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47 pages 1 hour read

Chelsea G. Summers

A Certain Hunger

Fiction | Novel | Adult | Published in 2021

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Chapters 13-19Chapter Summaries & Analyses

Chapter 13 Summary: “Punta di Petto and Tripe”

Marco never wavered in his commitment to his wife, and Dorothy blames him for his own death. He entered the slaughterhouse and kissed her, which surprised her. Dorothy was briefly conflicted, wondering if she could still spare his life. Instead, she cuffed his hands to a chain overhead and fellated Marco, slitting his throat when he relaxed after climaxing. He died almost instantly as the blood poured into the gutter beneath.

Dorothy writes that she doesn’t like the crude use of the word “butcher,” which ignores the finery of the craft. She also has issues with the word “cleaver” (167). She wanted to do a proper schechita on Marco’s body—an intricate ritual of butchery. She rigged up a pulley system of chains to position him.

She writes that she skinned Marco, and his intestines fell out. She wanted his brisket and stomach. She emptied his stomach before drawing pentagrams and goat heads in blood on the walls as a misdirection. She then bundled his meat up in parcels.

The police asked if she’d seen mysterious men around Marco. She had already created an alibi. The night before, she got drunk, spilled wine on herself, and then got even drunker in a hotel. She poured most of the wine out into plants, however, to keep her mind clear even as she acted intoxicated. She made such a scene that a bellhop had to escort her to her room. Then, she changed into a wig and new clothes, dropped to the ground from her window, and took a train to Rome. The alibi worked, and no one questioned her further. Dorothy concludes the chapter by stating that the brisket was delicious, but tragically, the stomach was inedible.

Chapter 14 Summary: “Steak”

In December 2013, six weeks after Casimir’s death, Detective Kiandra Wasserman left a message for Dorothy. Wasserman’s town, Yaphank, includes the region of Fire Island, which agitated Dorothy. She erased the message and went to dinner with Ron and Paul, her friends from Fire Island. She couldn’t understand how she had left any clues behind.

Dorothy was writing for a website called DISH, under a 24-year-old editor. She mourned the loss of insightful American food writing. Ironically, as food consumption increased, critics were ignored. To stay relevant, Dorothy joined social media and appeared as a guest judge on cooking shows.

Detectives Wasserman and MacDonnell visited Dorothy. Wasserman was muscular, tenacious, and the opposite of what Dorothy had imagined. She didn’t believe Dorothy when she said she didn’t return her call because she accidentally deleted the message due to anxiety. Dorothy admitted that she had sex with Casimir, but it was a couple of weeks before he disappeared. Wasserman said it would be helpful for Dorothy to stay in town. She also said she loved Dorothy’s Guide to Eating Gloriously.

Dorothy took steaks to Emma’s studio, where Emma had been painting women who were famous for having sex for money, a project she called “The Whorestep Chronicles” (186). Dorothy told her about the detectives. She still didn’t understand why she killed Casimir since she didn’t eat him and hadn’t planned the murder.

In prison, she compares the complication of murder to the task of roasting a pig. The finished product is always worth it, but the preparation can be overwhelming. Then, she returns to her invasive thoughts about Casimir. Dorothy knows that serial killers usually have a pattern, and Casimir didn’t fit her pattern. She didn’t feel guilty about the murder but fought the urge to tell Emma about it. She finally left Emma’s apartment after getting very drunk.

Chapter 15 Summary: “Gamberetto”

Dorothy woke with a migraine and began thinking about Fire Island, searching for a mistake she might have made. She always used a disposable phone. The detectives shouldn’t have been able to find her real name because she hid her identity while working as a critic. She always used the names of movie characters when checking into hotels, which is why Casimir knew her as Diane Selwyn. She wondered if she told Emma everything and forgot about confessing.

She was fantasizing about fleeing to Italy when Wasserman formally asked her to visit the police station to answer questions.

She ponders the men she killed and the phrase that one should always eat what they love. She considers her complicated feelings of love, loss, and hatred for Giovanni, Andrew, Gil, and Marco.

