The Man Made of Smoke

Alex North

64 pages 2-hour read

Alex North

The Man Made of Smoke

Fiction | Novel | Adult | Published in 2025

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.

Prologue-Part 1Chapter Summaries & Analyses

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

Part 1: “Denial”

Prologue Summary

Daniel “Dan” Garvie describes the ordinary service station where, decades ago, he encountered the man who would come to be known as the “Pied Piper” killer. Situated off the countryside motorway, the station ends in a single-story building that houses a rundown amusement arcade and a food court. When the Pied Piper enters the building, witnesses notice a man in a long, green coat walking through the space but will later have trouble describing his features. Hardly anyone sees the bedraggled, scared-looking boy trailing the man, even though the Pied Piper stops at a food counter, the amusement arcade, and a shop. The teenage boy manning the shop does briefly notice the boy, but only because he has an eye out for potential shoplifters. Emphasizing the world’s indifference, the Pied Piper repeatedly whispers his catchphrase to the child: “Nobody sees and nobody cares” (3). He heads to the washrooms at the back of the building with the child and waits. Years later, these details will appear in The Man Made of Smoke by Terrence O’Hare, said to be the definitive account of the Pied Piper killer and the children he abducted. Dan will read the book so many times that each line will be committed to his memory.


The narrative flashes back to that day in the service station. Dan’s father, John, stops his car there for a snack break. Twelve-year-old Dan, his parents, and his best friend, Sarah Ross, are on their way back from a visit to the zoo. John often invites Sarah on their family outings since he knows that Sarah’s mother has little money to take her on trips. As the group heads to the arcade, Dan notices a mud-encrusted van in the parking lot, its bottom edge smudged with what look like children’s handprints.


Inside the arcade, Dan reflects on his friendship with Sarah. They were once inseparable but have lately become awkward around each other. Dan finds himself noticing Sarah’s sadness and often wants to tell her that he understands but doesn’t know how to express himself. Dan also notes that his mother, Maggie, is always unhappy. Before they head back to the car, Dan visits the restroom. At this time, he hasn’t heard of the phrase “liminal spaces” (7), but he senses that he’s at one such threshold, where the boundaries between worlds blur.


As he enters the restroom, with the toilet stalls in a row down a long, poorly lit corridor, Dan hears the sound of whistling emanating from a closed stall. He looks ahead and sees a skinny boy his own age standing in front of the stall. Wearing too-large clothes and his eyes filled with terror, the boy is clearly in a real-life nightmare. Dan wants to help him, but just then, the whistling sound stops. Intuitively, Dan knows the silence means that a monster is about to emerge from the shut stall, and he locks himself in the next cubicle to save himself. As Dan crouches petrified on the toilet, he hears an adult’s heavy footsteps. Someone scratches on the door of the stall and says, “Nobody sees and nobody cares” (3). After a while, the shadows of the adult and the boy slide out of Dan’s vision. Dan finally opens the stall, and lying on the floor outside is a photo of a child. When Dan sees the image, he begins to scream uncontrollably. The narrative later reveals that the photo is of a young boy’s fearful face, surrounded by the implements that are about to kill him.

Part 1, Chapter 1 Summary

Two decades later, Dan is a profiler, a psychiatrist who studies the personalities of people incarcerated for murders and sex crimes. Today, he talks to Richard Barber, who has been convicted of the murder of three women, in his office at the prison. When Richard describes a childhood memory of looking at a little girl with long, dark, curly hair, Dan notes to himself that all the women Richard killed had similar hair, which suggests a link between the memory of the little girl and Richard’s crimes. This shows that even a fleeting encounter can have a profound impact on people’s psyches.


However, Dan argues with himself (his method of critical thinking) about the applicability of his hypothesis. Though a random encounter can have a profound impact on a person, it’s difficult to say which encounter shaped their behavior and how. Similarly, though most people incarcerated for terrible crimes have experienced abuse, neglect, poverty, or addiction as children, the reverse isn’t true: The vast majority of people who have grappled with these issues turn out to be decent adults. Back in his office, Dan receives a call from Detective Liam Fleming to come back home to the island on which Dan grew up, as there is bad news about Dan’s father, John.

Part 1, Chapter 2 Summary

Though the island of Dan’s childhood is beautiful, his memories of it are complicated. Dan’s mother, Maggie, left the family shortly after the service-station incident. John, bogged down by his responsibilities as a single parent, turned distant. Sarah and Dan drifted apart in their teens. Dan struggled with survivor’s guilt after the Pied Piper was caught, blaming himself for not saving the little boy at the station. Once he went to university, contact with his father became even sparser, though Dan does visit John a few times every year.


