logo

66 pages 2 hours read

Alex North

The Whisper Man

Fiction | Novel | Adult | Published in 2019

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Part 5, Chapters 59-66Chapter Summaries & Analyses

Part 5, Chapter 59 Summary

Amanda tells Tom to slow down and explain what he’s found, and he tells her that it’s a picture of a corpse moth drawn by someone other than Jake—the details are too elaborate, and Tom thinks it must be a gift from the kidnapper. He tells her that it was drawn on the same paper they give the kids for drawing at school, so it must be someone connected to Rose Terrace Primary. That—and the fact that Jake mentioned “the boy in the floor” (311)—leads Tom to believe that someone must have told Jake about Tony Smith.

Amanda is upset that he didn’t tell her this earlier, but she knows that people behave irrationally during times of stress. When she gets a message from the liaison officer that was going to meet Tom that he isn’t at home, she asks Tom where he’s going, and he says he’s going to the school. She urges him to stay out of it, and he agrees, but on hanging up, she’s not sure if he will. She decides to investigate the school again to see if she missed a connection earlier.

Part 5, Chapter 60 Summary

Tom considers going home but feels that he’s responsible for Jake’s connection to this stranger: It happened after Jake saw Tom’s letter to Rebecca, and Tom blames himself for not giving Jake the support he needed in that moment.

He goes to the school and talks to Jake’s teacher. She didn’t know Jake was missing, and when Tom shows her the picture, she says it could be George, one of the teaching assistants at the school. Tom heads toward the office, knowing that he’s technically trespassing now. The groundskeeper and a receptionist stop him. Jake’s teacher catches up to them, and the receptionist tells him that George is out sick but that she can’t divulge his address. They lead him outside and lock the door.

Karen is there, and although she doesn’t quite believe Tom, she knows he needs to follow this through. She tells him that she’s already found the name and address of George Saunders, Francis Carter’s alias.

Part 5, Chapter 61 Summary

In his room, Jake is drawing a battle scene like the one he drew early in the book, with circles around the characters that represent either force fields or portals. George (Francis Carter) gave him paper to draw an elaborate garden, but Jake felt like he couldn’t, and he used the last piece of paper to draw this instead. A part of him knows that he’s being tested—and that Francis wants him to fail.

George returns and is upset by the drawing. Jake shows him the attempts at the garden on the advice of his imaginary friend, and George says they aren’t good enough. He admonishes Jake for wasting paper and not trying hard enough, and Jake can see “all the goodness and kindness falling away from him, as though they had only ever been pretend” (321-322). When Jake says he wants Tom, George moves closer, threateningly, but the doorbell interrupts him.

Part 5, Chapter 62 Summary

Francis is outraged as he puts on a bathrobe and prepares to answer the door. He knows that it isn’t the police, and he assumes that Tom Kennedy has found him, though he wonders why he’d even want Jake back. He looks through the peephole and sees Tom at the door. That he’d go to such dangerous lengths to get his son back strikes Francis as incredibly unfair given how much Frank hated him. He grabs a knife from the kitchen and calls out to Tom that he’s coming.

Part 5, Chapter 63 Summary

When Tom hears Francis, he considers that he’s been running on instinct and doesn’t know what to do next. As he looks back at Karen, the door opens. Tom questions Francis (whom he addresses as George Saunders) and, after establishing that Francis knows Jake, tells him that Jake is missing. Francis feigns surprise, but then Tom shows him the drawing and asks if Francis drew it. Francis balks, and Tom brings up the boy in the floor, which brings a look of horror to Francis’s face.

Tom calls out past Francis for Jake. Francis feigns fear of Tom, and Tom briefly falls for it, thinking that he has disturbed an innocent man. He apologizes and says that he’s leaving.

Part 5, Chapter 64 Summary

In the attic room, Jake talks to his imaginary friend, who has convinced him that George is going to hurt him. He’s too afraid to go downstairs, but the girl convinces him that if it’s Tom at the door, Jake must let him know that he’s there. Still, he’s too afraid.

The girl asks him to tell her about his nightmare, and when he says he can’t, she starts telling it for him. She walks him through the whole dream, recreating the moment he found his mother and convincing him that the fear he’s feeling is legitimate but doesn’t need to dominate him. She tells him he can do it and promises to go down with him: “Always, my gorgeous boy” (331).

Part 5, Chapter 65 Summary

Tom is about to leave (after Francis agrees to cooperate with police if questioned) when he hears a noise from the house: Jake is hammering on the locked door and shouting. Francis begins to close the door, but Tom forces his leg into the doorway. Francis steps away from the door but ambushes Tom as he comes in, stabbing him. They topple to the ground, and Tom knows that he must stay on top of Francis even as Francis is killing him with the knife.

Part 5, Chapter 66 Summary

At the police department, Amanda Beck has found out that the George Saunders who worked at the school died three years ago. She and other officers head to the house where he lives and find the door open. She rushes into the house to see Tom on top of Francis with Karen helping hold Francis down. Amanda can hear Jake yelling upstairs.

Part 5, Chapters 59-66 Analysis

Tom’s desire to find and protect his son drives the story’s resolution, as his fatherly intuition leads him to the killer. Truly knowing his son sets him apart from the police and their ability to catch the killer. (That Francis uses the alias George Saunders, the name of one of America’s most famous contemporary short story writers, is likely a coincidence that underlines the difference between British and American literary culture.)

Jake’s part in his rescue is similarly built on knowing his father and trusting that he’d never abandon him. Notably, Jake’s conversation with his imaginary friend echoes both Rebecca’s assertion from her childhood photo and Tom’s own words to Jake. The call and response of “What are we being? […] We’re being brave” (293) has appeared throughout the novel, and the narrative reveals that it’s yet another intergenerational artifact of the Kennedy family, passed down from parents to child. Jake and Tom both embrace their role as their father’s son, which saves Jake’s life: Tom becomes the rescuing investigator, like Pete, and Jake stops thinking of his father as someone who doesn’t want him and embraces his father’s love, which gives him the strength to confront his fears.

Throughout Jake’s rescue, the narrative relies on genre tropes and cross-cutting between scenes and points of view to build tension. Tom skirts official channels and chases his hunch with Karen’s help; he has begun to trust her as an ally even though she remains a bit skeptical of his methods. A father’s determination drives their efforts, which culminate in Tom’s overpowering Francis through sheer force of will to save his son’s life. He has just seen the danger he’s in by witnessing the aftermath of Pete’s brutal stabbing, and he, like his father before him, is willing to fight to the end to protect his family.

blurred text
blurred text
blurred text
blurred text