Detective MacDonnell took her to a room. When Wasserman asked her where she bought her meat, Dorothy said she wanted a lawyer.

Chapter 16 Summary: “Soup”

Margaret, Dorothy’s lawyer, goes by Maggie. A year passed between Casimir’s murder and the start of the trial. Then, as now, Dorothy finds the justice system tedious. She reveals that she was arrested at Emma’s place at three o’clock in the morning, after breaking in with a cleaver to kill her.

Dorothy knows she acted impulsively. She remembers giving in to her paranoia and convincing herself that she had drunkenly confessed to Emma, who was probably conspiring against her with Wasserman: “Only Emma was as smart, as clever, as perceptive as I, and thus Emma must be the sole reason why Detective Wasserman suspected me” (209).

Dorothy drank for a week after the interrogation. When Emma called and asked about the detectives, Dorothy wondered if she heard the click of a tapped phone on the other end. She admits that Emma is the only person she loves and therefore the only person capable of hurting her.

On the way to Emma’s place, Dorothy claims she didn’t know what she would do to her. She had put on a disguise and walked, then rode the rest of the way on a stolen bike that she took from a delivery boy before picking the lock on Emma’s door. She writes that female friends are important for girls, as literature demonstrates through various famous pairings. Women only let their masks slip among other women, who offer a reprieve from the burden of being a woman.

She went to Emma’s bed and demanded that she admit her betrayal. After receiving no answer, Dorothy swung a cleaver at the bed, only to find that what she thought was a sleeping body was a lump of pillows. Six NYPD officers entered, handcuffed her, and arrested her. Dorothy spent 60 hours in central booking. She ate at home after Maggie secured her release. The next day, she answered her warrant and went to jail.

Chapter 17 Summary: “Duck”

Dorothy claims that she frequently hallucinates food in prison. She also dislikes the rigidity of her schedule and the lack of control she has.

She reveals that Emma’s building had a new silent alarm when she broke in. Emma had taken measures to feel safer after receiving increasing amounts of hate mail. She’d been smoking on the fire escape and had called the cops when Dorothy’s lock picking set off the alarm.

Maggie didn’t let Dorothy testify. Maggie impressed her, although the prosecutor did not. Dorothy anticipated the showdown between Maggie and Wasserman, which would provide her with an escape. However, Wasserman’s trump card was a receipt from her preferred butcher shop, Ottomanelli’s.

Emma also testified against Dorothy. It was the first time she’d left home in decades. Art in America covered the trial, and the courtroom was packed.

Surprisingly, Emma couldn’t (or wouldn’t) state with certainty whether she heard Dorothy say anything specific about Fire Island or an ice pick. She maintained that they only talked about Dorothy sleeping with Casimir. Further, she claimed that she had no idea why Dorothy might have broken in to assault her. Dorothy wonders if she was wrong about Emma. Regardless, her attempted attack on Emma led to a guilty verdict.

Now, Dorothy compares prison to dying and reflects on the misconceptions about the goodness of women. She also writes that culture won’t acknowledge violence in women, adding, “We like to forget that men imprisoned women in the house and expected gratitude in return” (226).

Dorothy was sentenced to life plus 20 years in prison for second-degree murder, first-degree assault, third-degree arson, and other, smaller infractions. Her last meal before prison was a Long Island roast duck.

Chapter 18 Summary: “Hot Dog”

In prison, Dorothy writes about the perceived lack of choice in love. Dorothy writes that love can’t be premeditated and spontaneous. Surprisingly, she then explains that she did fall in love once, with a man she did not kill.

In 2004 New York, Dorothy bumped into a man as he was buying a hot dog. He—Alex Konings—caught her when she stumbled. Alex was an editor at a paper she had written for. She took him to a Turkish restaurant, where they talked. He had gone to graduate school for engineering and was divorced without children. Dorothy gave Alex her real phone number, and they didn’t have sex for several dates. It shocked her to be 42 years old and with a real boyfriend.