Dan meets Fleming at the precinct and recognizes him as a bullying schoolmate. Unlike John, who went into the force to do good, people like Fleming are drawn to powerful positions because of their desire to dominate. Fleming tells Dan that John is missing and that his unlocked car was found at the Reach, the island’s highest point, by Craig Aspinsall, the older man who acts as the island’s unofficial caretaker. Inside the car was a note saying, “Notify my son” (28), leading the police to believe that John may have died by suicide by jumping off the cliff. Fleming wonders if anything was troubling John, but Dan has no idea. As the men wrap up the meeting, Fleming wonders how Dan manages to converse with his clients as if they are humans. Dan replies that he engages with his clients because there is no such thing as monsters. Fleming tells Dan that he’s in a committed relationship with Sarah, information that disturbs Dan more than he lets on. Dan has been single since his last girlfriend, Laura, broke up with him.

Part 1, Chapter 3 Summary

Dan goes to John’s log cabin and finds it scrupulously clean, as usual. Dan’s bedroom is tidy and freshly dusted, as if in anticipation of his next visit, and the kitchen and fridge are well stocked with enough food for days. The state of the house puzzles Dan since it suggests that John was planning for the future rather than planning to die by suicide. Dan goes to John’s room next, noticing that his desk is stacked with the crime novels he loves and binders filled with his notes on high-profile unsolved cases that he found online. Since everyday police work on their small island is routine, working on the unsolved cases filled John with a sense of purpose. On the desk is also a blurred photo of John in the woods. Dan doesn’t pay it much attention.


Dan wishes that his father had discussed his troubles with him. Picturing his father’s final, lonely moments, Dan is seized by grief. He goes out onto the deck at the back and sinks to his knees, crying. Later, Dan visits a local pub for a change of scene and, to his surprise, runs into Sarah, who works there as a bartender.

Part 1, Chapter 4 Summary

Sarah and Dan sit at a table, and Sarah offers her condolences over his father’s disappearance. Sarah, who worked for an animal charity on the mainland, moved back to the island a year ago to take care of her terminally ill mother. Her mother passed away, but Sarah stayed back to deal with her mother’s debts.


Dan thinks about the last time he saw Sarah, which was at an end-of-high-school party. Everyone had carried something to burn to ashes on the beach, as if to bid goodbye to an old part of life. Most people had carried notes from dreaded classes, detention slips, or old uniforms. Dan brought his worn copy of The Man Made of Smoke so that he could finally move past the terrible encounter at the service station. At the beach, Dan noticed Sarah looking beautiful and happy as she danced with her friends. Dan had wanted to go to her and tell her that he had been in love with her for years but couldn’t find the courage. At the end of the night, he went back home with The Man Made of Smoke still with him.


In the present timeline, Dan congratulates Sarah on pairing up with Fleming. Sarah tells Dan that the relationship isn’t serious, unlike what Fleming may have told him. The reveal pleases Dan. Before they part ways for the night, Dan asks Sarah if his father seemed upset to her the last time she saw him. To his surprise, Sarah replies that John recently stumbled across the body of a woman in the woods.

Part 1, Chapter 5 Summary

The narrative shifts to John’s perspective. He is walking along a forest trail when he comes across what initially seems like a pile of charred logs. However, when he looks closer, he realizes that it’s a body, burned beyond recognition. John calls the police station to report the discovery and waits for backup. Even though he’s retired from the force, he resolves to find the person who did such a terrible thing. A crow perched on a branch overhead keeps John company. He doesn’t believe the old stories about birds being messengers between worlds, but at this moment, the crow seems to sense the presence of death.


When Officers Liam Fleming and David Watson turn up, John tells them his hunch that the deceased person is a woman, probably killed somewhere else, and that her remains were left in the woods. Instead of taking John seriously, a territorial Fleming asks John to remove himself immediately from what is now Fleming’s crime scene. John leaves the area, feeling dejected.


John returns home and is tempted to call Dan but is held back by pride. John knows that his son turned out relatively well, but he feels that that’s a testament to Dan’s temperament rather than his upbringing. After Maggie left, John was too depressed and angry to pay Dan the attention he deserved. He wonders if that’s why Dan rarely calls home now. Sometimes, John feels like there is nothing to look forward to in life. If he ended things, no one would miss him.


