Chap­ter 56 of the nov­el unfolds under the shad­owed oaks of Barkley Cov­e’s grave­yard, a place of seren­i­ty but also of stark remem­brance, where the remains of fam­i­lies and lon­ers alike lay under Span­ish moss canopies. In this solemn set­ting, Tate revis­its the gravesite of his father, Scup­per, the day after the towns­folk, a blend of fish­er­men and shop­keep­ers, had gath­ered to bid farewell. As Tate moves through this set­ting, marked by its hushed silence and clus­ters of mourn­ers, we find him caught in a tur­moil of emo­tions.

Despite the col­lec­tive grief, Tate’s thoughts are besieged by per­son­al regret and missed oppor­tu­ni­ties. The nar­ra­tive delves into Tate’s reflec­tions on the time lost with his father due to his pre­oc­cu­pa­tion with Kya, his efforts to sup­port her through her tri­al, and the irrev­o­ca­ble dis­tance jail had cre­at­ed between them. As Tate stands beside the fresh grave, jux­ta­posed against the expan­sive back­drop of the sea, his con­tem­pla­tion takes a tan­gi­ble form when he places a brown plas­tic case—a bat­tery-oper­at­ed record player—beside the grave. The act of play­ing Miliza Kor­jus’s song not only serves as a final trib­ute to Scup­per but also as a bridge between mem­o­ries of the past and the pal­pa­ble void left by his depar­ture.

In a moment of intro­spec­tion, Tate’s inter­nal dia­logue reveals a pro­found sense of long­ing for rec­on­cil­i­a­tion and under­stand­ing. His reflec­tion on his father’s notion of manhood—one capa­ble of embrac­ing emo­tion and find­ing solace in the arts—serves as a poignant reminder of the com­plex­i­ties of human rela­tion­ships and the endur­ing impact of loss and regret.

Through vivid imagery and an explo­ration of inner tur­moil, this chap­ter intri­cate­ly weaves the themes of mem­o­ry, sor­row, and for­give­ness against the back­drop of life and death, encap­su­lat­ing the essence of fac­ing one’s grief and the search for clo­sure amidst the enig­mat­ic jour­ney of life.