Chasing Fireflies: A Novel of Discovery

Charles Martin

Chasing Fireflies: A Novel of Discovery

Charles Martin
62 pages2-hour read
Fiction
Novel
Adult
Published in 2007

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Prologue-Chapter 11Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death, death by suicide, child death, graphic violence, child abuse, and substance use.

Prologue Summary

At dawn, a woman drives a dilapidated 1972 Chevrolet Impala recklessly, with a young, malnourished boy in the passenger seat. The boy, who has numerous scars on his body, watches the sparks from the car’s exhaust and imagines they’re fireflies. The narrative then pauses to detail the history of a Silver Meteor passenger train and the tracks on which it travels. After a U-turn, the car comes to a stop just inches from the tracks. The woman, who has been drinking and screaming, hits the boy and kicks him out of the vehicle into a nearby ditch. She then drives the car forward into the path of a hundred-plus car train ferrying Toyotas to the port in Jacksonville, Florida, which collides with the Impala and kills her. The conductor stops the train and runs back toward the burning car. Twenty minutes later, paramedics, firefighters, a sheriff’s deputy, and a nearby farmer arrive at the scene. During the three hours spent dealing with the crash, no one sees the boy, who lies silently in the ditch.

Chapter 1 Summary

The narrator, a reporter named Chase Walker, is released from the Glynn County Jail after a three-day stay. His uncle Willee McFarland, a farrier, picks him up in a 1970-something Cadillac hearse called Sally, pulling a double-axle trailer he uses as his workshop. Willee, or “Unc,” informs Chase that his cousin Tommye Lynn McFarland has returned home nearly nine years after she left and is staying at their farm. At the farm, Chase finds Tommye in the loft apartment above the barn where he used to live. She appears thin and tired, and Chase is struck by how much she has changed. During their reunion, Chase recalls the night she left, bruised and bloody. Chase’s editor at the Brunswick Daily, Red Harrington, calls and assigns him a story about the train crash and the mysterious boy who was found standing in the road the following morning. The boy, who has clearly been abused, has since been taken to the hospital, where no one has been able to get him to communicate. As Chase and Unc prepare to leave for the hospital, Chase realizes that Tommye has a fever.

Chapter 2 Summary

As Chase and Unc leave the farm, they’re briefly stopped by Pockets McQuire, Unc’s lawyer, who delivers a copy of a legal appeal. Unc tells Pockets that after 20 years of legal maneuvering, he’s out of money and there can be no more “if that doesn’t work” (21). Driving alongside a train triggers Chase’s only memory of his father: As a three-year-old, he fell onto the railroad tracks and found himself unable to get up because his belt loop was caught on something. He remembers his father’s hands wrapping around him and the belt loop breaking free before the train passed inches from his head. Chase can recall his father’s shadow and hands but not his face, and he remembers being called by his real name, though he can’t recall what that name is. He reflects on his life as a “foundling,” a child abandoned and given an assigned name. The name on his driver’s license, Chase Walker, feels like a false identity, and his attempts to recall his real name have been unsuccessful.

Chapter 3 Summary

At the hospital, Chase and Unc find the boy from the train crash in his room, drawing in a notebook. The boy doesn’t speak and communicates through his detailed sketches and by writing. He’s covered in scars, and Unc gently cleans an infected wound on his back. The boy shows them a drawing of the crash and writes that people call him “Snoot.” He then reveals sketches of a trailer home and a large hand using pliers to rip skin from an arm, an act that matches his scars. When Chase asks who inflicted the injuries, the boy draws a man named Bo; he doesn’t respond when Chase asks whether Bo caused them but indicates that Bo isn’t his father. When Unc points to the woman behind the steering wheel and asks if she was his mother, the boy circles the “No” he had previously written. Dr. Paul Johnson explains that past tracheal trauma has damaged the boy’s voice box and that the effects of abuse may also contribute to his not speaking. Chase orders a pizza, and the hungry boy offers his first slice to the guard at his door before eating four pieces in total. As they leave, the boy gives Unc a drawing, and Unc gives him his Atlanta Braves cap in return. Before they leave, Dr. Johnson recognizes the McFarland name. Unc identifies himself as “the one that went to prison” (36). On the drive home, Chase recalls when Unc and Aunt Lorna first took him into their foster home and told him he could stay until his parents returned. Unc reflects that children continue to hope as long as they’re given a reason.

