Road Trip

Mary Kay Andrews
67 pages2-hour read
Fiction
Novel
Adult
Published in 2026

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Chapters 17-24Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of illness, death, substance use, and cursing.

Chapter 17 Summary

After her sister leaves the tour, Maeve sneaks into the Tarrymore library. She examines portraits of the Rossington family, noting Lord Edward’s broad forehead, which reminds her of her and her mother’s foreheads. She photographs the portraits of Edward and his wife, Fiona, and a nearby smaller portrait of an older woman identified as Lady Delia. Aerin discovers her and ushers her toward the exit.


Next, Maeve tours the Tarrymore distillery. The tour is led by the head distiller, William, who introduces himself as Liam. He explains the process of making single pot Irish whiskey in charred oak barrels imported from Kentucky. Maeve eventually admits she is not a whiskey enthusiast and is only taking the tour to fight her jet lag. Amused, Liam asks if she’s single and offers to give her a personal tour of the estate after his shift. Maeve accepts his offer and confirms that she’s single.

Chapter 18 Summary

Liam picks Maeve up in his ramshackle, self-built Jeep and takes her to the Tarrymore Home Farm, a restored village that was once home to the estate’s workers. There, he introduces her to his cousin, Madelyn O’Shea, who manages the living history site, and her young daughter, Susannah. Maeve mentions that her great-grandmother, Kathleen Rose Connor, was from the area. Upon hearing the name, Liam and Madelyn share a look of recognition but try to hide this. After the tour, Liam drives Maeve back to the inn and asks her on a date for the following evening to go to a pub and listen to traditional Irish music. Maeve happily accepts, reflecting that it has been nearly two years since her last relationship ended.

Chapter 19 Summary

Therese wakes up alone in her room at the inn and, feeling hungry, walks to a nearby pub called The Willow Tree. Inside, she spots an older woman playing pool. Therese strikes up a conversation by complimenting the woman’s English cocker spaniel, Sinead. The woman introduces herself as Esme Rossington and explains that she grew up in Tarrymore House but that her brother Geoffrey persuaded their 92-year-old father to hand the estate to the Trust. Esme recounts the story of the IRA art heist. When Therese presses for details, Esme becomes defensive, abruptly ends the conversation, and leaves the pub.

Chapter 20 Summary

The next morning, Therese tells Maeve about meeting Esme. Maeve, in turn, tells Therese about her upcoming date with Liam. A family tree prepared by Frannie has identified their great-grandmother’s niece, an elderly woman named Isabel Woods. The sisters go to visit her at the Sheltering Oaks Compassionate Care Center.


Isabel reveals a long-held family secret: Kathleen was the illegitimate daughter of Lord Edward Rossington. The parish priest, Father McGinty, arranged a hasty marriage between Kathleen’s mother, Bridget, and a village man, John Connor. Lady Delia gave the Connor family a new horse and the parish church a new roof as inducements to allow her to raise Kathleen. Isabel also recounts that Lady Delia was murdered the same night Kathleen left for America in 1926, and the Rossington family falsely blamed Kathleen for the murder and for theft. Isabel shows them a pin that Lady Delia gave to Kathleen, which Maeve photographs. Before they leave, Isabel gives the sisters a box containing all the letters Kathleen sent from America to her brother, Tommy.

Chapter 21 Summary

As Maeve prepares for her date with Liam, Therese gives her a complete makeover, dressing her in a rock T-shirt, jeans, and boots from her own suitcase and applying her makeup. Once Maeve leaves, Therese begins reading Kathleen’s letters. The first letter, postmarked August 23, 1926, is written from New York and describes the ocean crossing and her arrival at Ellis Island. She writes of living in a small room in a New York tenement with Maggy and Maggy’s young daughter. Both women worked long hours in a shirt factory to survive. In the letter, Kathleen expresses deep concern for Lady Delia, fearing something terrible happened on the night she fled Tarrymore.

Chapter 22 Summary

Maeve meets Liam in the lobby for their date. He greets her with a glass of a new, unreleased Tarrymore whiskey to break the ice. They drive to a pub called the Three-Legged Goat to listen to a band called The Hooligans. During the drive, Maeve confides in Liam that she was recently fired from her job as a college professor. Liam tells her that he values family, friends, and the craft of making good whiskey. Maeve lightheartedly tells him she only agreed to go out with a stranger because she finds his accent irresistible. They soon arrive at the pub, which is already packed with people.

Chapter 23 Summary

Therese reads another of Kathleen’s letters, this one from December 1928. Kathleen writes that she has a new job as a domestic servant for a family in Geneva, New York. She vehemently denies any involvement in Lady Delia’s murder or the theft at Tarrymore, writing that she heard Lady Fiona, Teddy, and David arguing with Lady Delia, heard a scream, and then fled, concluding that Lady Delia “must have died at the hands of her own wicked family” (152). Kathleen states that Lady Delia gave her the portrait of Lady Geraldine, explaining that it rightfully belonged to her because she was “kin” to the subject.