A few days later, John runs into Sarah during his walk. He knows that Sarah is dating Fleming, a fact he dislikes because of Fleming’s domineering streak, but he keeps his opinions to himself. Sarah tells him that the autopsy of the woman in the woods revealed knife marks on her bones, suggesting that she was tortured before being burned alive. Back at home, John notices an envelope lying in front of the door. Inside is a printed photo of him in the woods on the day he found the dead woman, her blurred remains at his feet.

Part 1, Chapter 6 Summary

Back in the present, Dan returns to John’s house, falls asleep, and is woken up by a familiar nightmare in which a small boy stands by his bed, asking for help. Unable to return to sleep, Dan goes to his father’s study. He studies the photo of John in the woods and realizes that it was taken without John’s knowledge since his blurred features appear un-self-conscious. Furthermore, though he can’t make out what is lying at John’s feet, Dan has a feeling that it’s the remains of the dead woman. Dan wonders who took the photo of his father and switches on his computer in search of an answer, but the screen is protected with a password. To get answers about the photo, Dan must follow in his father’s footsteps.

Part 1, Chapter 7 Summary

The next morning, Dan heads to the trail where the woman’s body was found. As he approaches the scene, he visualizes his father walking behind him and holds a conversation with him in his mind (Dan’s usual method of critical thinking is to clear his head and put himself in the shoes of his clients). He asks John what his reason was for not reporting the photograph to the police. John replies that he wanted to investigate the case on his own, as he feels that he didn’t do significant work during his time in the force.


When Dan reaches the spot in the woods where the body was found, he places himself in the direction that his father would have been facing when his picture was taken. Dan immediately spots a crag overlooking the woods. He immediately knows that the crag is the vantage point from which John’s photo was taken. Dan climbs up the crag and tries to visualize the killer, a shadowy figure (whom Dan assumes is a man), and asks him why he brought the woman to the woods to be found by someone. The shadowy figure tells Dan that he brought the body to the woods because he wanted to be seen.


On the crag, Dan discovers a camping site and an abandoned tent. Inside the tent is a wallet containing an ID and address belonging to someone called Darren Field. Dan has a feeling that his discoveries aren’t accidental but set up by someone.

Part 1, Interlude Summary: “James”

In February 1998, 11-year-old James takes a seaside holiday with his mother, excited to see the ocean for the first time in his life. James imagines the beach to be sunny and merry like on television, but the camping site they pull up to is cold and empty. James knows that his mother chose the beach in the off-season because campsite rentals are much cheaper this time of the year. Despite his disappointment, James promises to keep himself in high spirits because he knows that his mother is trying to make the best of things. James hugs his stuffed lion, Barnaby, and smiles. Though he’s too old to carry the stuffed toy around, he does so anyway because Barnaby helps him stay brave and hopeful.


As James helps his mother set up a tent, he wishes that his absent father would return. On Christmas, he wrote a letter to his father, but he isn’t sure if his mother ever sent it. Once the tent is up, James and his mother play Frisbee on the beach for a while. James is briefly happy, but his mother grows tired soon and goes inside the tent to sleep. James walks around on the shore, looking at the ocean and holding Barnaby. After a while, he notices a hypnotic whistling nearby. He turns around and sees a man silhouetted against the sky. Inside his head, Barnaby yells at him to run away, but James is frozen. The man comes close to James, ruffles his hair, and says that nobody sees or cares. James pictures his mother waking up an hour later, finding him gone, and panicking, but it’s already too late.

Prologue-Part 1 Analysis

As the opening section shows, the novel has a braided narrative structure, with events unfolding in three timelines: the immediate present, the recent past, and 1998/2001. The timelines are mainly narrated from the points of view of Dan, John, and James. While Dan’s voice is in the first person, the other two narrations are from the third-person close point of view. The voices differ in tenor, with Dan’s narrative filled with his structured, critical thinking; John’s perspective conveying his feelings of failure; and James’s childlike voice reflecting both his terror and his clarity. The switch between perspectives and timelines builds suspense in the narrative, allowing the author to cut away from crucial information before revealing it. For instance, in this section, John’s narration ends when he finds the photo of himself in the woods, prolonging the suspense of what happens to him next. The braided structure also presents the same events from differing perspectives, highlighting the subjective, collage-like nature of truth.


