59 pages • 1 hour read
Ambelin Kwaymullina, Ezekiel KwaymullinaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
As Catching finishes her story, the wind dies down. Beth is shocked to realize that it is now morning. The story has had a powerful impact on her father; his face is “crumpled,” and he tells Catching how sorry he is for what she experienced. Catching reminds him of her earlier warning that he was too late to save her. She tells Michael where the entrance to the bunker is. As Michael stands, Beth sees him transform back into the father she has always known: a determined, strong, and clear-headed man. She recognizes that the familiar lines in his face are deeper now, etched by pain, but otherwise he seems like himself. Catching looks tired but somehow free. She surprises Beth with a genuine smile and tells Beth to go with her father and to stop worrying. She states that Beth will “know when [she] knows” (172). Beth decides that this is good advice and follows her father.
Michael heads toward the ruins of the children’s home and makes Beth promise not to follow him inside. Hartley is waiting, and she and Michael search the ground. Beth, still confused about the true meaning of Catching’s story, is surprised when her father locates the door to the underground bunker. Michael and Hartley descend. While Beth waits for them, she finds a pair of glasses on the ground and recognizes them as belonging to Alex Sholt. Suddenly, she understands the connection between Catching’s story and the children’s home and connects each element of Catching’s allegory with the real-life event it represents. She now knows who killed Sholt and the others.
Michael and Hartley emerge from the bunker, shaken. Hartley tells Michael that she spotted Derek Bell’s jacket in one of the rooms and now understands what he was hiding. She and Michael discuss the fact that Sholt, Bell, Cavanagh, and Flint were all likely involved in a scheme to abduct and sexually assault girls. Michael explains to Hartley that the burned body found at the home is almost certainly Sholt’s. He reluctantly explains that Sarah Blue was likely among the men’s earliest victims. Hartley is stunned and angry, and she blames herself for not seeing what kind of a person Bell was. Michael tells her to pull herself together for the long investigation ahead. They must now identify victims and discover who else might have been involved. Michael suspects that Gerry Bell failed to investigate Sarah’s disappearance properly because he suspected his son’s involvement.
Michael gives Hartley a plausible version of events that disguises Catching’s involvement. He tells her that Bell probably killed Sholt, Cavanagh, and Flint, and states that Charles Sholt likely killed Bell as revenge for his own son’s death. Beth can see that Hartley believes this version.
Michael sends Hartley to escort his team to the site, and he and Beth are left alone. He tells Beth that he believes that Catching is also dead. Beth protests that Catching is alive, in the hospital, and he reminds her of the night they met Catching. She realizes that the first girl she saw in the hospital really was the witness they were seeking; Catching simply inserted herself into the investigation. Michael tells Beth of his belief that Catching’s mother died a few months ago during a big storm in the area. He theorizes that Bell covered up this death to keep anyone from looking for Catching. Michael believes that Catching died in the underground bunker or on the night of the fire, but Beth still disagrees. When Michael tells Beth that they arrived too late to help, Catching, who has appeared nearby, tells them that this doesn’t matter because “It’s the beginning that hasn’t happened yet” (184).
Catching is no longer wearing her hospital gown, and her green sweater seems longer and brighter. A crow that Beth identifies as Sarah is now perched on Catching’s shoulder. Beth asks whether Catching is dead, but Catching evades answering. Beth now understands that the purpose of Catching’s story was to show Beth how to move on. Catching tells Beth that Crow saw her near the children’s home on the day she and her father got to town and suggested that Catching help Beth.
As Beth watches her father interact with Catching, she realizes that he does not yet understand who really killed all four of the men. She explains that the killer was not Catching, but Crow. Beth lists the physical evidence, which convinces Michael that Beth’s theory is true. Startled, Michael steps away from Crow, who cackles. Beth tells Michael that Crow is many things at once: “Little, and really big. Old and young. A girl and a bird. She’s… Crow” (187). After a moment, Michael promises Crow that the police will get justice for her and the others. He asks her not to take further action, and agrees.
Michael walks away to make a call. Beth tells Catching that she knows that Catching is still alive. Catching’s story made it clear that she regained her strength and hope, and her growing power made it possible for Crow to recover, as well—so much so that Crow can now affect the physical world. Beth thinks that this is why, after meeting Catching, she herself was able to make a light explode. Beth tells Catching, “You touch different sides of the world at once” (188) and explains the unique source of Catching’s power, saying, “It makes you a kind of… conduit” (188). She thinks that the women in Catching’s family have all had unique powers. Because Isobel Catching has inherited these powers, she has developed a unique power to “walk all sides of the world” (188).
Catching admits that this is true. She asks whether Beth is coming with her and Crow when they leave to join the colors. Beth says yes, but that she has something to do first. She goes to talk to Michael, who realizes her purpose and tells her not to worry about him. He understands now that his reaction to her death failed to honor the totality of who she was and is, and he intends to move on with his life. Beth feels like her heart is breaking. Thinking that her strong emotions combined with Catching’s nearby presence might be enough to allow her to touch the physical world, she finally reaches out and hugs her father. He hugs her tightly until she begins to fade away. They each say “I love you,” and Michael turns away. He calls Aunty Viv and accepts the invitation to Grandpa Jim’s party. Beth, Crow, and Catching run together, and each girl transforms into her signature color as they rise into a joyful and welcoming swirl of colors.
As the final elements of the mystery come together, Michael and Beth hold several different misconceptions about the case. Michael’s adult perspective allows him to intuit the full reality of the sexual assaults that regularly took place at the children’s home, but unlike Beth, he mistakenly believes that Catching died there and is now a ghost with the ability to affect the material world. He also believes that she used this ability to kill Cavanagh, Flint, Sholt, and Bell. Beth, by contrast, has the benefit of her own supernatural existence to intuit the fact that Catching is not dead and that the ghostly Crow is the real killer of the four men. Significantly, the revelation that Crow is both the ghost of a dead girl and a supernatural killer does not alienate Beth or Michael despite their roles as “tellers” of right and wrong. This, along with Michael’s instinct to cover up Catching’s role in what happened at the children’s home, conveys the novel’s overarching stance that the murders of Flint, Cavanagh, Sholt, and Bell were entirely justified.
The novel’s philosophical focus on the nature of life and death is captured by the fact that the last chapter in the novel is titled “The Beginning.” This detail emphasizes that the conclusion of Beth’s ghostly sojourn on earth is really the beginning of her new story as she, Catching, and Crow move on to live among the ethereal colors of the next world. This moment also marks the beginning of Michael’s new story, in which he lives without his daughter and devotes himself to investigating the crimes of sexual violence that Bell, Sholt, Flint, and Cavanagh committed against multiple women and girls. The chapter even marks a new beginning for Hartley, who has spent 20 years wondering about the fate of her childhood friend, Sarah Blue, and can now move on her life, and, like Michael, find purpose in the search for justice.
By creating a concluding structure in which an end precedes a beginning, the authors emphasize the lasting power of hope and renewal, since the experiences of Sarah, Catching, Beth, Michael, and Hartley all collectively demonstrate that growth and progression cannot occur until one accepts that life can simultaneously be filled with tragedy, sadness, joy, and love. The heinous nature of the four men’s crimes indicate that oppression, loss, and violence can cause a devastating loss of hope, but despite such wrongs, survivors can draw upon The Role of Community in Healing Grief and develop new sources of strength in their lives. Thus, the authors ultimately suggest that even in the wake of tragedy, people can heal from trauma by Finding a Voice through Storytelling and can become newer, stronger versions of themselves.
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