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Pat ConroyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
An enraged Tom confronts Susan for keeping Renata a secret, even throwing a book at her, but she retains her composure. Tom tells her that the book is about their family, containing a secret so deep only Savannah could have written it. Susan throws Tom off by accusing him of sharing only a doctored version of his family’s history so far. He has told her stories of his grandparents and their eccentricities but not the stories “that really count” (435).
Uncomfortable with Susan’s probing, Tom threatens to take legal action against her. He then accuses her of being a radical feminist who hates men and wants to punish him for his masculinity. It is obvious Tom is being deeply defensive.
Susan puts Tom at ease by telling him about Renata. Renata was a writer Savannah met in a poetry workshop. She and Savannah became friends, with Renata supporting Savannah through one of her breakdowns. Sadly, Renata died by suicide herself a few days after Savannah’s recovery. Renata’s death impacts Savannah badly, making her enter long states of fugue, or dissociation. Savannah decided to adopt Renata as an alter ego and distance herself from the Wingos. Tom is angry at Susan for enabling Savannah’s deception, but she informs him that Savannah’s condition was deteriorating, no matter which identity she went by. However, adopting the identity of Renata may help Savannah craft a new, more sustainable life. The idea is hard to accept for Tom, who feels in rejecting herself as Savannah, his twin is also rejecting him. He asks Susan how she would react if he told Bernard to leave his parents. Susan throws a dictionary at Tom and injures his nose.
As a reconciliatory gesture, she takes Tom to a restaurant. Savannah has told Susan her “terrible secret” (449), which is that ever since childhood, she forgets long stretches of time. Her greatest fear is entering such a blank period. According to Susan, this suggests Savannah is subconsciously blocking large portions of her childhood. The repressed memories manifest as nightmares and voices of rabid dogs and mutilated angels. However, Savannah has told her that those memories can be accessed through her twin, Tom.
Moved by Susan’s empathy for Savannah and what he has learned about Renata, Tom finally tells Susan the biggest secret of the Wingo children: the story of The Southern Way is true. The only difference is that the children possessed no magic that could have saved them in real life.
After dinner with Susan, Tom studies the literature on psychoses she has given him and calls Lila in Charleston. He tells Lila he has decided to reveal their family secret to Susan since he thinks it may genuinely help Savannah. Lila says that “nothing happened on that day” (457), so Tom should have nothing to tell Susan. Lila’s denial only fuels Tom’s resolve. Lila is afraid that once the secret is revealed, Savannah will write about it openly, bringing their family shame. Tom replies that what happened over two decades ago was not their fault, so she need not be ashamed. It was a crime committed against them. But Lila tells him the best way is to shut the door on the past. After hanging up on Lila, Tom calls Sallie to tell her that he loves her despite everything. Tom is on the verge of making a significant revelation.
In this chapter, Tom finally tells Susan—and the reader—the secret that has traumatized him and his siblings so greatly. He recounts the events leading to the terrible day, which began happily enough with Lila gifting the children presents for their graduation. Tom and Luke finally get their sports jackets, which Lila has stitched herself, while Savannah gets a gold pen since she plans to go to New York and be a writer. After graduation, the three siblings drink bourbon by the river and discuss their future. Savannah, the class valedictorian, seems poised for professional success. While Tom plans to go to college, Luke wants to stay in Colleton and become a shrimper. However, the beautiful evening is somewhat tempered by Savannah’s confession that she still gets hallucinations. Later, on July 19, the children give Lila a bottle of expensive perfume for her thirty-seventh birthday. Luke is sad that his younger siblings are going away. Henry derides his children for showing their emotions so openly.
On the evening of August 3, Henry is still not back from work. Luke is off for a walk. As Lila, Tom, and Savannah enjoy the summer day, they are being watched by a group of men. When Tom goes to answer a knock at the door, one of the men presses a gun against his temple and forces his way inside. The man is Otis Miller, the same person who stalked Lila at Callanwolde. He has just escaped from prison, along with two other inmates. Otis has tracked their address from a letter he intercepted from Tolitha to Amos. Otis brutally rapes Lila, while the other two men each rape Savannah and Tom. The scene, and Tom’s pain, are described in graphic detail to convey its full horror. As Tom is attacked, he spots Luke watching the horror from a window. Soon, there is a loud knock on the back door. As Otis cautiously opens the door, Luke releases Caesar upon the three men. Tom smashes his rapist Randy Thompson’s head in with Father Kraus’s marble statue, and Savannah shoots dead her attacker Floyd Merlin, while Caesar mangles Otis to death, but not before Otis shoots him.
Luke tells Lila they should call the police, but Lila refuses. She even ignores Tom’s bleeding since a man “cannot be raped by another man” (484). She tells the children to get dressed, clean the house, and forget the incident entirely as if it didn’t happen. Tom stares at her in disbelief. Luke asks his siblings to do as Lila says. The family buries the body of the convicts. Luke shoots the dying Caesar, putting the tiger out of his misery. Lila makes the children promise they will never reveal the incident to anyone. Later, when Henry returns, they all have dinner together. A few days later, Savannah slits her wrists for the first time.
A shattered Susan tells Tom this is the worst thing she has heard happen to a family. Tom tells her he has yet to tell her about what happened to Luke.
Herbert orders Bernard off to music camp. Tom comes over to bid his student goodbye, and Bernard tells him Tom is the best teacher he has had in his life. Tom is touched by Bernard’s words. Herbert observes the camaraderie between Tom and Bernard, while Tom notes Bernard’s cruel coldness towards his son. Tom and Herbert’s first meeting is fraught with tension, and Bernard tells Tom that Herbert hates him.