The subjective nature of truth is also highlighted through the use of the unreliable-narrator trope in Dan’s telling. Though Dan isn’t a traditional unreliable narrator, his version has an edge of uncertainty because the figures with whom he converses are projections of his mind; thus, what guides him is his version of the individuals in question, creating a precarious air around his investigation. The book-within-a-book device in the form of Terrence O’Hare’s The Man Made of Smoke is another narrative device used to show the evolving nature of truth. Dan and other characters consider the book the definitive account of the Pied Piper case, yet the text suggests that O’Hare’s book may not tell all the facts, leaving it to readers to piece together what happened. The book also functions as an important motif and symbol in the text since it’s linked with the themes of guilt and redemption and the subjective nature of truth.


Structurally, the novel’s five parts are named for—and represent—the five stages of grief according to the Kübler-Ross model. According to psychiatrist Elisabeth Kübler-Ross in On Death and Dying, people dealing with the death of a loved one and other severe traumatic events process the shock in five stages: denial, anger, bargaining, depression, and acceptance. The grief in question has many avatars in the novel: It’s James’s terror at being taken from his mother and experiencing unspeakable trauma, Dan’s guilt over failing James at the last minute, and John’s pain for the people who died at the hands of the Pied Piper. Additionally, Dan mourns the loss of his childhood and innocence, while John grieves the end of his marriage and the emotional distance from John.


As the subject of grief suggests, the novel has a moody, tense tone, which North builds through a mix of conventions from the crime, suspense, and horror genres. North uses bleak, lonely, and quasi-magical settings to reflect the psychological horror of his characters, a hallmark of the Gothic genre, as can be seen in the beach section with James. The grayness of the sky, the rockiness of the shore, and the vastness of the sea mirror James’s feelings of isolation and invisibility. The Pied Piper slips into this setting, making the eerie turn into the truly horrific. At this moment, James notes that the real world around him disappears, as if he is in a darker dimension. As this example shows, a recurring feature of the horror in the text is that it blurs the boundaries between the real and the supernatural, showing how reality itself can take on the quality of a nightmare. Another instance of the blurring of boundaries occurs when Dan enters the men’s restroom, noting, “I was entering a place in which I didn’t belong yet, and I had to fight the urge to turn around and head back out” (7). This effect is multiplied when Dan sees James, looking skinny and dirty in baggy clothes, almost as if he were an apparition. The true horror of the situation is that James is a real child and that what’s happening is real.


By enhancing the surreal, Gothic aspects of reality, the text illustrates the theme of The Ordinary Face of Evil. Evil in the novel is committed by regular-looking people and coincides with everyday, innocuous spaces, such as the service station, a location so nondescript that Dan describes it by saying, “It could be anywhere, this place” (1). That the Pied Piper could stroll brazenly through this innocuous space with an abducted child in tow emphasizes that evil lives in the middle of ordinariness. Dan’s assertion to Fleming that the people who commit crimes are regular human beings, rather than monsters, also links back to the ordinariness of evil. The novel often refers to the monster motif to show how people tend to place evil in extraordinary contexts, even though the real world is the most monstrous place possible.


Though horrifying crimes lie at the center of the plot, a key feature of North’s depiction of violence is that most of it happens off the page. Despite this, the narrative manages to create a deeply chilling atmosphere through the use of spare, but strategically deployed, gruesome details. An example of this is John’s description of the body of Rose, the woman in the woods, in which he notes, “One arm pokes up in the air a little, and the exposed bone has the cracked, mottled texture of a stick in the ashes of a cold bonfire” (48). The sparingly used but brutal detail is a hallmark of North’s narrative style in the text, building horror obliquely and slowly.


Another important theme introduced in this section is The Complex Silence Between Fathers and Sons. Dan’s narrative immediately establishes that a vast interpersonal distance has interrupted his love for his father ever since the traumatic events at the service station. The fracture manifests itself as a heavy silence and an inability to communicate with his father, despite the fact that Dan deeply loves John. John’s narrative shows a similar tension: He desperately misses his son and is tempted to call him, “but his self-respect won’t let him […] he wants […] his son to want to talk to him, and making the call himself won’t make that happen” (55). The inability to talk is linked with the pressures of performative masculinity, with neither father nor son wishing to appear emotionally needy to the other.

blurred text
blurred text
blurred text

Unlock all 64 pages of this Study Guide

Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.

  • Grasp challenging concepts with clear, comprehensive explanations
  • Revisit key plot points and ideas without rereading the book
  • Share impressive insights in classes and book clubs