61 pages • 2 hours read
Helen DeWittA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Ludo is captivated by articles in the Scientific American, but his thoughts keep drifting to Sorabji. He admires Sorabji’s ability to make complex topics engaging. Ludo realizes that what he needs is “not a hero to worship but money” to achieve his goals (344). The next day, he recalls a story about a painter named Watkins who couldn’t capture a specific blue color. The painter ventures into the ocean with a bathysphere operator. After seeing the pure blue of the water, the painter decides that “he [can] not paint blue” (347), and he seeks other ways to see pure colors. The painter obtains a large volume of blood from a slaughterhouse, covers himself with the blood, and lies down on “one piece of paper” (348). He argues that the blood made red “easier to see” (349). He sells the pieces and becomes rich and famous.
Ludo embarks on a quest to find the artist, Watkins. He enters a decaying warehouse rumored to be his studio. In one room, he encounters a man chipping paint off the wall, who eventually reveals his journey to the north of Canada in search of a specific shade of white and his plans involving “lamb’s blood for an art project” (353). Ludo realizes that he is in the presence of the renowned artist but faces a difficult moment when he discloses that he is his son. The artist accuses Ludo of trying to exploit their connection for financial gain. Realizing that his ruse has failed, Ludo prepares to leave. He struggles to open the door, but the painter stops him and offers to take him “to Atlantis” (358). They enter a white room with various art supplies and the painter buys a Stanley knife and a “white silk heart” for £10 and takes Ludo to a platform (360). Without warning, he cuts Ludo’s thumb and creates a small painting from his blood, titled “Washed white in the Blood of the Lamb” (360). The painter gives the painting to Ludo, suggesting that it could be sold for a significant sum.
Ludo, still on the quest for a father, finds it to be a “high-risk activity” (362). Ludo is engrossed in a challenging book on solid-state physics, leading to some frustration due to the prerequisites that he lacks. Despite his financial struggles, he refuses to sell the heart painting.
Ludo considers enrolling in school but is unsure about its feasibility as Sibylla expresses her exhaustion from her job typing back copies of Carpworld. Later, he takes the heart and heads out, feeling apprehensive as he takes the Circle Line to visit an agent. On the way, he reads about Mustafa Szegeti, a remarkable bridge player known for helping those in need. Intrigued, Ludo follows Szegeti to the Portland Club and waits, pondering the possibility of being Szegeti’s son. Szegeti eventually leaves with a woman, and Ludo follows them to “Lennox Gardens” (370), where he waits to see Szegeti’s next move. He falls asleep in a locked garden overnight, leaving Sibylla concerned about his whereabouts.
Ludo returns home to find that Sibylla has finished working on Carpworld and is immersed in her “Teach Yourself Pali” book (371). Ludo, feeling impatient and unsympathetic, questions the purpose of her misery and wishes that she would take a more daring and exciting approach to life, even considering the idea of selling their possessions and gambling everything in a casino.
The next day, Ludo goes to Knightsbridge to meet Szegeti. After following Szegeti home, Ludo reveals that he is Szegeti’s son, to which Szegeti responds, “how extraordinary” (373). They engage in a conversation about Ludo’s mother and Ludo’s purpose in seeking Szegeti out. Ludo admires the art and objects in Szegeti’s flat, including swords, an exquisite Qur’an, ceramics, and Persian miniatures. During breakfast in the dining room, Szegeti shares a story about his accidental diplomatic career, explaining how he posed as a British consul to help “peasants.” They play a French card game called piquet and Ludo wins. He also discusses his mother’s conversion to Islam and her marriage to his Hungarian father as a matter of divine guidance. He soon calls Ludo’s bluff, and their discussion turns to the film Seven Samurai: Ludo praises it as a work of genius while Szegeti expresses his opinion that it is “a terrible film” which he watched with a woman at Oxford (424). They conclude their meeting as Szegeti rushes to an appointment, encouraging Ludo to learn bridge and look him up in about 10 years.
Ludo inquires about Sibylla’s experience with Seven Samurai at Oxford, and she vaguely recalls watching the film with a man, expressing annoyance at his desire to “hold hands” during the movie (391). Ludo continues to interact with Sibylla, teaching her and others piquet at the judo club, reflecting on claiming different fathers. While on the Circle Line, he recognizes Red Devlin, who after being held captive for five years had reported on atrocities and published a book. Three men try to capture Devlin, following him off the train and into a house, leaving a small crowd behind.
Ludo shares his judo progress with Sibylla, who emphasizes the importance of perfecting skills and reaching “satori” while wondering what they teach in his judo class. All the while, Ludo keeps his piquet success a secret.
Ludo has been observing Red Devlin’s house for two weeks, noticing various individuals entering and leaving.
Ludo goes to the house and observes Red Devlin, his wife, and their children exiting. Red comments on the beautiful day, and the others agree.
Ludo continues to observe Red Devlin’s house, often sitting at a nearby bus stop to study solid-state physics. His ability to concentrate is gradually returning to its usual level.
Today, outside the house, a taxi arrives, and Red Devlin’s family prepares to depart. They exchange warm words and discuss the possibility that Red may join them later. For Ludo, the moment of decision is imminent.
