logo

50 pages 1 hour read

Ann Cleeves

The Long Call

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.

Chapters 1-8Chapter Summaries & Analyses

Chapter 1 Summary

Content Warning: Both the source text and this section of the guide contain descriptions of rape, abduction, domestic violence, anti-gay bias, ableist language and attitudes, sexism, and death by suicide.

Standing outside his estranged father’s funeral service, Matthew Venn receives a phone call from fellow Detective Inspector Ross May about a body found on the beach. The deceased has a tattoo of an albatross on his neck, and the body has multiple stab wounds. Matthew leaves the funeral to join Ross and another detective named Jen Rafferty at the crime scene. Matthew decides that he and Jen should interview the people who live in the nearby toll keeper’s cottage.

Chapter 2 Summary

Maurice Braddick, an elderly widower, waits for the return of his 30-year-old daughter Lucy, who has Down syndrome. She is later than usual. When Lucy does arrive, she tells her father that she is late because the man who usually sits beside her on the bus and gives her candy didn’t arrive today, so she waited for him. Concerned for Lucy’s safety, Maurice questions her about this man, asking whether he has threatened her, but Lucy insists that he was just a friendly acquaintance.

Chapter 3 Summary

Matthew and Jen question Hilary and Colin Marston, who live in the toll keeper’s cottage. Colin, a birdwatcher, describes everything he saw when he was on the beach that morning: a man and woman driving separate cars who met on the beach and kissed, and a man in the distance whom he didn’t see clearly. After the questioning, Matthew and Jen return to Ross, who has found the dead man’s shopping list and a piece of junk mail. Matthew sends Ross and Jen to investigate whoever lives at the address listed on the envelope. Matthew returns home to dine with his husband, Jonathan Church. He tells Jonathan about the murder, and then leaves to continue work on the case.

Chapter 4 Summary

Arriving at the address listed on the victim’s junk mail, Jen and Ross interview Gaby Henry, who reveals that she is a renter at this address. The building is owned by Caroline Preece, and there is another renter in the house—a man named Simon Walden. Gaby identifies him as the murder victim. Gaby is the artist-in-residence at the local Woodyard Centre, an art-focused community center. She met Caroline because Caroline’s father, Christopher, is the chair of the trustees at Woodyard. Because Simon had depression, Caroline met him through her work at a mental health charity. She took him on as a renter and got him a volunteer position at Woodyard.

Jen and Ross plan to return the next day to question Caroline. For now, they return to the police station and share their new information with Matthew and Joe Oldham, the Detective Chief Inspector. The narrative reveals that Simon was already known to the police; he was in prison for three months after an incident in which he killed a child while driving drunk.

Chapter 5 Summary

Shaken by the encounter with the police but pleased with herself for concealing her nervousness, Gaby waits for Caroline to return home. When Caroline comes back, Gaby tells her about Simon’s death. Gaby carefully regulates her tone so as not to appear too upset.

Chapter 6 Summary

Matthew returns home and tells Jonathan that he may have to recuse himself from the case. Jonathan founded Woodyard, and Simon’s involvement at Woodyard might imperil Matthew’s impartiality. Jonathan encourages Matthew to fight to stay on the case. When Matthew wakes the next morning, he reflects on how nurturing his marriage to Jonathan is. He also remembers a woman from his childhood—Mary Brownscombe—with whom his father might have been in love.

In the morning, Matthew meets with Jen, who tells him that Simon’s estranged wife has been notified of the death. Matthew and Jen question Caroline and Gaby, both of whom insist that they last saw Simon when he left the house on the day of his murder. Gaby seems unbothered by Simon’s death, but Caroline, who was Simon’s project worker through the charity that her father set up after her mother’s death by suicide, is more distressed. Jen stays in the house to continue questioning Caroline while Matthew heads to Woodyard and Gaby goes to work.

