The Chestnut Man: A Novel

Søren Sveistrup
74 pages2-hour read
Fiction
Novel
Adult
Published in 2019

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Part 9Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of physical abuse, graphic violence, and death.

Part 9: “Friday, October 30th”

Part 9, Chapter 114 Summary

Rosa arrives at a remote property called Chestnut Farm. It was recently renovated, as evidenced by the presence of modern security cameras. Rosa shouts for Kristine. A tall man with an axe and firewood emerges from a barn, says Kristine isn’t there, and amiably invites her inside.

Part 9, Chapter 115 Summary

Rosa searches the empty farmhouse. She finds the man humming a nursery rhyme at a stove and grabs his axe. He remains calm, saying Kristine is “somewhere nice now” (456), and alludes to being locked in a basement with his twin sister by their parents. Rosa stresses she just needs information. He overpowers and incapacitates her.

Part 9, Chapter 116 Summary

Rosa wakes bound to a steel operating table in a white room. In sterile coveralls, the man reveals her childhood lie sent him and his sister to Chestnut Farm; he tracked her after she became minister. He details the process of amputating Kristine’s hand to frame Bekker for her murder. He then amputates Rosa’s left hand. When she wakes, he continues the account of Kristine’s abduction before preparing to amputate her right. A beeping alarm alerts him to an approaching car on CCTV. Rosa faints again.

Part 9, Chapter 117 Summary

Thulin is bound in a car trunk. She recalls arriving with Genz and finding a workspace with photos of the victims and themselves. Genz revealed himself as the killer before knocking her out. 


Thulin hears a car, followed by Hess calling her name. Unable to shout, she kicks the trunk.

Part 9, Chapter 118 Summary

Hess finds Rosa’s car and enters the unlocked house, discovering the workspace. He knows Genz can see him on CCTV. Remembering an old crime scene photo, he finds the basement entrance hidden in a kitchen cabinet. Descending, he notices bloody footprints leading only up, signaling that Genz is upstairs. Just then, Genz swings the axe from the doorway above, grazing Hess’s brow.

Part 9, Chapter 119 Summary

Hess wakes bound in the basement. Genz uses his thumb to unlock his phone, discovers the call to Nylander, and brutally kicks him. Genz admits to stalking them and finding out about their plans to entrap them. 


Hess sees Rosa unconscious on the table. Genz douses the room, Hess, and Rosa with gasoline, lights a chestnut man figure, throws it, and shuts the door.

Part 9, Chapter 120 Summary

In the barn, Thulin breaks through the rear seat into the car’s interior, seeing and smelling fire. When Genz gets in, Thulin hides behind the driver’s seat.

Part 9, Chapter 121 Summary

In the burning basement, Hess uses the saw to cut his bindings. He frees Rosa just as fire reaches her, carrying her to a corner. Hess then locates a barred window and saws through the bars, allowing them to escape before the fire engulfs them. Hess drags Rosa to safety and runs into the woods.

Part 9, Chapter 122 Summary

Thulin attempts to overpower Genz, but he anticipates her and beats her down. He taunts her that Hess is dead. Preparing to kill her, they both hear a man’s hoarse voice screaming Genz’s name from the woods.

Part 9, Chapter 123 Summary

Hess stands in the snowy road, having cut through the woods. In a tense standoff, Genz accelerates at Hess, who fires his gun at the car but hesitates, afraid of hitting Thulin. 


At the last moment, Thulin acts, causing the car to swerve and crash into the woods. Both are thrown through the windshield. Hess finds Genz impaled on a tree branch and asks where Kristine is. Genz dies without answering.

Part 9 Analysis

As Genz reveals himself, his calm demeanor frames his acts as the logical outcome of systemic failure, pushing the narrative into The Ethics of Vigilante Justice. When he tells Rosa that Kristine is “somewhere nice now” (456), he echoes the empty platitudes offered to him as a child, transforming comfort into torment. His monologue, delivered while preparing to amputate Rosa’s hand, is a reasoned indictment: he links Rosa’s childhood lie and her later role as Minister for Social Affairs directly to his suffering, presenting his revenge as corrective justice. By using horse chestnuts for poison and lighting a chestnut man to start the fire, Genz weaponizes symbols of childhood innocence, showing how trauma rooted in the Shortcomings of the Social Welfare System has warped his moral compass into equating brutalization with justice.


The climax unfolds through rapid shifts in perspective that heighten tension and isolate each character. The narrative moves from Rosa’s helplessness on the operating table to Thulin in the trunk hearing only the “whine of a machine mixed with a woman’s screams” (463), then to Hess’s methodical entry into the house. This fragmentation mirrors the characters’ limited knowledge and increases their vulnerability. All threads converge in the basement, the physical and psychological heart of the trauma. Hess’s discovery of the entrance hidden in a kitchen cabinet and his descent down the stairs is a literal journey into the past, guided by his memory of a crime scene photo that links the present investigation to the original failure to protect the twins.


The confrontation dissolves the characters’ professional identities. Genz’s role as head of Forensics represents the ultimate institutional betrayal: he uses the expertise meant to serve justice to commit and conceal his crimes. His taunt that Hess is a “failed, egotistical asshole” (472) projects his own perverted professionalism, a conviction that he has succeeded where the system failed. Hess and Thulin, in turn, are stripped of their detective personas. Hess’s escape is a desperate improvisation, using the killer’s own saw to break free. Thulin, beaten in the trunk, relies on instinct and physical force, forcing the car to swerve in a moment devoid of protocol. The constructed order of the justice system collapses before the personal logic of vengeance.


The end of the climax delivers visceral violence but leaves Kristine’s disappearance deliberately unsettled. Genz’s death, impaled on a tree branch like one of his own dolls, offers brutal poetic justice, yet his refusal to reveal Kristine’s fate denies closure. The sound of chestnuts crunching under Hess’s feet in the final moments is a reminder that even with the killer gone, the symbols of his crimes and the questions they represent continue to linger.

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