57 pages • 1 hour read
Danya KukafkaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Ansel arrives at the Walls Unit. Officers search him and find Blue’s letter, which includes her agreement to witness Ansel’s execution. They tauntingly read it out loud before tearing it up. As they drag him to his holding cell, he glimpses the execution room and realizes with finality that he will not escape death.
Ansel internally rages at Shawna, imagining that her life will be hollow without him. He reflects on the cruelty of the death penalty and recalls an inmate called Big Bear. Big Bear was a Black man who was executed for shooting a police officer who unlawfully burst into his apartment. Ansel remembers how Big Bear sobbed as he was transferred to the Walls Unit. He asked Shawna how she could live with herself while participating in this system, but she replied that she was just doing her job.
Tina Nakamura visits the Walls Unit to tell Ansel that his appeal won’t be considered by the court. Ansel throws the phone at her and is violently thrown back in his holding cell. He remembers meeting Jenny at NVU. By the time they met, he had already killed the three girls. When he saw Jenny in the quad, he felt “not love at first sight, but some kind of unhaunting” (184). He decided that he would be good for her, and she would be his final girl.
The narrative shifts to September of 2011. Hazel, sleeping next to her husband Luis, experiences her first Summoning. She awakens with a sudden burning pain in her chest that subsides just as quickly. The following afternoon, as she looks after her children Alana and Mattie, the phone rings. Jenny is on the other end, declaring that she has taken a nursing job in Texas and has finally left Ansel, who took the news “really [badly].” She asks Hazel to come meet her at a hotel. Hazel is shocked; the plan for Jenny to leave Ansel has been in the works for months, but Ansel was not supposed to know about it until Jenny was already gone.
Hazel recalls how at Jenny’s wedding she watched Ansel perform a shallow facsimile of emotion. She felt a sick satisfaction at knowing that her sister’s life was not perfect. In the intervening years, Jenny has struggled with a substance use disorder. Now Hazel is happily married and a mom with a good job at a ballet studio. She secretly enjoys feeling Jenny’s envy.
Hazel meets Jenny and they go to Jenny’s home to collect her belongings. Ansel sulks on the couch, muttering that Jenny is proving his Theory correct, that “no one thing can be wholly good” (195). After collecting Jenny’s things, they drive to her hotel room as Ansel glowers from the porch.
Jenny confesses to Hazel the details of her encounter with Saffy. When Hazel pushes her on the question of Ansel’s guilt, Jenny retorts that she knows Hazel is enjoying her suffering.
After Jenny falls asleep, Hazel steps into the hotel’s hallway and finds Saffy’s contact information. She calls the detective but hangs up right away.
The following morning, Hazel drives Jenny to the airport. Jenny gives Hazel Lila’s ring before leaving. Hazel stashes the ring in her glove compartment, feeling distant from her twin.
The prison Chaplain arrives, carrying a bag from Polunsky. Inside is Ansel’s Theory. Ansel’s heart sinks as he realizes his words haven’t been distributed to the presses as he’d hoped. He spreads out his pages and reads a passage on morality. Ansel believes that morality is not concrete and always has the potential for change. He thinks that the Blue House proves even he is capable of goodness.
Ansel first learned about the Blue House a year after Jenny left him when he received a letter from his niece Blue, who had tracked him down through hospital records. The news that Baby Packer had lived was a revelation to Ansel, who realized that the screaming was not a punishment but an attempt to communicate something. He drove up to the diner the following weekend. When he laid eyes on Blue, the screaming in his head stopped because she looked just like Lavender.
The narrative shifts back to 2012. Saffy is 40 years old and has recently been promoted to police captain. She is overseeing a mistrial on an older case, a woman named Marjorie Lawson, who was bludgeoned to death with a frying pan by her husband Greg. Greg was a strong suspect, but a lieutenant named Kensington got drunk and proclaimed Greg’s guilt at the local pub, leading his defense to file for a mistrial.
Often after her workdays end, Saffy reopens the 1990 file on the three murdered girls. She dreams about them regularly, grown-up versions of who they might have become.