Dorothy loved Alex completely but shares few particulars about him. She wants to protect him. He comforts her in prison. She feels he is safe from the perception of readers unless she forms him with words.

It took months to realize she was in love. She was shopping while he was out of town, and she thought of things he liked to eat. She bought him an egg coddler, which was the first time she did something solely because it might make a man happy. They went to Italy together. Even Emma liked him. Dorothy was confused because Alex was good, and she didn’t like good people.

Dorothy writes that people who study women who kill posit that they kill for financial gain or to escape from abuse. However, Dorothy says women will kill for almost any reason.

Without Alex, she says her story would have ended with Giovanni’s liver. On February 18, 2007, Alex took her to the Empire State Building and proposed. She imagined him making her better and kinder and then said no. She couldn’t bear to lose her former self, and she never saw him again. Dorothy killed the relationship instead of killing the version of herself that she liked.

Chapter 19 Summary: “Baked Alaska”

During a group session in prison, Joyce asks Dorothy about her forgiveness list. Dorothy says her parents are on it. The other inmates know she’s lying. Then, she says she forgives Emma, who is her best friend. She says she forgives her even though she’s not sure she actually betrayed her, which confuses Joyce. Joyce insists that this isn’t how forgiveness works, but some of the other inmates understand. Joyce says you can’t forgive someone for something they didn’t do. Dorothy doesn’t understand either. Joyce says Dorothy has to forgive herself.

At age nine, Dorothy fixated on the dessert Baked Alaska. She wanted it for her 10th birthday cake. Because of its cooking method, Baked Alaska has to be consumed entirely. Leftovers are not possible, and she found the finished product to be merely adequate. No one else ate much, so she had to finish it herself. Now, she considers it training for the grim realities of Bedford Hills.

Dorothy receives a brief letter from Emma. She usually tears them up, but she opens this one. It is brief. Emma writes that Dorothy told her everything about the murders, but she says that she will never tell anyone.

Dorothy contrasts their situations. Emma has her liberty, but her agoraphobia traps her. She is “seen but now viewed,” while Dorothy is “watched but not seen” (250), which Dorothy interprets as another sign that femininity is cruel to aging women.

She concludes the novel by writing that she accepts her fate but believes she will live on through her memoir.

Chapters 13-19 Analysis

In this final section, Dorothy explores the idea that women cannot be immutable unless they live according to their own wills and desires. The expectations of femininity and a woman’s place in society—and in the home and bedroom—are the result of other people telling women who they must be: mutable, adaptable, and malleable in all desired situations, which speaks to Power Dynamics in Relationships. Dorothy has now told her heinous story in her own words. Readers will believe her or not, but they will encounter her story in the way she intended, highlighting the theme of Desire and Consumption, as she hopes to be consumed as a writer long after she is gone.

During her final murder and her ensuing conviction, Dorothy’s passions all worked against her. It was her appetite for sex and power, and thus The Intersections of Food, Sex, and Death, that convinced her to give Marco the imaginary choice of whether to live or die. Her appetite for death, food, and sex were fully displayed and intermingled during her murder and butchery of Marco. She was startled by his kiss but then used his own machines to restrain him in order to perform oral sex on him before slitting his throat in his own slaughterhouse. She carefully cut him open and even marked the room with satanic symbols to misdirect investigators. This murder was so thorough and so premeditated—Marco was someone she had seen since her college years—that it serves as a climax both within the plot and for Dorothy herself. He headed a butchery empire that she admired, but she also knew him to be a liar and an unfaithful husband. He had always been just out of reach for her, and her private condition that she would not kill him if he had sex with her reveals that sex and murder are, to Dorothy, two similar forms of power over one’s enemies. Indeed, she calls all of her victims both lovers and enemies, demonstrating the thin line between love and hate, as both involve passion and energy. Still, the murders themselves were conducted with emotional distance; Dorothy has never so much as flinched at any violence throughout the novel.