Chapter 4 Summary

Chase details the history of the McFarland family, beginning with the settlement of Georgia’s Golden Isles. He explains that the story of the McFarland brothers is connected to his recent imprisonment and his decision to become a journalist; he began investigating it after finding that rumors about Unc conflicted with the man he knew. In 1920, Tillman Ellsworth McFarland, a World War I veteran, arrived in the area and acquired 26,000 acres of swampy land known as “the Zuta.” He drained the land, turning it into a valuable source of timber, and founded the successful Zuta Lumber Company. He later opened Zuta First National Bank in a converted church. At age 52, he noticed a 38-year-old piano teacher named Sarah Beth Samuelson, and three months later, they married. She gave him two sons: Silas Jackson “Jack” McFarland and William “Liam” Walker McFarland (Unc) and died after Liam’s birth. The brothers grew up to be opposites; Jack was outspoken and materialistic, while Liam was quiet and thoughtful.

Chapter 5 Summary

The next morning, Lorna tells Chase that Unc flew to Los Angeles, California, the previous week to bring Tommye home. Tommye questions Chase about his continuing investigation into the Zuta First National vault and tells him that he’s looking in the wrong place. Chase then takes Tommye to the Sanctuary, an island of virgin timber in the middle of the Zuta that’s retained by Unc. She observes that her father, Jack, has been clear-cutting the surrounding land. Chase explains that Unc’s refusal to sell the Sanctuary is hindering Jack’s development plans. Tommye alludes to her difficult past in Los Angeles, connecting the medication she takes to having used “the wrong kind of drugs” and slept with “the wrong people” (57). Chase recalls encountering a DVD bearing Tommye’s name several years earlier but leaving when he realized what he was about to see. When Tommye asks whether Chase can let go of the story he’s pursuing, he says he can’t because he’s getting closer and owes it to Unc; she warns him that “the truth can kill [him]” (58). She tells Chase that she needs his help with something, which is part of the reason she returned.

Chapter 6 Summary

Chase recounts more of the family’s history, focusing on the strained relationship between Unc and his brother, Jack. After being ostracized by the community, Unc became a farrier. Chase recalls the stark contrast between the brothers during his childhood: Unc was working paycheck to paycheck and remained disgraced in the community despite receiving a pardon, while Jack was a wealthy and respected banker. Tommye’s frequent stays at Unc and Lorna’s home contributed to the uneasy relationship between the brothers. At eight years old, she first arrived there around midnight after apparently running about five miles across the Zuta alone in darkness and lightning. The following morning, Chase saw a newspaper report that her brother had died from a gunshot wound described as an accident. Chase reflects on how his relationship with Tommye shifted from a sibling-like bond to something more complicated as they grew older, culminating in Tommye asking him to their senior prom.

Chapter 7 Summary

From his sailboat, Chase calls his editor, Red, to provide an update on the case. He then goes to the hospital, where he meets Mandy Parker, an attorney with the district attorney’s office assigned to the boy’s case. The boy, whom Chase nicknames “Sketch,” is wearing Unc’s cap. When Chase asks where he learned to write so well, Sketch draws an older woman in a hospital bed teaching him the alphabet and identifies her as “Miss Myrlene.” When Chase plays a DVD of The Jungle Book that Mandy brought, Sketch becomes terrified and hides under the bed. The guard tells Chase that Sketch reacted similarly when a television was turned on the previous night. Chase and Mandy discuss the case over coffee. She explains the process for placing Sketch in foster care and the difficulty of finding an available home willing to take him, and she reveals that Unc and Lorna have applied to be his foster parents. Chase vouches for them. When he returns to the room, he finds Unc calmly watching the movie with Sketch, who’s now eating popcorn and seems engrossed.

Chapter 8 Summary

A flashback explains the events that led to Unc’s imprisonment. In 1979, during a severe tornado, Unc, who then went by “Liam,” found the family bank broken into. He apprehended an intruder, James Brown Gilbert, and locked them both in the vault for safety. The next day, Unc was celebrated as a hero, but the triumph was short-lived. His father, Ellsworth, and the family lawyer, Perry Kenner, were found dead, with Kenner’s hand still gripping the pistol. Unc’s first wife, Suzanne, was found dead on the floor behind Ellsworth’s chair, and the scene initially appeared to implicate Kenner in the deaths. An audit then revealed that $7 million in untraceable bearer bonds were missing from the vault, and Unc was arrested for the theft. His brother, Jack, who had a poker-game alibi, publicly disowned him and became a town hero by using the Zuta as collateral to save the bank. Unc was convicted and sentenced to 47 years. 