Ludo arrives at Red’s house, knocking on the door with no response and eventually finding Red inside a bedroom with a multitude of pills. He confronts Red, who is surprisingly calm and acknowledges Ludo’s presence as they discuss Ludo being Red’s son. Red is having suicidal ideations because he cannot put the “badness” he has seen “out of [his] mind” (406). He feels overwhelmingly pessimistic about humanity and expresses his desire to escape from his suffering. He questions whether he can endure a lifetime haunted by his past.
With his dark humor, Ludo shares knowledge of various suicide methods, emphasizing the dangers of paracetamol overdose which he has learned from his mother’s suicide attempts. Red finds Ludo’s expertise somewhat amusing. They bond over their traumatic experiences: Red shares a painful memory of playing chess with his captor while tied up. Red contemplates the burden of his past and questions the benefit of continuing to live with it. He wishes that he had someone like Ludo in his life for a long time. Ludo admits that he is not his son and he writes letters to Red’s family. Ludo falls asleep and Red consumes the pills. Ludo wakes and spends the rest of the night “with the dead thing” beside him (420). He cries on Red’s shoulder, finding comfort in the fact that Red does not have to wake up anymore. In the morning, he takes his jacket, empties the pockets, and posts the letters.
Ludo returns home and finds Sibylla typing “Sportsboat and Waterski International” on her computer (423). He confides in Sibylla about someone’s suicide, mentioning that he had discussed Jonathan Glover’s ideas with the person but it didn’t help. He suggests that Sibylla could leave the country and find a new job, but she is reluctant to go back to the United States. Ludo pushes her to consider quitting her job typing British Ostrichkeeper, and Sibylla shares that her family has been successful in the motel business. She expresses her desire to stay in London and write a letter to a newspaper about her views, preferring to write the letter to the Telegraph herself.
Ludo reminisces about various people’s life events, including his father’s book on Easter Island, Hugh Carey’s solo journey across Russia, Sorabji’s knighthood, and a painter’s desert adventure. He contemplates his own life and connection to Red Devlin as he roams around wearing his jacket. One day, he stumbles upon an unfamiliar pianist (evidently Yamamoto) while wandering through London. Ludo knocks on the door and encounters a woman who hesitates but lets him in. Inside, Ludo meets him and proposes the idea of creating a unique CD, offering a valuable item—the painter’s heart—as an investment. They discuss the possibilities and agree to work together on the project.
In the concluding parts of Book 5, DeWitt delves into the intricate philosophical terrain of suicide. As the narrative unfolds, Sibylla’s recurring contemplations of suicide come to the fore. Her hypothetical scenarios, in which she proposes that life is “not improved” by enduring horrific experiences, exemplify her view that certain forms of suffering render existence futile. Similarly, Red Devlin is also seen grappling with the existential crisis of life’s meaninglessness. He cannot share his painful experiences because people do not want to acknowledge the pain he carries: “they don’t like to see it” (400). Red Devlin characterizes the psychological burden of trauma as an indelible “poison toad” that constantly kills his inner world (404), creating a relentless and excruciating existence. This shared understanding between Sibylla and Devlin challenges conventional narratives of a happy ending, prompting a controversial and provocative questioning of whether suicide can be a valid choice. After enduring the “years of hell” (410), suicide is presented as an escape for Devlin. Ludo also understands this notion as he sadly feels for Devlin who “doesn’t have to get up” and stare at the ceiling for hours anymore (421).
The recurring descriptions of Devlin’s laughing and smiling in the hours leading up to his suicide suggest a complex and unsettling emotional state. His laughter reflects his emotional turmoil. It also serves as a defense mechanism: a way to conceal the pain or anxiety he is experiencing. It is also presented as a form of catharsis or resignation in an acknowledgment of the absurdity or hopelessness of life. There are multiple mentions of Devlin laughing before dying by suicide: “he’d smile” (403), “[h]e laughed” (402), “[h]e began laughing again”(405), “[h]e laughed” (420), “[t]hat was the last time he laughed” (420). This detail adds depth to the portrayal of the man’s inner struggles and underscores the complex emotional landscape surrounding the topic of suicide in the novel. Ultimately, Red Devlin’s suicide marks a turning point in Ludo’s search “for another father” (428), representing the disruption and culmination of various existential struggles throughout the story.
The closing scene covers Ludo’s interaction with Yamamoto, showcasing The Power of Language and Art to Enrich the Human Experience. When Ludo enters Yamamoto’s home and whimsically claims to be his son, he encourages Yamamoto to record a new CD. Despite acknowledging that only a handful of individuals worldwide may purchase the CD, Ludo contends that it could hold profound significance for these few. Drawing a parallel to his mother’s perspective, Ludo articulates her view that boredom is worse than death, especially for individuals who perpetually seek novelty and abhor monotony. Consequently, DeWitt positions art as a transformative and essential component of life. The novel suggests that, even when a piece of art lacks commercial or critical acclaim, it can profoundly enrich the life of a particular type of individual who finds profound meaning in it.