Later, Herbert phones Tom to invite him to dinner after his concert next week. Attending the concert with Susan, Tom is transfixed by Herbert’s playing and talent. He claps wholeheartedly for Herbert as the concert ends. But Herbert’s true motive for inviting Tom becomes apparent at the dinner party when he goads Tom publicly as unsophisticated. Susan is incensed at Herbert’s bad behavior and asks him to “quit picking on Tom” (503). Tom handles Herbert’s sarcasm with humor. Susan has an outburst against Monique for having an affair with her husband. Monique runs out of the room crying. Though the guests try to rescue the situation, Herbert taunts both Susan and Tom. Tom finally dangles Herbert’s cherished Stradivarius violin over the edge of the terrace, threatening to smash it unless Herbert apologizes to him and Susan. After Herbert apologizes, Tom leaves the party. Susan joins him, and they go to Savannah’s apartment, where they make love.
The next morning, while Susan is still at the apartment, Lila phones Tom to tell him that she’ll be dropping in shortly. Susan leaves since she doesn’t want Lila to see her with Tom. Lila comes over. She asks Tom to tell Susan and Savannah’s other doctors that the story he has revealed is made-up, a hallucination resulting from his mental health issues and electroshock treatments. Tom refuses, and Lila finally breaks down and acknowledges the violence and trauma she and her children experienced. In a cathartic moment, she tells Tom she is proud they killed the men for their crimes. She now wants to mend her relationship with Tom and Savannah. She also wants Tom to call Sallie, whom she thinks has been abandoned by her boyfriend.
Tom agrees to make a fresh start with his mother and visits her later at the St Regis Hotel, where she is staying. Reese appears on the scene, and Tom politely shakes hands with his stepfather, apologizing for his past bad behavior.
This climactic section uncovers the secret to which the narrative has been alluding till this point. It also brings matters between Tom and Susan to a boil, forcing Tom in the direction of a major decision.
The description of the rape in Chapter 22 is detailed and graphic. One reason for this is that since it is a secret Tom has kept for so long, it finally erupts with unflinching honesty. Another is that the author, Pat Conroy, wants to bring attention to the horror of the event without any titillation. Sexual violence is presented as what it is: an ugly, terrible crime. Tom’s rape draws attention to the fact that boys and men can also be victims or survivors of sexual violence. The Prince of Tides is one of the few books of the 1980s that focused on this lesser-discussed aspect of male trauma. The violence against boys and men is complicated by the fact that they are supposed to be strong and immune to such acts. The social expectation negates the experiences of male survivors of rape and other forms of sexual violence. Not only is Tom bodily injured by the violence, but Lila’s declaration that boys cannot be raped also wounds him emotionally and psychologically.
Graphic language here also explains the violence of Savannah’s psychosis and her visions, as well as Tom’s aversion to his mother. Lila’s denial of such a terrible truth finally separates her from Tom, who, after this point, begins viewing his mother as an adversary. The effect of the suppressed truth is the worst on Savannah, who has already been established in the previous sections as the family’s voice of courage and truth. That is why Savannah begins harming herself, as Tom notes. She may not speak, he notes, but she cannot be silenced. The blood leaking out of Savannah’s veins symbolizes the truth pouring out of her. It is also significant that Savannah repeatedly slashes her wrists: the act of violence carries Catholic imagery of Christ’s stigmata or wounds during the crucifixion. In a way, Savannah is the sacrificial lamb, the Christ figure of the family, who suffers the most for their sins. The Christian symbolism also occurs with Tom killing his attacker using the statue given to Henry by Father Kraus.
Religion and nature come together to help the Wingos in the form of the statue and Caesar, the tiger. Caesar’s presence on the scene is reminiscent of the savior animals and insects in The Southern Way. This highlights nature’s redemptive power, a key theme in the text. In Luke, who is the most Christian of the Wingo children and often identified with Grandfather Amos, the power of religion and nature combine, earning him the title that Savannah gives him and which the next section explores in detail.
Parallel to the story of the Wingos is the story of another unhappy family: Susan, Herbert, and Bernard. By juxtaposing the sophisticated New Yorkers with the small-town southern family, the narrative shows that dysfunction and parental neglect cuts across classes and social strata. Though Herbert is a famous violinist, he is punishingly cold towards his wife and son, in his way as capable of damaging Bernard as Henry did Tom and Luke. It can be inferred that the close contact with Herbert’s boorishness makes Tom realize that he cannot abandon his own children.
Parents and children continue as a motif in this section, with Lila first negating and resisting Tom’s reveal and then admitting the secret herself. This opens up a new vein in the life of the Wingos, with Tom and Lila finally approaching some kind of a truce. Savannah emerges as a complex, fully realized character in these chapters; though her mental illness predates the attack, it is obvious that keeping its trauma hidden has exacerbated her psychoses. Yet, Savannah is not a victim but a survivor. She tenaciously holds onto the truth through her writing, cuts ties off with her family when they prove too triggering, and even crafts a new identity to help her survive. Despite being seen as the mentally fragile Wingo child, Savannah has deep reserves of fortitude.
The text’s narrative techniques are also discussed in a tongue-in-cheek manner, with Susan complaining that Tom tends to ramble a lot. However, from the point of view of narration, Tom’s digressions are deliberate since they show no story can be told by itself. Every story is enriched by another. Digressions and stories-within-stories are essential plot devices in The Prince of Tides.
By Pat Conroy
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