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Freida McFaddenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The Prologue is a flashback to the past, told from the point of view of Dr. Adrienne Hale, the renowned psychiatrist whose mysterious disappearance incites the events on which the book will center. Adrienne begins the novel by stating, “Everybody lies” (5), but concludes in the Prologue: “I will know the truth. I always know. Never lie to me” (6).
The narrative shifts to the present day and opens on Tricia, who is driving with her husband, Ethan, to visit a remote house in upstate New York that they are considering buying. A snowstorm has started, and they are lost. Ethan and Tricia are newlyweds and have been married for only six months. Tricia admits, “I’m still learning about Ethan. All my girlfriends scolded me for marrying him too quickly” (9-10). The two met in a coffee shop one day; Tricia tripped and spilled her coffee in front of him. Ethan and Tricia arrive at the property, expecting their realtor, Judy, to be there; there is a light on on the first floor, so they assume that could be her. Tricia has a sense of foreboding about the house as she thinks, “Something terrible has happened in this house” (13). Ethan convinces Tricia to go into the house.
The narrative maintains Tricia’s point of view, as Ethan and Tricia make their way through the snowy driveway to Adrienne’s house. Tricia is not wearing snow boots, so Ethan carries her on his back, which Tricia finds romantic. Once inside, Tricia and Ethan discover that there is nobody in the house—their realtor, Judy, is not there after all. Even stranger is that the house is completely dark, even though Ethan and Tricia both saw a light from outside. Ethan and Tricia do not have cell service in the remote area, so they cannot call Judy. Nonetheless, they start to explore the house. It is enormous but has not been lived in for some time—dust and cobwebs are everywhere. Again, Tricia thinks: “Something terrible has happened in this house” (20). Tricia is further perturbed when she finds a strange footprint in the dust; however, when Tricia shows the footprint to Ethan, he does not think much of it. Ethan suggests they stay the night and find something to eat in the kitchen. Tricia thinks, “That’s how Ethan is. He’s always so confident. I love that about him. So I follow my new husband to the kitchen” (28).
As Ethan and Tricia explore, they discover a giant portrait of a woman. Tricia suggests the woman lived here. Ethan asks, “What kind of arrogant, self-obsessed person would put a gigantic painting of herself over the fireplace?” (22). Tricia discovers a bookshelf with the book The Anatomy of Fear by Adrienne Hale, MD. From the author photo at the back, she discerns that the woman in the portrait is Adrienne. Ethan and Tricia discuss the famous disappearance of the renowned psychiatrist, which occurred three years prior. Everyone assumed her boyfriend, Luke Strauss, killed her—although this was never proven.
The book returns to the past, reverting to Adrienne’s point of view. Adrienne is at home in her house in upstate New York (the same house that Ethan and Tricia are in during the present day). Adrienne’s literary agent, Paige, is bringing Adrienne the proof of her manuscript for her book, The Anatomy of Fear. This is Adrienne’s second book; her first book was a bestseller. Adrienne dislikes Paige and rebuffs Paige’s attempts at false friendship, thinking, “I don’t have friends. I never have” (34). Paige expresses concern about Adrienne living so remotely as a woman alone. During their conversation, Adrienne realizes that Paige does not respect Adrienne’s work. She retaliates by telling Paige, an appearance-conscious woman, that her mascara is smudged. Adrienne further decides to fire Paige as her literary agent.
Tricia and Ethan are in the kitchen trying to find something to eat. Given the fact that the house seems deserted, Tricia is surprised when they find cold cuts and some other food in the fridge. Ethan prepares sandwiches for them; Tricia enjoys him pampering her and finds it romantic. However, her love of Ethan is marred by an undercurrent of anxiety as she thinks: “I just hope he feels the same way about me after he finds out about my revelation. I feel ill every time I think about it. But I can’t keep it from him much longer” (39). The revelation is yet unrevealed to the reader as well.