Chapter 7 Summary

Lucy recognizes Simon after seeing a picture of him on the news; she tells her father, Maurice, that Simon was the man who gave her candy on the bus. Maurice takes Lucy to Woodyard and passes this information on to Jonathan. Maurice trusts Jonathan because Jonathan has worked to help Lucy find purpose by getting involved at Woodyard. Jonathan calls in Matthew, who questions Maurice and Lucy. Lucy tells Matthew the exact bus stops where Simon would get on and off and says that he always brought candies in the same paper bag. Matthew deduces that this bag must have come from an old-fashioned sweets shop rather than a supermarket.

Chapter 8 Summary

Jen continues to question Caroline about how she got involved in social work and why she took the risk of inviting Simon to live with her, even though he was one of her clients. Caroline reveals that Simon had depression and an alcohol use disorder. Caroline is also fully aware of Simon’s car accident, but she tells Jen that Gaby and her father didn’t know about it. Caroline agrees to give the detectives her fingerprints.

Chapters 1-8 Analysis

In addition to introducing the primary characters and the main conflict, Cleeves puts considerable effort into establishing an accurate picture of the geographical setting, paying particular attention to the subtler nuances and underlying dangers of the area. When Matthew first sees Simon’s body on the beach, Cleeves deliberately slows the pace of the narration and uses several paragraphs to describe the landscape:

Here, the river was wide and it was hard to tell where the Taw ended and the Atlantic began. Ahead of [Matthew] the other North Devon river, the Torridge, fed into the sea at Instow. Crow Point jutted into the water from his side of the estuary, fragile now, eaten away by wind and weather (7).

This focus on Devon geography provides a solid foundation for the increased pace of the narrative as the characters move freely and often between various locations. This early emphasis on the positioning of key landmarks clarifies where characters are in relation to one another. More importantly, the description of Crow Point as an unstable, interstitial space that comes and goes with the tides provides critical foreshadowing of the danger that will beset the protagonist in the narrative’s climax. When Matthew is later left on Crow’s Point by the Salters, tied up and unconscious, Cleeves will then have no need to interrupt the moment with geographical descriptions that convey the inherent danger of the situation, for this tension has already been established quite early in the novel.

These first few chapters also introduce the novel’s multifaceted narrative structure. In the first four chapters, Cleeves introduces three separate narrators—Matthew, Maurice, and Jen. These overlapping voices allow Cleeves to dance back and forth and describe simultaneous events in different parts of town and beyond. As the detectives’ investigations reveal new clues, their various interviews and conversations with the townsfolk establish the many players whose stories become integral to solving the murder. Cleeves also uses these shifts in perspective to establish tension early in the narrative. For example, the two opening chapters each feature an unidentified man: the body on the beach, and the mysterious stranger who gives candy to Lucy Braddick. This more complex narrative approach provides vital pieces of the puzzle, even though the protagonists of the story have not yet uncovered these details. Thus, Cleeves employs dramatic irony to tease her readers with unanswered questions. However, Cleeves does not let these minor mysteries linger too long before providing answers, thereby keeping the pace of the narrative brisk; in fact, the revelation that Simon Walden knew Lucy comes within the next 50 pages.

Further tension is created when Cleeves strategically ends chapters by raising questions rather than answering them. In Chapter 7, for example, almost immediately after Cleeves answers the question of whether the murdered man is Lucy’s friend from the bus, she ends the next section with a conversation between Maurice and Jonathan. When Maurice suggests that Lucy might have met the murdered man at the Woodward, the narrative states that “Jonathan nodded as if this was something he’d already suspected” (63). Here, Cleeves creates an ambiguity by refusing to provide Jonathan’s perspective and instead allowing Maurice to interpret Jonathan’s body language. The phrase “as if” raises the possibility that Jonathan knows more than he is letting on, but at the same time, this impression is not explicitly confirmed to be correct. Thus, Cleeves deliberately withholds information so that her readers, like Maurice, are left with no firm answers. This narrative technique persists throughout the novel, forming a familiar rhythm even as new questions are raised and pursued.

blurred text
blurred text
blurred text
blurred text