After yet another dream about Izzy, Saffy drives into Vermont to visit Ansel’s home again. She has been stalking him for over a decade. She knows Jenny has left for Texas and recalls observing how the relationship fell apart, with Jenny descending into alcoholism.
When Ansel emerges, Saffy tails him discretely to the Blue House and enters the diner after him. She observes him sitting with a young girl—Blue. Saffy also spots a small altar to Ellis Harrison, who died in 2003 at the age of 26. She asks Rachel how old Blue is. Rachel responds that she is 16, Ansel’s preferred victim age.
Back in the office, Saffy tries to focus on the Lawson case. She is upset by the recurrent pattern of men who wreak havoc on others and “still [demand] more” (224). Impulsively, she lets her favorite detective, Corinne, in on the 1990 case.
That night, Saffy checks her email. She is hoping for an email from her foster agency because she is trying to find her father.
The following day, Corinne excitedly tells Saffy of a new discovery: Ansel Packer is Ellis Harrison’s older brother, making Blue his niece. Saffy returns to the Blue House and is shocked to see Ansel still there. She realizes that he is staying at the house.
Kensington enters Saffy’s office and apologizes insincerely for the trouble he’s caused with the Lawson case. Saffy is reminded of Ansel’s empty apology in the doorway of Miss Gemma’s.
Two days out from the Lawson retrial, Saffy receives an email from the agency. They have found her father, Shaurya Singh, but he died in 2004. Saffy stumbles out of her office and drives back to the Blue House, watching Ansel from the parking lot. As she watches him laugh with Blue, she resents both his happiness and Blue’s ability to trust a man so easily.
The following morning, Saffy turns on her phone to find stacked voicemails from Corinne; Greg Lawson has died by suicide in his jail cell. Anger floods Saffy at murderous men who feel “entitled to their freedom” (241) even after taking the lives of others.
Saffy enters the Blue House and flashes her badge. She reveals that Ansel is a suspect in the 1990 murders and warns Blue and Rachel to stay away.
On the Monday which would’ve been the date of the Lawson retrial, Rachel calls to confirm that she has sent Ansel away. Saffy visits her mother’s grave.
Blue arrives at the Walls Unit. She doesn’t want to see or speak to Ansel. He remembers the happy days they spent together at the Blue House, sharing stories about Ellis. In her company, he felt himself growing into the goodness he knew he was capable of.
The chaplain returns to ask if Ansel has a message for Blue. Ansel asks how the state can carry out his execution when Blue is proof that he can be good. The chaplain responds that everyone can be good—the question is “how we ask for forgiveness” (248).
Jenny appears to Ansel in fleeting visions. He wishes he could ask her how to feel emotions.
After Rachel sent Ansel away from the Blue House, he drove to Texas, leaving behind all his belongings. He finds Jenny’s workplace through Facebook and waits for her to emerge, planning how he will win her back. When she appears, however, she is with a new boyfriend.
Furious, Ansel follows Jenny to her house and kicks down her door. Jenny grabs a kitchen knife to defend herself. Looking back, Ansel sees how the moment of her death could have gone differently, but at the time “she was just a Girl” (252).
With 30 minutes left until his execution, Ansel wonders why his intentions aren’t being considered. He wanted to love and learn how to be a good person. He only killed Jenny because of “what [he] knew [himself] to be” (252).
When Ansel lays eyes on Jenny, he decides she will be his “last and only girl” (184). This term is a slightly altered version of “final girl,” which refers to the last surviving character in a horror movie. In Ansel’s hands, the term takes on a cruel irony, foreshadowing Jenny’s fate as his last victim. Ansel uses Jenny as a tool to try and become normal. Though he wants to be understood, all his relationships revolve around defining his concept of himself. Ansel can’t see women as full people; he thinks only of the ways they can be of use to him. Ansel’s limited conception of his victims mirrors the way female victims are sidelined in true crime narratives, reduced to footnotes in the story of their killer.