Their impromptu meal is cut short when Tricia notices a glass of half-drunk water next to the sink, with condensation on the outside. She is now sure there is somebody else in the house and convinces Ethan to go with her to search for the person.
The narrative continues in the present day, from Tricia’s point of view, as Tricia and Ethan search the empty house. They do not find anyone. While Tricia remains disturbed by the house, Ethan has fallen in love with it and wants to buy it. Tricia is unconvinced but does not share her doubts. When it comes to living in the house, she thinks, “Over my dead body” (48). As Ethan finishes preparing their sandwiches, Tricia looks through Adrienne’s office—and finds a tape recorder.
The narrative flashes back to the past, to Adrienne’s point of view. Adrienne is sitting in her office. She reveals that she sees patients in her house, which could be deemed risky. However, she also vets every patient personally—and she notes: “It is extremely rare for mental health workers to be killed by patients” (50). Adrienne gets an email from a woman named Susan telling Adrienne that Susan will no longer pay for her son’s therapy sessions. Adrienne thinks about Susan’s son, “EJ,” whom Adrienne has diagnosed with narcissistic personality disorder. Adrienne doubts she can help EJ and is relieved by Susan’s message.
In this chapter, Adrienne also reveals that she started recording all her patient sessions, because “[t]ape recordings don’t lie” (54). On the cassette for each patient, she writes their initials, the number of the session, and the date.
At this point, the book starts to set up the red herring that EJ might be Ethan, Tricia’s husband.
The narrative flashes back to Tricia. Tricia reveals that Ethan does not have many friends and did not have many girlfriends before her; Tricia’s friends warned her this was a “red flag” (57). However, Tricia disregards her friends’ warnings. She is mostly worried that once she shares her secret, still also unrevealed to the reader, Ethan will react poorly. Tricia searches Adrienne’s bookshelves for something to read. When she tries to pull out Stephen King’s The Shining, the bookcase swings open, revealing a secret room.
The narrative continues in the present day, from Tricia’s point of view. Tricia enters the secret room and finds thousands of cassette tapes. They are the recordings of Adrienne’s sessions with her patients. Tricia sees a tape labeled “PL” and remembers that a patient by this moniker is referenced in Adrienne’s famous pop-psychology book The Anatomy of Fear. Tricia also notices a tape labeled only “Luke,” instead of with initials. Tricia remembers that Adrienne’s boyfriend, the one who was suspected of her murder, was called Luke. Tricia hears Ethan calling for her and leaves the secret room, taking the PL tapes. She does not tell Ethan what she has found: “There’s no reason not to tell him. But he won’t want me listening to these tapes. He’ll tell me it’s none of my business” (63).
Ethan has found a bottle of cabernet sauvignon from South Africa in the house. Tricia notes that “he’s something of a wine expert” (64). Ethan pours them two glasses and proposes a toast to their new home—Tricia has yet to tell him that she finds the house creepy and cannot imagine living in it. Tricia cannot drink the wine, however, because of her secret—which she now reveals to the reader via an internal thought: She is pregnant. Tricia is terrified to tell Ethan because they have agreed to wait to have children. To cover her secret, Tricia pretends to sip the wine. As they drink the wine, Tricia looks at the portrait of Adrienne. Ethan tells her that the portrait is creepy, and he takes it down from over the mantel, setting it on the floor and turning it around. Tricia remains uneasy: “Even with the portrait turned around, I still feel Dr. Hale’s green eyes boring into me” (69).
The narrative continues in the present, from Tricia’s point of view. Tricia reiterates in her mind how sweet Ethan is, thinking, “My friends were totally wrong about all the red flags” (70). Nonetheless, she remains reluctant to tell him about her pregnancy, especially when they are in an isolated house with no way to leave—a realization that surprises Tricia. Tricia maintains that Ethan is perfect; one of the few flaws she identifies is that “he’s a bit on the short side for a man” (71). Ethan goes to take a shower. While he is gone, Tricia seizes the opportunity to listen to one of the tapes she stole from Adrienne’s secret room. Tricia goes into Adrienne’s office, where she previously saw the tape recorder, and puts in one of the PL tapes.
