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51 pages 1 hour read

Charmaine Wilkerson

Black Cake

Fiction | Novel | Adult | Published in 2022

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Pages 321-382Chapter Summaries & Analyses

Pages 321-382 Summary

In the weeks following Marble’s abrupt return to London, Benny and Byron struggle with the implications of their mother’s revelations. Benny, partly inspired by her chat with her new half-sister, recommits to finding a bank loan to help open a café with a bakery that specializes in foods that cross ethnic boundaries, foods that testify to the “immigration of culture” (321). This time she takes to the bank a black cake she makes to impress the loan officer. While she awaits word of the bank’s decision, she returns to her dreary job—dressing up in a meerkat costume and walking a parking lot promoting an electronics store.

When Marble returns to Southern California some weeks later, Benny quickly flies to LA, and the three offspring of Eleanor/Covey finally sit down and together share the black cake, stored in their mother’s freezer, that she made for them shortly before her death. The time, at last, is right. When they cut into the cake, they find a cache of precious trinkets baked into the cake by their mother: a photograph of Covey and Bunny (now Etta Pringle), seashells, and antique jewelry that Byron immediately sees is valuable. Indeed, it was part of a vast pirate treasure left on the island three centuries earlier when a hurricane marooned a band of pirates.

The novel backtracks to the months shortly after Eleanor died. Byron attends the motivational conference hosted by Etta Pringle, whom his mother identifies as her childhood friend Bunny. Byron, with his longstanding interest in leading a team to map the treacherous and uncertain bottom of the deepest parts of the ocean, synchs with Etta’s professed commitment to “doing her part to remind people that Earth was not so much land, as water, that this planet was a living thing to be cared for and protected and used with care” (337). The minute Etta sees Byron, she recognizes her long-lost friend in his face and in his eyes. The two agree to work together to at last locate Eleanor/Covey’s long-lost daughter.

The novel turns briefly to the story of Eleanor’s father, the gambler Lin, who originally negotiated his daughter into the loveless marriage with the crime boss to whom he owed money. He has, since his wife and daughter both disappeared, relocated to the ethnic neighborhoods of Miami.

Through the law offices of Charles Mitch, the three siblings agree to meet with their estranged grandfather. He needs to know the story of his daughter—that she did not kill her new husband, that she did not die trying to escape the island, and that Lin is a grandfather. The meeting does not go well—Byron sees only the clutter of his grandfather’s apartment and cannot entirely let go of his anger over his grandfather’s part in his mother’s disappearance and in his mother’s disastrous (albeit brief) marriage to Little Man. Byron finally cannot control his anger and lets his grandfather know exactly his responsibility and his guilt. The three storm out, and Lin just hours later suffers a debilitating stroke. He dies soon after.

Byron is ready now to move forward. He receives a call from Lynette’s family: She is in labor. Byron flies to get to the airport and heads to the hospital. For the briefest moment, Byron makes eye contact with the squirming little baby, and he feels a conviction of the rightness of his identity now as a father: “Baby By follows his voice with his head, eyes scrunched shut, and a tiny, lopsided mouth, the sight of which causes Byron to catch his breath” (364). Seeing the futility of a lawsuit he filed charging the institute with deceptive promotion practices (Byron regarded race as the reason he was denied promotion), Byron arranges quietly to change jobs, accepting a position as executive researcher for a major consulting firm.

Benny is turned down again for the loan, but she has begun to gather a following for her recipe videos on social media: “Nothing is going quite the way she expected. But she doesn’t mind much at all” (365). More intriguing, while she is in the parking lot doing her meerkat gig, a man with a child in tow expresses an interest in her, despite the silly and bulky costuming.

