50 pages • 1 hour read
Cormac McCarthyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section includes discussion of incest and slavery.
The story starts with the first of the six italicized vignettes interleaved in the main, non-italicized narrative. The italicized vignettes parallel the main narrative and eventually intersect it. Like the other vignettes, the first one describes a trio of men traveling west across a primeval landscape—likely Appalachia circa 1900, but the setting remains hazy throughout the story. Without speaking, the men camp at dark and break camp at first light before continuing along a river.
The main, non-italicized narrative starts with a dream. A man named Culla Holme finds himself in a square amid a group of people with leprosy. A prophet stands before them, promising that an impending eclipse will heal them. As the sun darkens, Culla asks the prophet if he, too, can be cured, though he isn’t sick like the others; the sun stops, and the prophet answers that it’s possible. Suddenly, the sun is completely extinguished, and the people begin crying out against Culla. He tries to hide in the darkness, but the crowd finds him and falls on him in a fury.
Culla’s sister, Rinthy, wakes him from this nightmare into a reality that is “more dolorous” (5). 19-year-old Rinthy is nine months pregnant with Culla’s child, and the two live alone in a remote cabin in the swamps of Appalachia.
The following morning, the clinking of a tinker’s cart startles Culla awake. He hurries outside to send the man away. Unperturbed by Culla’s lie that Rinthy has a contagious sickness, the tinker tries to sell him provisions, then whiskey, then crude, pornographic drawings. Annoyed that Culla isn’t interested, the tinker leaves.
Three days later, Rinthy goes into labor. Afraid that someone will discover his crime, Culla refuses to get the Geechee midwife Rinthy begs for. The following evening, she births a baby boy. While Rinthy sleeps, Culla carries the baby to the river and leaves it on a pad of moss in a stand of cottonwoods. Darkness falls, and Culla gets lost on his way back. As lightning cracks, Culla stumbles back into cottonwoods, where his baby is screaming: “It howled execration upon the dim camarine world of its nativity wail on wail while [Culla] lay there gibbering with palsied jawhasps, his hands putting back the night like some witless paraclete beleaguered with all limbo’s clamor” (18).
Suspicious of Culla’s story about a sickness, the tinker returns secretly the following morning. He follows Culla’s track through the woods until he finds the baby crying on the pad of moss. The tinker swaddles the baby, who falls asleep with an anguished expression on his face. The tinker travels until midnight, when, outside of a town, he knocks on the door of a brothel and asks about a wet nurse. He and the madam walk down the moonlit road to the house of a wet nurse.
In the woods, Culla uses an ax to make it look as if he dug a grave; back at the cabin, he tells Rinthy that the baby died.
After a week of recuperating, Rinthy leaves her bed to find Culla repairing their father’s shotgun. Culla notices that she’s lactating. Rinthy wants to name the child and lay flowers on his grave, but Culla responds, “You don’t name things dead” (32). Eventually, Culla directs Rinthy to the fake grave but still forbids her from naming the child. Gathering some wildflowers, she approaches the sunlit patch of earth; suspicion makes her dig down, where she finds nothing but packed clay. Culla suddenly appears behind her: “She screamed and fell back, stumbled to the ground crushing the flowers” (33). Culla shouts at her with his fist raised and then flees.
In the second italicized vignette, the trio jogs through a farm, startling a sow and some hens. They arm themselves with a brush hook and spade from the barn.
Taking their money and the shotgun, Culla sets out on the road through a storm. The following day, he arrives in a town mired in mud. He sells the gun and buys a meal from the general store. A wagon driver tells Culla he can find work with the local squire, the primary landowner in the area. Culla walks to the squire’s large house outside of town. The squire—a big man with black eyes who is later identified as Salter—is suspicious of Culla. However, after questioning him about his background, Salter offers him work chopping up a fallen tree.
Working only with an ax (Salter denies him a saw), Culla takes until dark to finish the work. Again, Squire Salter interrogates Culla, accusing him of being a criminal on the run. Culla denies the accusations, claiming he’s just a poor man in need of work. As they talk, something surprises the hens and the sow in the nearby barn, but Salter doesn’t notice. Salter underpays and doesn’t feed Culla. He lectures him on the sin of laziness and the sacredness of family; it’s implied that the Black man who works for Salter is enslaved and that Salter has no family. Throughout the lecture, Culla stands with his head bowed; however, his shadow does not: “Their shadows canted upon the whitewashed brick of the kitchen shed in a pantomime of static violence in which the squire reeled backward and [Culla] leaned upon him in headlong assault” (30).
Early the next morning, Culla flees with Salter’s expensive boots. Learning of the theft, Salter sets out in a wagon with a shotgun; he thinks Culla also stole tools from his barn. In fact, the trio stole the tools—the barn in the second vignette belongs to Salter. Furthermore, it’s implied that the trio stole the tools within earshot of Culla and Salter as they talked the previous night.
On the road the trio ambushes Salter, and this is described in both the main narrative and in the third italicized vignette. They kill him with the stolen brush hook.
Unaware that Culla took their money, Rinthy gathers her few possessions before setting out in search of her baby, whom she believes Culla sold to the tinker. At a crossroads, she hides until Culla passes, then retraces his steps to the town. She asks for water at the general store and learns that Culla sold the shotgun. Rinthy intimates that Culla has committed far worse misdeeds than selling a shotgun he shouldn’t have. The shopkeeper agrees not to tell Culla or the tinker that Rinthy is looking for them if he sees them.