The narrative provides a transcript of the recording of PL that Tricia is listening to in the present day, allowing the reader to “listen” along with Tricia. It is PL’s second visit with Adrienne. PL, age 25, tells Adrienne about the incident that caused her to seek therapy: PL was with her fiancé, Cody, and her two best friends in a remote cabin. PL describes how she woke up in bed to the sound of Cody screaming. There was a strange man in the room; he had stabbed Cody, as well as PL’s two friends. The man stabbed PL in the stomach: “I’ve got a scar on my belly to remember him by forever” (77). The man was never caught, and memories of the night continue to haunt PL. Adrienne is determined to help PL regain control over her life.
Tricia stops listening to the tape, worried Ethan will discover what she is doing, and goes to find him. Ethan has showered and taken some clothes from Adrienne’s closet to wear—the clothes of Adrienne’s boyfriend, Luke. Tricia wonders, “What’s worse—wearing the clothing of a dead woman or wearing the clothing of the man who killed her?” (82). Ethan convinces Tricia that they should sleep in the primary bedroom, Adrienne’s old bedroom, even though it makes Tricia uncomfortable. Ethan insists, saying that this is where they will be sleeping once they own the house. Tricia thinks, “Yeah, over my dead body” (83). Finally, Tricia acquiesces. As she drifts off to sleep, Tricia thinks about her family—and Ethan’s family. Tricia reveals that Ethan’s parents died before they started dating.
The book immediately introduces one of the book’s central themes—The Burden of Keeping Up Appearances, with the opening line: “Everybody lies” (5). This juxtaposes the book’s titular command, Never Lie, setting up one of the book’s key arguments: Lying is deemed morally wrong, yet most people do lie, even if only to themselves. One major reason people lie is to “keep up appearances” and maintain their credibility, reputation, or image opposite other people, an argument that the book will articulate further later in the narrative, particularly in relation to Tricia’s and Adrienne’s characters. In the beginning of the novel, the narrative generates sympathy for Adrienne and Tricia as damsels in distress, as the narrative is self-aware of its genre and of the precarious situation of newlyweds trapped in a mysterious house during a snowstorm. The reader does not yet realize that both characters’ assumed innocence at the beginning of the novel is only a mirage, due to the great care put into keeping up appearances by both characters. Eventually, this burden proves to be too much, and they crack under the pressure, leading to the narrative’s revelations about the truths of both women.
One way that Tricia seems intent on keeping up appearances is by maintaining the appearance of a happily married couple with a confident husband who leads a subservient wife. This is seen in the book’s early pages, when Tricia repeatedly celebrates any sort of commanding or hero-type behavior from Ethan. For example, when Ethan carries Tricia on his back through the snow, Tricia finds it romantic. Later, inside the house, when Ethan casually dismisses the footprint in the dust, Tricia thinks: “That’s how Ethan is. He’s always so confident. I love that about him. So I follow my new husband to the kitchen” (28). The language here emphasizes Tricia as follower and Ethan as leader. Tricia consistently uses this kind of language—for example, as here: “Then I join my husband” (328)—framing Ethan as the leader and Tricia as the follower.
However, this language is just for show and plays on expectations of innocence and passivity in women. Later, the reader will come to learn that Tricia is in fact the leader in the relationship, manipulating Ethan at every step—she even set up their first meeting, a supposed meet-cute in a coffee shop, to ensnare him. This revelation will speak to the book’s thematic commentary on The False Nature of Stereotypical Gender Roles. From the outside, it might look like Ethan is the leader; really, Tricia is the one in charge. Nonetheless, Tricia relishes the few moments where Ethan, guided always by her manipulative hand, appears to lead; the ultimate example of this will come in the last chapter, when Tricia gets a thrill from watching Ethan kill Luke.