In her obsession with the 1990 case, Saffy stands in for a true crime consumer. She watches with morbid fascination as Ansel and Jenny’s relationship deteriorates but doesn’t intervene when it becomes abusive. She experiences a vicarious thrill from watching a supposed evil genius go about his life. Her absorption in Ansel’s life begins to distort her perceptions of innocent interactions. When she does act, her intervention triggers a domino effect leading to Jenny’s murder. Ansel is still the guilty party, but the consequences of Saffy’s long surveillance can be read as a metaphor for how consuming violence as entertainment rather than mobilizing to prevent it can harm real victims.
In the chapters set in the Walls Unit, Kukafka explores the ethics of the American correctional justice system. Ansel has done horrible things, but Notes on an Execution poses the question of whether the corrections system in its current state perpetuates further atrocities. So far, the novel has explored the wrenching impact of murder and the cruelty of taking away a human being’s future. Now, it asks the reader to consider whether the death penalty is just a state-funded repackaging of the same. Despite his crimes and his diagnosis, Ansel is still a human being who doesn’t want to die. Seen through this lens, killing him is tantamount to murder.
To further strengthen doubts around capital punishment, Ansel remembers the plainly unjust case of Big Bear, executed for shooting at officers in self-defense. The circumstances of Big Bear’s case are heavily drawn from reality. Black men have a higher incarceration rate than white men and are more likely to receive the death penalty. There are multiple recorded cases of innocent Black men being executed only to later be exonerated. Even if one is in favor of the death penalty for murder, the justice system is too flawed to guarantee that only guilty people are killed.
This section also explores why the label of psychopath might not help to understand and prevent violent crimes. Ansel’s diagnosis has been used to write him off as fundamentally wrong and separate him into a category away from other humans. After years of being told he is incapable of love, Ansel has accepted that he can “never be more than [his] own creature self” (152). When he kills Jenny, he is fulfilling what he believes is the only course of action for a person like him.
As Ansel reckons with himself, these chapters reveal emotional commonalities between him and the people he’s hurt. When he arrives at the Blue House, the sight of Blue instantly quiets the screaming in his head. He’s been tormented by the lack of love in his life, a common pain shared by Saffy, Lavender, and Hazel at various points in the story. At the Blue House, he realizes for the first time that “[he] can be normal…can be good” (247). Ansel is not immune to the basic wants of giving and feeling love, being seen, and appreciated. Calling him a psychopath implies that his crimes were inevitable and dismisses the role that his unmet needs may have played in creating a killer.
Though Ansel and the three women share similar trauma, the question remains: Why did only Ansel become a killer? This section of the novel explores an overarching societal framework that breeds entitlement in men. Its effects extend far beyond Ansel. Saffy deals with the case of Greg Lawson, who bludgeoned his wife to death and died by suicide once in custody. While working the case, she must contend with an incompetent lieutenant named Kensington, who blew the investigation wide open and thinks that an insincere apology is all that’s required for the world to forgive him. Kensington’s hollow apology, meant only to let himself off the hook, mirrors the apology Ansel gave to Saffy at Miss Gemma’s, which was meant only to assuage his guilt.
Notes on an Execution is full of “men who had been handed the world, trashed it, and still demanded more” (224). Ansel’s crimes are the most dramatic manifestation of a problem that pervades workplaces and family homes, enabling everything from mediocrity to violence. The sense of entitlement he feels is strengthened by the interest the public takes in male killers.
Even as they struggle, the fullness of Lavender, Saffy, and Hazel’s lives contrasts Ansel’s lonely existence. Love, forgiveness, and friendship bolster them through hard times and make their lives worth living. Except for his stint at the Blue House, Ansel experiences none of these things. After Lavender leaves him, he knows only loneliness, humiliation, and the constant screaming in his head.
Notes on an Execution walks a fine line, exploring Ansel’s reasons for killing while maintaining that they ultimately don’t matter. Ansel is a human who has suffered like everyone else, yet he had the same set of choices as everyone else. He chose to kill on his own. The picture of his crimes is a mosaic of trauma, broken systems, and patriarchal entitlement, but to dwell on his motivations risks falling into the trap of affording a killer more grace than his victims.