61 pages • 2 hours read
Paul G. TremblayA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
“Karen Brissette’s” final blog entry featured in A Head Full of Ghosts describes episodes three and four of The Possession as devoid of visceral horror and excitement, consisting of mostly interviews and background in the absence of exciting footage. Consistent with the tone of previous posts, this entry features casual, dramatic, and often extreme language, as when she writes “where the monster dwells. Dwells, I say!!! SCARRRYYY! I mean, damn […] OUR HEADSSSS ARE EXPLODINGGGG” (238).
Amidst digressions, the post explores the way the Barrett house becomes a character in and of itself, the layout conflated by the way the space has been shot and the perception the viewer is given by the edits. “Karen” references Charlotte Perkins Gilman’s “The Yellow Wallpaper,” in which a young married woman with postpartum depression is sequestered in a room by her physician husband. This suggests that Marjorie is a young woman similarly trapped, punished by patriarchal authority figures for not meeting their expectations. It is clear to “Karen” that Marjorie escaped the restraints because Mom simply didn’t tie them tightly.
“Karen” compares Dad to the “wicked father,” who often appears as a character in horror and whose psychological devolution results in the emotional collapse of his entire family. “Karen” suggests that the moment Father Gavin is attacked is perfectly consistent with horror jump scares; he has placed the blankets back on Marjorie several times before, so the audience is not prepared for her to lunge at him. “Karen” confirms that the desk drawer prop was certainly placed there by the production crew, and that Marjorie’s reaction emphasizes her sense of budding panic and loss of control.
“Karen’s” recap indicates that Merry’s angry outburst at Marjorie was edited, omitting her proclamation that she knows her sister is faking. “Karen” suggests the impression that Marjorie levitated slightly just before falling to the floor is the product of the editing department creating a moment of suspense and horror by slowing the footage. She emphasizes her belief that the final shots of The Possession communicate that Marjorie and Merry, together, are the focal point of their family’s story.
Merry meets Rachel at a café for their final interview, wearing a red coat like the one she considered the focal point of her “reporter” outfit in Chapter 18. Rachel gently confronts Merry, indicating she has read the blog. Merry is eager to be praised for it. Rachel obliges but admits being perplexed that Merry can write from such a detached perspective. Rachel asks if Merry plans to reveal herself as “Karen,” and Merry asks her not to. Rachel asks if Merry believes everything written in the blog, and Merry says “yes”; “Karen” is a pseudonym, not a vehicle for a hypothetical perspective.
Sensing Rachel’s mistrust and doubt, Merry controls the conversation, asking what Rachel discovered about the aftermath of The Possession. The novel mentions “the poisoning” for the first time. Rachel learned that Marjorie’s jump, classified as a suicide attempt, resulted in police intervention and admittance to a psychiatric hospital. A state investigation determined Marjorie’s exorcism and lapse in medical treatment did not constitute abuse or neglect, but once home, mandated visits with a state psychiatrist occurred twice weekly. Amidst this serious conversation, Merry says “yay, me,” applauding herself when Rachel affirms a metaphor Merry uses makes sense.
Barry confirmed the film crew left immediately after Marjorie jumped, distancing themselves entirely from the Barretts. Rachel reports that Dad threatened to sue both the production company and the church. Despite being prescribed two antipsychotics, neither appear in Marjorie’s toxicology report. Merry believes her mother was taking pills and that their father was still trying to cure Marjorie with prayer; she would not be surprised if Marjorie was not being monitored to ensure medication compliance.
Rachel presents a series of emails between Dad and the man he assaulted, who had written an ominous note suggesting that Dad knew what he had to do just a few days before the poisoning.
Merry asks the barista if he can turn down the heat. He apologizes and says he has no control over the system. Merry asks Rachel if she was able to find out where Dad obtained the potassium cyanide. The police believe the pastor sent it to him, but it was also not difficult to obtain. Merry asks Rachel if the report says anything about fingerprints. Merry asks to read the report. She gets the sense that Rachel is keeping information from her and launches into her own narrative.
The narrative flashes back to before Christmas, with Marjorie sliding a note under Merry’s door. Marjorie asks if Merry remembers the story about the vines. Marjorie brings Merry to her computer, asking her to read several news stories. There are dozens of examples of men who, being laid off, feeling slighted, or having their masculinity challenged, took it out on their families in “murder-suicides.” Marjorie summarizes an academic study which found that men whose status as head of household was threatened by lack of compliance, who were financially inadequate, and who were incapable of discerning the role they themselves played in their own dysfunction posed the greatest threat. Marjorie is convinced that their father plans to kill them. Marjorie confides in Merry that she hoped the show would expose their father as the one who truly needed help. Now, Marjorie believes she needs to do something.
She claims that their father has a shrine in their basement where he keeps a white jar filled with poison. Marjorie tells stories about their parents Merry has never heard. Marjorie recalls sexual impropriety, engaging in intercourse in parts of the house other than their bedroom with their children around, fights when they were drunk and became violent and destructive of property, and when Dad, in anger, pulled on Marjorie’s arm so hard he dislocated her shoulder. Marjorie tells Merry that their mother’s deterioration has made the situation even more dire. Marjorie gives Merry the jar of poison and distracts their mother, while Merry stirs the white powder into the marinara sauce simmering on the stove.