In prison, he signed over power of attorney for his three-year-old son to the State of Georgia and asked that the boy’s file be sealed to protect him from the scandal. Five months later, the boy was kidnapped. Unc sold his remaining 25% ownership in the Zuta to Jack to raise a $4 million ransom, while retaining his childhood home and the Sanctuary. Jack left the ransom at the designated location, but the kidnappers never appeared; when the area was searched, both the boy and the money were gone. The boy’s body was found the following day on the courthouse steps. Sometime later, Unc, then going by “Willee,” was pardoned based on unspecified new evidence. After his release, he married Lorna Sanchez, whom he had met while she worked at the prison, and they later registered their home as a foster home after being unable to have children. Chase concludes that the theft of the bonds, the three deaths, the kidnapping and murder of Unc’s son, the missing ransom money, and the evidence behind Unc’s pardon all remain unresolved.

Chapter 9 Summary

The following morning, Chase invites a pale Tommye to go fishing with him later. Sketch calls the farm and communicates with Chase by tapping on the phone, indicating that he wants to communicate with Chase and that it can wait a day. Chase tells Unc and Lorna about meeting Mandy Parker and learning that Sketch is expected to be placed in foster care soon. Unc explains that Sketch’s situation reminds him of his own three-year-old son, who 27 years earlier had similarly sat alone among strangers, waiting for someone to rescue him. He says that no child should have to endure that. Chase tells Unc that he’s comfortable with Unc and Lorna taking Sketch in.

Chapter 10 Summary

Chase arrives at the hospital and learns that Sketch has been discharged to the Glynn County Boys’ Home. The news triggers Chase’s own painful memories of the foster-care system. He finds Sketch in a small, windowless room at the home. Sketch leads him to a dolly of empty soda bottles and points to the bottler’s name stamped on the glass: “Jesup Brothers Bottlers” (94). Through his drawings and gestures, Sketch confirms that Bo works on those trucks, shaking his head when asked if Bo drives them and nodding when asked if he works on them. They share Mountain Dews and MoonPies and agree to play chess the next day. After promising to return the next day, Chase worries that he has given the boy false hope. He immediately calls Mandy, tells her that he has a lead, and meets her to discuss it. When Chase says he plans to visit Jesup Brothers Bottlers to find someone who knows Bo, Mandy offers to accompany him.

Chapter 11 Summary

In a detailed flashback, Chase remembers his first day with Unc and Lorna. Unc picked him up from a boys’ home and, on the drive to Brunswick, showed him uncommon kindness, asking his preferences and remaining calm when Chase spilled a drink. He gave Chase a tour of the town, speaking about his estranged brother and pointing out the bank he owned. He then took Chase to see the ocean for the first time. At the farm, Lorna greeted him warmly. During dinner, Unc was overcome with emotion and unable to say grace. That night, after tucking Chase into bed, Unc set up a sprinkler outside and aimed it so that water fell on the tin roof above Chase’s room. The gentle sound of the water helped him fall asleep within minutes and sleep for 10 hours.

Prologue-Chapter 11 Analysis

The Prologue introduces fireflies through the unnamed boy’s imaginative response to frightening circumstances. As he sits in the speeding, dilapidated car, he sees the “spray of sparks” from its exhaust as a “fanciful fountain of fireflies dancing along the South Georgia asphalt” (2). The image establishes the fireflies symbol before the novel later develops its associations with hope, possibility, and divine creation through Chase and Unc. The Prologue also establishes the railroad as an important point of connection between the boy and Chase. Its extended description of the Silver Meteor gives the tracks a history extending beyond the immediate crash, while the collision makes them the setting through which the unidentified boy enters the narrative. Chase’s fragmented childhood memory similarly returns him to railroad tracks, where he remembers being rescued from an approaching train and hearing a man call him by a real name he can no longer recall. By linking both characters to trains, incomplete knowledge of their pasts, and questions of identity, Martin establishes a structural parallel between Chase’s unresolved childhood and the unidentified boy whose history Chase is beginning to investigate.