Armed with this new information, Therese returns to The Willow Tree to confront Esme. She recounts the story of Kathleen being raised at Tarrymore. When Therese asks specifically about the portrait of Lady Geraldine, Esme claims it was the one painting stolen during the IRA heist that was never recovered. Esme becomes enraged by the questions, calls Therese impertinent, and storms out after warning her to stay away.

Chapter 24 Summary

At the Three-Legged Goat pub, Liam introduces Maeve to his friend and coworker, Donal Moody. They listen to The Hooligans perform traditional Irish music. Liam points out a type of drum called a bodhran. When the band plays “The Fields of Athenry,” Maeve is moved to tears. As the evening wears on, Donal becomes increasingly drunk and loudly demands the band play “Galway Girl.” To avoid the escalating commotion, Liam pays their tab and leads Maeve out of the pub.

Chapters 17-24 Analysis

Maeve’s time at Tarrymore and her budding romance with Liam escalate the theme of Embracing Risk Over Certainty. When the self-described “rule follower” enters the forbidden Tarrymore library, her small transgression initiates a significant character transformation. This initial act of defiance paves the way for other departures from her cautious nature: She joins the distillery tour on a whim and then accepts a date with Liam, a man she has just met. These choices demonstrate her burgeoning willingness to prioritize personal curiosity and connection over adherence to rules. Having recently lost her job and her mother, Maeve arrives in Ireland unmoored from the structures that once defined her. Her decision to go out with Liam is a conscious step away from the risk-averse life that left her feeling betrayed and unfulfilled. The process is furthered when Therese gives her a makeover, replacing her practical attire with rock T-shirts and Doc Martens. This external change, facilitated by her sister, reflects an internal shift, granting Maeve permission to become a new, more adventurous version of herself.


The sisters’ visit to their elderly cousin transforms their heritage tour into a high-stakes investigation. The box of correspondence Isabel gives them positions Kathleen’s letters as a motif of The Weight of Ancestral Secrets. These primary source documents allow Kathleen’s voice to directly counter the official Rossington narrative that has silenced her for decades. The faded ink on fragile paper becomes a more reliable record than the oral history passed down by the aristocracy. These artifacts provide the sisters with the evidence necessary to challenge the foundational lies of the Rossington family, giving new urgency to their quest and illustrating The Weight of Ancestral Secrets.


The conflicting accounts of the portrait of Lady Geraldine develop the tension between aristocratic revisionism and subaltern truth, a conflict grounded in the historical realities of Anglo-Irish power dynamics. Esme presents the official family version of events: The portrait was stolen during the 1970s IRA heist and never recovered. This story conveniently erases Kathleen’s existence and her claim to the artwork. It allows the Rossingtons to co-opt a public, political trauma to bury a private, shameful one, the murder of Lady Delia and the dispossession of an illegitimate heir. However, Kathleen’s 1928 letter offers evidence that the story is a fabrication, stating that Lady Delia gave her the painting because she was “kin to Lady Geraldine” (152), almost 50 years before the IRA robbery. Esme’s furious, defensive reaction when Therese presses her on this point reveals the fragility of her family’s constructed narrative. Her lie is a deliberate attempt to maintain control over history, cementing the Rossingtons’ legacy while silencing the inconvenient truth of their Irish relations.


While the sisters pursue the same goal, the narrative’s parallel structure highlights their diverging methods even as it sets the stage for their reconciliation. In these chapters, Therese’s investigation is confrontational and backward-looking; she seeks out Esme in a pub to excavate the past and pores over Kathleen’s letters. Her path is one of direct challenge to a corrupted history. Maeve, conversely, takes a more intuitive, relational, and forward-looking approach. She forms a bond with Liam, a local whose family history is deeply entwined with the Tarrymore estate, and immerses herself in contemporary Irish culture at the pub. She is tentatively building a future in the place her ancestor was forced to flee. It is in their moments of collaboration, however, that their bond strengthens most visibly. Before Maeve’s date, Therese gives her a makeover in an act of genuine support that is a critical step toward Healing Sibling Estrangement. Therese uses her skills to help her sister manifest the confidence needed for her newfound embrace of spontaneity and risk.


The novel uses its settings to map the complex social and class hierarchies that underpin the central family conflict. The narrative moves between the faded grandeur of Tarrymore House, the institutional sterility of the Sheltering Oaks nursing home, and the working-class authenticity of The Willow Tree and Three-Legged Goat pubs. Tarrymore represents the historical seat of Anglo-Irish power, now commodified for heritage tourism. The pubs, by contrast, are lively spaces of contemporary Irish identity where tradition persists through folk music and community. Esme’s presence at The Willow Tree emphasizes her displacement; she is an aristocrat without a castle, clinging to her legacy in a working-class environment. Liam, the head distiller, shows a modern Ireland, a skilled artisan whose craft is tied to the estate but not defined by its feudal past. As American descendants navigating this landscape, Maeve and Therese cross these class lines, piecing together a history that was violently shaped by the very social divisions these settings represent.

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