When Wasserman began investigating her, Dorothy experienced a real shift in the theme of Power Dynamics in Relationships. Not only was Dorothy unaware of what Wasserman might know about her, but she also didn’t know how or why Wasserman suddenly had the upper hand, and thus the power. Wasserman is muscular and tenacious, the opposite of the women and girls after whom Dorothy modeled herself in childhood. Dorothy was thrown off of her game not only by Wasserman’s knowledge about her crimes but also by her mere physicality: By operating within a world of stereotypes, even to subvert them, Dorothy missed key nuances about women, leaving her unprepared for this kind of confrontation.

The root of her fear was in being discovered. That is loss of power, and the intimacy of murder is one she has shared—other than with Emma—only with her victims. She asks, “What is heaven but the hope for righteous acknowledgement, and what is hell but the fear of discovery?” (219). The discovery of deeds that society deems illegal or abhorrent means the perpetrator forfeits the right to question the public’s reaction in the aftermath. Writing A Certain Hunger is one means of controlling the narrative and asserting the small measure of power left to her in prison. It also immortalizes Dorothy, which is important to her as an artist and someone who always intended to leave an impact and garner attention.

Thematically, Dorothy’s time with Alex is another example of her exerting and maintaining control over the power that others have over her. She admits that she fell in love but also considers that love is perceived as a loss of control. As such, when she found herself in love, she withdrew as an ultimate display of control and autonomy. Power Dynamics in Relationships are exerted through choices, and love, according to Dorothy, dilutes the purity of that power. She truly loved Alex. She let him live, and he escaped the fate that the other men suffered, but Dorothy contradicts herself when she writes, “Eat what you love” (201). She claims to have felt love for the men she killed, but she truly loved Alex in the most basic sense of romantic love. Her relationship with Alex, like her relationship with Emma, presents nuance to her character: She is not wholly a killer.

Ironically, Dorothy describes love as a mindless peril when describing her mindless and hasty murder of Casimir, which exposed her. Dorothy characterizes the quick, rash murder as something more characteristic of men, who she believes are less calculated and clever than women. While the reason for her murder of Casimir remains a mystery, it is possible that she tired of the game of it, especially if the climactic murder was that of Marco. Casimir, in comparison, was a dull and sudden murder, something she is not proud of. Indeed, she did not even eat any part of him, suggesting that there was no part of him that she wanted to symbolically consume or possess.

Finally, Emma’s letter to Dorothy reveals another layer to their symbiotic relationship, but it also introduces another ambiguity. It surprised Dorothy when Emma withheld the damning testimony in court that could have condemned her. She even began to wonder if she was wrong about Emma and what she might have said to her. It’s possible that Emma’s restraint was her version of Dorothy bailing her out of jail, an altruistic act that confused Dorothy, and possibly Emma as well. Emma’s letter says that Dorothy told her everything but also promises that Emma will keep her secret. Emma could be telling the truth, but it’s also possible that Dorothy didn’t reveal her secrets and Emma is simply smart enough, and knows her well enough, to guess her paranoid train of thought. In either case, the letter illustrates that Emma wants their story to continue. She wants the two of them to continue playing the game they have sustained for years, even if it is simply because they enjoy causing distress as they keep themselves entertained. Emma may have a terror of boredom that rivals that of Dorothy, but in each other, they have found an unconventional kind of companionship and love—one that may even satiate Dorothy in prison and Emma in self-elected isolation.

The final scene with Joyce and the therapy group is humorous in that Dorothy’s attempts to explain herself are as sincere as Joyce’s confusion. Dorothy forgives Emma for something that she did not do. This is the best she can offer in terms of empathy and a compassionate gesture—a simulacrum of human emotion, a false forgiveness for a false event. However, in doing so, she lets go of the last thing that caused her to want to kill for revenge. When she swung at what she believed to be Emma’s body in the bed, she was angry over what she assumed was betrayal. In forgiving Emma for something that may never have happened—but something Dorothy held as the ultimate betrayal—Dorothy allows herself to believe that there is some goodness in the world, even if it can only occur between women like Emma and herself.

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