The novel closes returning to that wedding day back in 1965. The faithful Lyncook maid, Pearl, thought about poisoning the cake but could not bring herself to do it. That leaves three suspects: Lin, Covey, and her best friend, swimming partner, and maid of honor, Bunny (now Etta Pringle). After all, they all had access to the poison, sufficient motive, and a vested interest in Little Man’s death. In the closing pages, the novel reveals that it was in fact Bunny who staged a stumble as she moved past the front table at the wedding and poisoned Little Man’s champagne glass. She is never caught, and she never tells anyone what she has done, save reassuring Benny and Byron that so many people wanted Little Man dead that it was unlikely Covey had anything to do with it. She has spent her life using her gifts as a swimmer to tirelessly preach the importance of tending to the planet and “the health of the oceans” (371). Survival, she tells her audiences, “has never been enough” (371).

The novel closes one year after Eleanor/Covey’s death, with her three siblings taking Lin’s ashes (they had his body exhumed and cremated) and their mother’s ashes far out into the Pacific and scattering them into the sea, and then trailing crumbled bits of Eleanor’s last-baked black cake in the ocean. 

Pages 321-382 Analysis

Given the sheer manic energy of the novel’s storytelling—how one story leads to another, how each introduced character brings a backstory, and how these stories fold in and around each other—an end is ultimately ironic. The ending here promises only the beginnings of new stories and leaves more questions than answers. It is a conclusion in which nothing is concluded. Will Byron bond with his new son? Is the man in the parking lot Benny’s salvation? Will Marble bond with her son, dispatched to boarding schools after the death of Marble’s husband? The novel does not set up a sequel but rather leaves the reader exactly where Covey is when we first meet her out bravely and joyfully plowing her way through the open waters of the Caribbean: thrilled in the middle of a vast and vibrant environment, everchanging and unmappable.

Byron in his explosive reaction to meeting his grandfather and his diatribe about Lin’s culpability in so much of the tragedy of his mother’s life, forcing her into a secret life, denying her island heritage and her own sense of family, and compelling her to tell lie after lie for decade after decade to her own children, reveals at last an emotional epicenter to a character who has seemed more of an automaton, less a person and always a scientist. Byron sees more of himself in Lin than he wants to, the cold and calculating Byron more than willing to use people, ever those closest to him. In Lin’s crooked smile, Byron sees “Byron’s own smile. Which makes Byron want to grab hold of the man and shake him until he crumples to the floor” (349). In meeting Lin, Byron finally meets himself. The explosive reaction to Lin’s indifference to the harm he caused (an outburst that results soon after in Lin’s death) is in a sense the ritual death of the Byron that Byron does not want to be.

Byron now completes his emotional evolution: He understands that his anger cannot be smoothed over; it will not lapse into complacency and emotional stillness: “Everything shifts. And you can’t push it back” (355). He no longer sees his world as the forever-static world he imagined the ocean floor to be—steady and mappable, reliable and predictable. It is in this rush of emotion that Byron at last calls Lynette and moves to accept his role as father. How that story will end no one knows. Like the curious vignette about the man whom Benny, dressed as a meerkat, meets, the novel leaves these plots open. In all but words, the novel urges, “Ride the Wave.”

The ending itself—the reconciled brother and sisters lovingly scattering the mixed ashes into the ocean’s crazy water—is itself a celebration of that idea. It is not enough to pretend to control, to try to direct events, to think that somehow a life planned would be a life worth living. First Benny with her family, then Byron with Benny (their embrace after Benny confides in her brother the truth of her abusive relationship with Steve is among the novel’s most poignant moments), then Marble (with her son, Gio) come to tap the tonic joy first expressed in the novel’s opening pages when a youth Covey found joy, energy, and strength of heart and mind in plowing through the waves of an open ocean. It is left to Bunny, or Ella Pringle, the novel’s moral center, to voice the novel’s key theme—survival is never enough: “She never forgets to show the joy, to show the love” (372). A happy ending is a contradiction in terms. Rather, the novel celebrates the enduring, unpredictable energy of the heart, a “vibrant and venomous and toothy mystery” (372).

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