Murder Beach, the narrator describes Jules returning to the house.

In Emma’s perspective, Jules apologizes for Howard’s behavior. Emma realizes that Howard lived in the house before she arrived; this explains his intimate knowledge of the building. Emma fires Howard’s gun at a window and realizes that it is only a pellet gun. Jules explains that Howard has “schizoaffective disorder” and is not legally allowed to own a real gun. Emma wonders if Deek’s gun is loaded since he said that he didn’t have bullets.

When Deek greets Jules, she blames him for Howard’s behavior. Deek explains that Howard kept leaving manuscripts on his doorstep, and after Deek harshly criticized his writing, Laura went missing. Deek believes that he inspired Howard to abduct Laura, and he claims to feel guilty for his harsh criticism. Emma reveals that Howard killed the delivery driver.

In Murder Beach, Kane describes how his mother’s body will be found in the house, and he plots his next move against Emma.

In Emma’s perspective, she has a bad feeling “[a]bout everything.” This is because Deek originally recommended that she read Murder Mountain.

Deek asks Jules to call the police, and Emma says that the Wi-Fi and phone lines are cut. Deek has Howard empty his pockets, which contain Emma’s locket and keys. Deek insists that Emma take the keys and go for help with Jules. When Jules calls Howard Howie, Emma realizes that Jules’s online account is “HowieGK’sTopFan”; she is the only one who has been leaving him good reviews. Jules refuses to go with Emma. Deek tells Emma to drive until she has enough cell signal to call for help. Emma admits to him that she briefly believed he might be working with Howard, but she doesn’t believe that anymore. She tells Deek that Howard indicated that the two men were working together. When Deek says he’ll call his daughters after this is over, Emma realizes that his daughters are alive, not dead as she previously believed. As Emma is leaving, Howard calls her a liar and claims that she was responsible for the car accident. Then he lunges at her.

Part 3, Chapter 28 Summary

Deek fires, but Jules pulls his hand so that he shoots into the ceiling.

Part 3, Chapter 29 Summary

Howard slams Emma into the wall and chokes her, ranting about her review, the condition of her mental health, and his role as a writer. When Deek shoots the gun, this distracts Howard long enough for Emma to escape into the laundry room. She thinks that she hears Howard attacking Deek and Jules pleading with him to stop. Then, Howard rants that Emma has cornered herself in a room without an exit. Emma climbs into the laundry chute and pushes up toward the second floor.

In Murder Beach, Kane describes tying up his mother and taking Deek’s gun. Then, Howard thrusts his sword into the laundry chute.

In Emma’s perspective, the sword cuts her cheek. As Howard retracts the sword, it breaks, and Emma continues to climb.

Part 3, Chapter 30 Summary

Upstairs, Emma hugs Laika. Howard starts chipping away at the barricade to the bedroom with his broken sword. Emma breaks a window and carries Laika out onto the roof. She positions herself above Jules’s bushes and recalls climbing atop a different roof after being told that she was unlikely to conceive. There, Shawn told her that he had a star named after her. Now, Emma jumps into the hedges with Laika as Howard breaks into the bedroom.

In Murder Beach, Kane describes running through the house and shooting at Emma. He misses.

In Emma’s perspective, Laika flees at the sound of the gunshots.

In Murder Beach, Kane describes trying to head Emma off before she gets to Jules’s car.

In Emma’s perspective, she gets into the delivery driver’s truck.

In Murder Beach, Kane describes approaching his mother’s car and finding it empty. Emma hits Kane with the delivery vehicle. Kane muses that “Jake Stanford got the last laugh after all” (350).

As Howard stands up and finds the gun, Emma drives away.

Part 3 Analysis

As with the previous sections of the novel, Part 3 begins with Kane’s website and juxtaposes Emma’s perspective alongside the Murder Beach excerpts in order to conflate the boundaries between fiction and reality. For instance, Emma’s observation of Kane is followed by a contradictory line from Murder Beach that plaintively states, “He’s…crying? He didn’t cry” (296). Because the fictional rendition seeks to contradict elements of reality that Kane finds distasteful, it is clear that the book-within-a-book indicates its author’s Immersion in Fiction as an Escape From Reality, for the author creates a version of events that favors the attacker rather than the victim of the current scenario, eliding unwanted details. When Kane and Emma finally talk in real life, she asserts that his books are based on his real-life killings, and Kane replies, “Why would I write and publish a book detailing a real murder I committed?” (301). This exchange hints that Murder Beach is not written by Kane, but by Deek.

Adams also continues the trend of Using Metafiction to Critique the Writing Craft, for as an avid reader and book reviewer, Emma comments on Kane’s previous books, as well as the book she believes him to be writing about his attack. She thinks, “[T]his isn’t your story, Howard [...] you’re in mine” (290), and her determined thought can also be interpreted as Adams’s comment on his own use of varying perspectives. The narrative is further complicated by layered identities when Kane is revealed to be Jules’s son Howard, or “Howie,” as she condescendingly calls him. When Emma mouths Howard’s full name to Jules, not realizing the woman’s family connection to her attacker, she has no way of knowing that Jules will protect her son rather than bring help. Just as the various layers of identity are peeled back to reveal Howard’s true nature and origins, Adams also provides hints that the real villain is still hiding behind the illusion of benevolent intent. Although Deek does not yet admit to manipulating Howard into attacking Emma, he does give Emma an oblique clue to his sinister nature when he admits that his daughters are not dead. The fact that he “lost” his daughters while they are still alive implies that he is hiding egregious behavior in his own past to justify such an estrangement.

While the majority of the narrative is too fast-paced and focused on life-or-death scenarios to delve too deeply into Emma’s mental health crisis, Adams periodically inserts conversations and flashbacks that are designed to enhance the novel’s exposition on this point. As Emma finds herself instinctively using Visions and Hauntings as Tools for Processing Grief, Adams portrays her interior experience by juxtaposing it with the external reactions of others. This dynamic is demonstrated when the police officer, Eric, advises Emma to process her grief with the “three T’s. Time. Tears. Talking” (293). The practical advice of this scene contrasts sharply with her increasingly unhealthy fixation on suicidal ideation, drawing a clear distinction between her anguished memories and near-hallucinations and the harsh reality that she must actively acknowledge her grief to overcome its debilitating effects and move on with her life. Eric wants her to learn the skills to emotionally cope with loss. Although the narrative has previously implied that Emma’s husband, like her daughter, is dead and gone, the revelation that Shawn is alive puts Emma’s grief and mental health crisis in an entirely different context, for it is now clear that she is haunted by her guilt, not by the loss of her husband. Because she feels responsible for her daughter’s death, she is haunted by that loss, but her husband only haunts her in the tangle of her thoughts; her visions of him are a way of incorrectly processing her grief.

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