Merry, as usual, eats her spaghetti with only butter and cheese. Merry watches her parents serve themselves poisoned sauce. In shock, Merry watches Marjorie serve herself as well. Merry is horrified; Marjorie was supposed to abstain from eating the poison. Merry is angry, thinking Marjorie had tricked her, and that it wasn’t poison at all, but soon her parents and sister begin to react.
As they convulse, Merry says Marjorie’s name over and over, asking how long until the poison wears off. Merry watches them grow still. Merry transfers Marjorie’s fingerprints onto the jar and goes to the basement looking for the shrine Marjorie claimed their father had built, but she finds nothing there.
In the present, Merry says that she remembers going upstairs to her bedroom with her Richard Scarry books, and that she remained there for three days until her Aunt Erin arrived. Rachel tries to interrupt, but Merry continues. Merry admits that she has read the police report, despite insinuating earlier in their conversation that she hadn’t, and knows that this memory must be false. Merry knows she was found under the kitchen table amidst the stench and gore of her family’s rotting bodies, with the thumb of her mother’s corpse in her mouth.
Pausing in her story, Merry reflects on how cold it has gotten in the café, reaching for her red coat. Rachel concedes that it has grown cold. Her attitude has shifted; she appears to be seeing Merry through a new lens, one of pity. Rachel reflects that after having extensive research for this project, and now having heard Merry’s version of events, she is not sure what to believe. Merry retreats into a reflection on her unstable memory, offering myriad excuses for why her version of events may not align with what Rachel has learned in the course of her investigation into The Possession and her family’s deaths. She claims she was manipulated into poisoning her sister and her parents. Around them, patrons and the barista all show signs of feeling the cold inside the café. Rachel notes that the only discernable fingerprints on the jar of poison belonged to their father, the rest of the jar was so smudged that the others could not be identified. Rachel begins to ask questions, attempting to pick apart the discrepancies between what Merry claims and the facts in the police report, but Merry stands up to go, claiming she is tired and wants to go home. Rachel hugs her, and offers to have dinner with her, but Merry believes Rachel will be too busy writing “our” book. As Merry hugs Rachel goodbye, it is cold enough that she can see her breath in the air inside the café.
The final chapters finally reveal that Mom, Dad, and Marjorie died and the grotesqueness of their deaths. The novel frames Merry as more callous than ever in light of her participation. “Karen’s” falsified third-party perspective on the events also appears even more bizarre with its pedantic, self-aggrandizing tone. In the café with Rachel and in her erratic capitalization and punctuation digressions, Merry is still a child “doing voices.”
Though Marjorie loves her, Merry’s lack of trustworthiness is evident in Marjorie’s assumption that Merry placed the prop mechanism in her desk drawer, instead of assuming that the production crew, with their resources and clear motives for ratings, were the ones to stage it. Even under such serious circumstances, Marjorie expects Merry to act as she knows her to be—crafty, conniving, and deceptive.
Though she admits her part in killing their family, Merry reconstructs what Marjorie said in a way that frames her as an innocent child forced into complicity. There is no indication that she misses her sister, regardless of the bond she paints as having existed between them. Merry absolves herself of any responsibility by claiming that Marjorie tricked her, but she seems to experience no real sorrow. Instead, she speaks about how nice it was to live with her aunt after her family died.
The novel leaves some things ambiguous, such as what actually happened and who intended to kill whom. With Dad’s prints on the potassium cyanide jar, and the ominous email he received, it is likely that he procured the potassium cyanide. However, it is also possible that Marjorie, with her knowledge of the dark web and desperate fear of her father’s wrath, acquired it on her own and simply stored it in a jar that he had used. The “reality” of events could be entirely otherwise; all that can be known for certain is that Merry was found with the bodies of her dead family.
People experiencing psychosis, especially paranoia and delusions, may believe that the people around them are a danger to them and that they should act as if their struggle is life and death. This would support Merry’s statement that Marjorie thought up the plan to kill their father. In the novel’s climax, Tremblay indicates that the discontinuation of Marjorie’s official treatment, in conjunction with the trauma of the exorcism and involvement of the “documentary” crew, have contributed to Marjorie’s mental health being impacted. Additionally, the involvement of state agencies and intervention of the visiting doctor was not enough to save her from exposure to her own family. Though her perception might have been detached from reality, Marjorie was not wrong in her belief that the people around her did present a significant threat to her well-being through their emotional neglect and blaming of her mental illness on possession.
Tremblay ends the novel with the temperature in the café dropping significantly. This alludes to a prevalent horror trope seen in films like The Sixth Sense (1999), where a drop in temperature signifies that something paranormal or sinister has entered the environment. The barista didn’t lower the temperature, suggesting that Merry herself is the evil entity.
Merry is fixated on describing her red jacket reminiscent of the reporter’s sweater. This implies that she continues to view herself as the heroine and arbiter of her entire family’s experience.