These early chapters set the stage for the action to come, introducing the setting (the house, notably with a secret room), the mystery (what happened to Adrienne?), and the key players—Tricia, Ethan, Luke, and Adrienne. The question of what happened to Adrienne is foreshadowed by Adrienne herself, when she thinks, “It is extremely rare for mental health workers to be killed by patients” (50). As the narrative continues, it will become apparent that Adrienne was indeed killed by one of her patients—however, it is only revealed in the final pages that the patient who killed her was Tricia. For most of the book, a series of red herrings—false clues—will suggest to the reader that Ethan may have been Adrienne’s killer.
Toward this end, the early chapters start painting a picture of Ethan as a potentially dangerous man. For instance, Tricia reflects repeatedly on her friends warning her about the “red flag” of Ethan not having a lot of friends or many previous girlfriends (57). The book will later tease the idea that Adrienne’s dangerous patient, EJ, could be Ethan. The book even hints that Ethan could be a danger to Tricia—and hurt her. This is implied when Tricia expresses concern about sharing her pregnancy with him, even thinking that she is afraid to tell him the news when they are in such an isolated location, with no one else around—a thought that surprises her. The idea that Tricia could be the person who is at risk in the narrative is further misleadingly foreshadowed by the repetition of her thinking, “Over my dead body” (48, 83). The repetition makes it seem as if Tricia’s “dead body” may become a reality due to reader expectations surrounding foreshadowing in thrillers.
While planting such red herrings, the book also provides real clues. This is a typical conceit of thrillers and mysteries—the narrative must provide not only false leads but also real ones—although the real clues are often so insignificant that they do not gain meaning for the reader until the killer is identified. In some cases, a clue can be both a real lead and a red herring. In this case, a throwaway thought of Tricia’s regarding Ethan’s dead parents at the end of Chapter 11 is such a noteworthy clue. The brief mention will gain significance in the book’s final chapters, when Ethan will reveal that he killed his mother. At the same time, this clue will serve as a red herring—because EJ also killed his parents.
While planting such clues, the author also creates an ominous atmosphere—notably with suggestions that there is a third person, aside from Ethan and Tricia, in the house. Examples include the light seen from outside, the footprint in the dust, and the half-full glass of water with condensation on the sides. The tension in the book is evident primarily through the lens of Tricia, who seems ill at ease in Adrienne’s house; Tricia’s anxiety becomes the reader’s anxiety. Take Tricia’s repetitive refrain “Something terrible has happened in this house,” for instance (13, 20). The reader cannot yet know that Tricia is right about this, but the suggestion alone sets the stage for the “something terrible” ahead—the reader expects it.
These chapters also introduce a central symbol of the book: the portrait of Adrienne. Ethan laughs about the portrait, asking, “What kind of arrogant, self-obsessed person would put a gigantic painting of herself over the fireplace?” (22). The commentary on Adrienne’s character may seem harsh—however, the depiction of Adrienne in the following chapter seems to confirm Ethan’s words. Adrienne is portrayed as being self-important with a touch of meanness. For instance, when Adrienne realizes Paige does not respect her, Adrienne mentally tortures Paige by telling the looks-conscious woman her mascara is smudged—and then fires her. The reader will learn that this is only the beginning, as Adrienne is in fact a murderer herself.
The portrait might thus be seen as a representation of Adrienne’s evil character. It might even be seen as a nod to The Picture of Dorian Gray. In the Oscar Wilde classic, Dorian remains beautiful and young, while his portrait gets older and uglier with each sin he commits. In Adrienne’s case, it is a reversal—the doctor herself is dead, yet her portrait remains and is powerful enough to make Tricia nervous in its presence: “Even with the portrait turned around, I still feel Dr. Hale’s green eyes boring into me” (69). Alternatively, the portrait might be seen as a symbolic testament to Tricia’s deception. Tricia pretends to be unfamiliar with the portrait. In fact, the reader will find out later in the novel that Tricia is the person who gifted Adrienne the portrait.
By Freida McFadden