Unc’s first interactions with Sketch at the hospital establish a model of fatherhood defined by gentle, attentive care. As Chase questions Sketch about his identity and past, Unc also attends to the boy’s immediate physical needs, cleaning an infected wound and offering his own hand for the boy to squeeze if the process hurts. His careful treatment of Sketch begins a pattern in which Unc responds to vulnerable children through practical acts of protection and reassurance. The theme of Fatherhood as Chosen Sacrifice is further developed in the extended flashback of Unc’s first day with Chase. Unc’s simple questions— “You hungry?” (99)—his offbeat tour of the town, and his decision to take Chase to see the ocean for the first time show his attention to Chase’s comfort and interests as the child entered an unfamiliar home. The day culminated in another understated act of care: After an emotional Unc was unable to say grace at dinner, he later aimed a sprinkler so that water fell lightly on the tin roof above Chase’s room, allowing Chase to sleep soundly. Unc’s motivation for seeking to foster Sketch also connects his present actions to his own loss, as he explains that his son “sat all alone with people he didn’t know, waiting for somebody to rescue him” (89). By placing Unc’s memories of his son alongside his developing care for Sketch and the flashback to Chase’s arrival, Martin characterizes his fatherhood through a recurring willingness to provide vulnerable children with safety, attention, and a sense of belonging.


Chase’s childhood recollections establish the discrepancy between the McFarland brothers’ public reputations and Chase’s personal experience of Unc. Chase recalls the brothers as the “town zero and the town hero” (61)—Unc, the ex-convict farrier, and Jack, the wealthy, respected banker in a “striped silk suit” (61). Martin reinforces their different social positions through material details: Unc drives an aging hearse named Sally, drinks Yoo-hoos, eats MoonPies, and carries the lingering smell of horses, while Jack’s wealth is reflected in his new Cadillac, Italian loafers, and positions as president of the bank and Zuta Lumber. These details help establish the social circumstances behind the labels that Chase remembers without requiring him to accept the town’s judgment of either brother. His experience of Unc as a caregiver conflicts with the disgraced public identity attached to Unc’s conviction, and this discrepancy becomes one reason why Chase investigates the McFarland family history. Unc’s cynical commentary during his tour with a young Chase— “he thinks the sun comes up just to hear him crow” (101)—also establishes the longstanding hostility between the brothers, while the unresolved circumstances of Unc’s conviction and Jack’s subsequent prominence leave the causes and significance of that hostility open to investigation. Martin therefore uses Chase’s first-person perspective to place the brothers’ public reputations alongside his incomplete knowledge of their shared past, contributing to the mystery surrounding the McFarland family and the missing bonds.


The narrative uses a nonlinear structure, interrupting the present-day investigation with extended accounts of the McFarland family’s history. These retrospective sections first trace Tillman McFarland’s acquisition and development of the Zuta and later reconstruct the events surrounding Unc’s conviction and imprisonment. These shifts in chronology gradually provide the historical context for conflicts that remain active in the present. The history of the Zuta explains both the source of the McFarland family’s wealth and the significance of the property still controlled by Unc, while his ongoing legal appeal concerns his attempt to secure access to the Sanctuary, showing that the brothers’ dispute over the Zuta remains active decades later. The account of Unc’s past also supplies important information about the missing bearer bonds, the deaths at the bank, the kidnapping and apparent murder of Unc’s son, and Jack’s increased control of the family property without resolving how these events are connected. Because Chase narrates this history as part of his investigation, the retrospective sections establish what he has been able to reconstruct while also identifying the gaps that continue to drive his search. The nonlinear structure therefore allows Martin to reveal the McFarland past incrementally, giving Chase’s present-day investigation greater context while preserving the unanswered questions surrounding Unc’s conviction, the missing bonds, and the history of the two brothers.


Non-verbal communication becomes an important means of gradually uncovering Sketch’s history. Dr Johnson explains that past tracheal trauma damaged Sketch’s voice box and that the effects of abuse may also contribute to his inability to speak. His detailed drawings therefore provide another means of communicating information about his past. His sketch of a hand wielding pliers to tear flesh visually conveys the violence inflicted on him, while his drawings of Bo and the trailer begin to provide clues about the people and places connected to his past. His responses also extend beyond drawing: His terror when a television is switched on reveals a trauma trigger whose source is not yet known, while his later gesture toward the name “Jesup Brothers Bottlers” on a soda bottle gives Chase his first concrete lead in locating Bo (94). Martin therefore makes Sketch’s gestures, drawings, and physical responses integral to the developing investigation while establishing communication as something that can take multiple forms. A related emphasis on non-verbal expression appears in Unc’s interactions with both Chase and Sketch. Chase reflects that Unc’s hand on his shoulder spoke “to a part of [him] few words ever reached” (37), and Unc later sits beside Sketch as the boy watches the film that had initially frightened him, with both of them eating popcorn. Across these interactions, touch, gesture, drawing, and practical acts of care communicate information and emotion that the characters don’t always express verbally, reinforcing the importance that Martin gives to forms of communication beyond spoken dialogue.

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