34 pages • 1 hour read
William GoldingA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Christopher Hadley Martin is a Lieutenant in the Royal Navy. He is serving on the British ship Wildebeest when a German U-boat attacks it. Although he drowns soon after the attack, Martin’s astounding arrogance and self-obsession prevent his conscious mind from acknowledging death. As the author told Radio Times magazine in 1958, “[Martin’s] drowned body lies rolling in the Atlantic but the ravenous ego invents a rock for him to endure on.” (Carey, John. William Golding: The Man Who Wrote Lord of the Flies. Faber & Faber. 2009.)
Martin has virtually no spiritual or emotional inner-life and instead expresses his personality almost entirely through bodily appetites. The rock in many ways manifests these appetites, right down to the jagged rocks at the water’s edge that resemble teeth. Flashbacks reveal the extent to which Martin’s basest appetites—and his rage at having them unfulfilled—drive him. He rapes Mary because she refuses to have sex with him, and he attempts to murder Nathaniel because he married Mary.
Although the narrative doesn’t reveal the source of Martin’s toxicity and moral bankruptcy, loose images from his stream of consciousness suggest a childhood trauma, possibly inflicted by his mother. Perhaps the narrative omits the details of this trauma because the author doesn’t wish to justify Martin’s actions. In any case, that trauma follows him his entire life, alienating him to the point that he embraces a misanthropic attitude and lifestyle.
Ultimately, Martin’s delusion crumbles when the “black lightning” from Nathaniel’s lecture obliterates everything except “the centre and the claws” (184), the rawest symbolic representations of his ego and appetite, respectively. Given that the black lightning symbolizes the total self-negation that comes to those without love or spirituality, the narrative implies that Martin knows his death is imminent at the novel’s end, even as he continues to resist it.
Mary is a young woman on whom Martin becomes fixated at some point before his conscription into the Navy. Martin’s initial descriptions of Mary imply that what he feels for her is not love but rather obsession and lust stemming from a desire to conquer her. He says that Mary “carried, poised on her two little feet, a treasure of demoniac and musky attractiveness that was all the more terrible because she was almost unconscious of it” (131).
The rage Martin feels when Mary rejects his sexual advances provides further evidence that he doesn’t love her. What most sets off his anger is that she dismisses his entreaties toward friendship by glibly saying, “If you like” (134). For a man as pathetically self-obsessed as Martin, this perceived inability to be seen and acknowledged expresses itself through violence: Martin threatens to kill Mary if she won’t have sex with him—and later rapes her.
While on the rock, Martin appears to show no remorse for this act. Instead, his thoughts fixate on Nathaniel (whom Mary later married), further reflecting the extent to which Martin sees Mary not as a human being but as just another object of his crude appetites.
Nathaniel is Martin’s friend and a sailor abroad the Wildebeest when a U-boat sinks it. Flashbacks reveal that shortly after Mary rejects Martin’s advances (and he then rapes her), Nathaniel marries her. Consequently, Martin comes to hate Nathaniel and plans to murder him by pushing him over the rails of the Wildebeest—but the U-boat attack stops him.
In one of Martin’s memories, Nathaniel delivers a lecture about how heaven is nothing more than “self-negation” for materialistic individuals like Martin. Nathaniel’s imagery of black lightning dominates Martin’s delusion when Martin’s fantasy crumbles and he nearly acknowledges death. During this climax, what Martin resists most—death or acknowledging how he became so alienated from his only friend—is somewhat unclear.