Chapter 43 Summary and Analysis: The Mirror of a Killer
⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.
Summary
Soneji waits for real estate agent Brenda Miles to investigate a noise he created by throwing a book. When she steps into the basement area, he loops a rope around her neck and pulls tight. Despite her initial struggle, including kicking with her heels, he overpowers her. He forces her to face a mirror, relishing the sight of his own reflection as he strangles her. Unlike the Boston Strangler Albert DeSalvo, who hated mirrors, Soneji feels no disgust; he watches intently as the life leaves Brenda’s eyes. After she dies, he gently lowers her body, admires the rope burn on her neck, and retrieves the rope, placing it in a Ziploc bag. He then takes a wooden spoon from the kitchen, undoes her pants, rolls her onto her stomach, and inserts the spoon handle into her anally—a sexualized violation of the corpse. He leaves the house with his toolbox, walks to a white van, and escapes without being identified by passing drivers.
Key Events
- Soneji creates a noise to lure Brenda Miles to the basement door.
- He uses a rope to strangle her, pulling her toward a mirror.
- Brenda briefly resists but is quickly subdued and killed.
- Soneji watches himself in the mirror during the strangulation, feeling lust and exhilaration.
- He compares his own reaction to the Boston Strangler’s aversion to mirrors.
- After death, he removes the rope and admires the wound.
- He violates Brenda’s corpse with a wooden spoon handle.
- He leaves the house, shielding his face, and escapes in a white van.
Character Development
- Soneji: This chapter exposes Soneji’s deeply disturbed psychology. He is methodical, using a simple ruse to isolate his victim. His reaction to the murder reveals a mix of arousal and fascination—he pants from adrenaline and describes strangulation as “a very beautiful thing.” The mirror scene is pivotal: unlike DeSalvo, Soneji embraces the self‑reflection, suggesting he derives narcissistic pleasure from witnessing his own power over life and death. His post‑mortem violation of Brenda indicates a need to degrade and control even after death, pointing to a ritualistic, sadistic nature.
- Brenda Miles: Though a brief character, Brenda is shown as professional and cautious—she calls out “Denny” before approaching. Her struggle and eventual submission underscore her vulnerability against a predator who exploits trust and social settings. Her death serves primarily to illuminate Soneji’s methods and mindset.
Themes, Symbols, or Motifs
- Mirror as Self‑Reflection: The mirror is a central symbol. DeSalvo’s hatred of mirrors suggests self‑loathing, while Soneji’s pleasure indicates a lack of conscience. He watches his own fascination, making the murder a performance in which he is both actor and audience. The mirror forces the reader to confront the killer’s unflinching self‑awareness and moral vacancy.
- Strangulation as Intimacy and Power: The rope becomes an extension of Soneji’s will. He physically manipulates Brenda, and the act of strangling is described as “beautiful,” implying a perverse aesthetic. The close contact and scent of the victim generate a “lust” that blurs the line between sexual and violent impulses.
- Ritualistic Degradation: The use of a wooden spoon from the kitchen—an ordinary object—to violate the corpse suggests that Soneji desecrates everyday domesticity. This act is calculated, not impulsive; he retrieves the spoon after the murder, indicating a premeditated need to humiliate.
Why This Chapter Matters
Chapter 43 provides the first detailed look at Soneji’s murder technique and psychology. It establishes his signature: strangulation, mirror voyeurism, and post‑mortem sexual assault. By contrasting him with Albert DeSalvo, Patterson highlights Soneji’s unique lack of remorse or self‑disgust, making him a more chilling antagonist. The chapter also raises the stakes: Soneji escapes cleanly, showing he is careful and experienced, which promises a difficult investigation for the protagonists. This scene commits the novel to a dark, psychological thriller tone where the killer’s inner world is as important as the crime itself.
Study Questions and Answers
1. Why does Soneji prefer to watch himself in the mirror while strangling Brenda?
He enjoys observing his own fascination and power. The mirror allows him to see the moment “the light went out of her eyes,” which fuels his ego and libido. Unlike the Boston Strangler, who was disgusted by his reflection, Soneji embraces it as part of the thrill.
2. What does the post‑mortem assault with the wooden spoon reveal about Soneji’s character?
It shows his need for total domination, even beyond death. The act is not simply murder but a ritual of degradation, using a domestic object to defile his victim. This indicates a deep sadistic streak and a desire to control every aspect of the encounter.
3. How does the chapter use the contrast with Albert DeSalvo to develop Soneji’s character?
By mentioning DeSalvo’s mirror aversion, Patterson highlights Soneji’s lack of conscience. DeSalvo felt enough disgust to release a victim; Soneji feels only exhilaration. The contrast positions Soneji as a more cold‑blooded and self‑aware predator, one who revels in his crimes without guilt.