Rinthy walks into the night and eventually finds a house in the woods. The patriarch, Luther, is initially suspicious of Rinthy and her odd story about hunting a tinker (she avoids answering why she’s hunting him); however, after some questioning, Luther invites her to stay the night. The family feeds Rinthy the most luxurious meal of her life.
After dinner, the matriarch shows Rinthy to an extra bed in the boys’ bedroom. When Rinthy goes outside to bathe, the eldest son, Bud, approaches her and awkwardly expresses his interest. She declines him and goes to bed. After a few minutes, Luther and Bud steal into the room and lie down. The three of them listen to each other’s breathing; amid the darkness, Rinthy longs for something familiar.
The following morning, Rinthy joins the family on their Sunday trip to a larger town. The women wear their church clothes while Rinthy wears her same deteriorating dress. They stop halfway at a spring to drink. Away from the others, Bud tells Rinthy the story of his grandmother having her nose severed by a falling stovepipe. When they board the wagon to continue, Bud slips and gashes his knee.
When they arrive in town, Rinthy thanks the family for their hospitality and declines their invitation to stay longer. At the store, she asks about the tinker; storekeepers are baffled that she’s hunting someone she knows almost nothing about. One storekeeper knows a tinker named Deitch, but since Rinthy doesn’t know what the tinker looks like, she doesn’t know whether they’re talking about the same person. Between stores, Bud finds Rinthy and insinuates that he’d trade money for sex, but she rejects him again. Having discovered nothing about the tinker, Rinthy eats lunch with the family and accepts their offer for a ride up the road.
The first chapters introduce the struggle between light/good and darkness/evil that defines Outer Dark. The two main characters, the siblings Rinthy and Culla Holme, represent opposite sides of this cosmic struggle: Rinthy personifies the light that persists in a godless, material world; Culla personifies the darkness consuming this god-forsaken world. The mysterious trio is also associated with darkness, connecting them to Culla in a way that becomes more obvious in later chapters. Culla represents the theme of Suffering in Outer Darkness while Rinthy represents Love as Humanity’s Saving Grace.
When Rinthy goes into labor, Culla spends as little time as possible in the gloomy cabin, but her cries of pain make it impossible for him to ignore his crime of impregnating her. Despite avoiding the cabin’s gloom, darkness nonetheless follows Culla in his shadow: While fetching water, his “shadow pooled at his feet, a dark stain in which he stood” (13). In Christianity, sin is sometimes described as an indelible stain on the soul. Though he tries, Culla can no more flee his shadow than he can flee the darkness of his sin. Culla’s shadow reveals the truth of his sin that he tries desperately to avoid.
Rinthy’s association with light and life characterizes her as an innocent in a world dark with sin. When she approaches her child’s fake grave, this marker of deceit and evil is juxtaposed with her innocence: “With her bouquet clutched in both hands before her she stepped finally into the clearing, […] crossing with quiet and guileless rectitude to stand before a patch of black and cloven earth” (32). Rinthy emanates vitality and love, moving in a pocket of sunlight, birdcalls, and flowers. In contrast, the grave—a symbol of her brother’s deception and immorality—is “black and cloven,” like Satan’s hooves; as elsewhere in the novel, being cloven (like a hoof) signifies evil.
Part of Rinthy’s innocence lies in her ignorance of the outside world. It’s implied that, at least since he impregnated her, Culla has forbidden her from seeing other people, sequestering her in their remote cabin. When he tells her not to let in any strangers while he’s at the store, she laments, “They ain’t a soul in this world but what is a stranger to me” (29). Culla is the only person Rinthy knows. To ensure Rinthy and his crimes stay hidden, Culla controls every aspect of Rinthy’s life, making her depend on him. The extent of this dependence is revealed when Rinthy sets off in search of the tinker. First, she doesn’t even realize that Culla has taken their money because he kept it hidden. Second, she doesn’t know the way to town because Culla ran all their errands. Though ignorant of these things, Rinthy is nonetheless savvy: Reasoning that Culla will visit town first, she waits for him to return at the crossroads, then retraces his steps. Despite her naivete, Rinthy uses her innate sense of reason to navigate the world outside her cabin.
The first italicized vignette contains the second of the many biblical allusions in Outer Dark (the title is the first). The trio travels west along the nameless river or rivers that reappear throughout the story: In the nebulous, symbolic realm of the novel, the unnamed rivers referenced throughout the story meld into one. In a story that largely omits directions and geographical continuity to evoke Culla’s disorientation, the inclusion of a cardinal direction is significant. Like the three biblical Magi from the east who travel west to attend Jesus’s birth, this trio of men also travels west in darkness—not to follow the Star of Bethlehem but because shadow “suit[s] them very well” (4). In the first instance of the motif of dubious piety, the trio is described as having halos of “spurious sanctity” in the sunlight (4), indicating that, unlike the Magi, they are sinful. As the trio travels west, another boy is born in unideal circumstances: not the son of God but a nameless child of incest. In an inversion of the biblical story, the birth does not herald salvation but instead portends ruin, initiating both Culla’s futile wandering, symbolizing The Curse of Cain, and Rinthy’s fruitless search.
By Cormac McCarthy