55 pages • 1 hour read
Kate Alice MarshallA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: The novel contains descriptions of emotional and domestic abuse, anti-LGBTQ+ bias, and references to suicide.
Family lies and secrets is a key motif in No One Can Know, illustrating the themes of The Complex Bonds of Sisterhood, The Domestic as a Dangerous Space, and The Psychological Effects of Abuse and Trauma. The novel’s very title sows the motif of secrets into the plot. Additionally, lies and secrets are important narrative devices, building its suspense and mystery elements. For example, the author reveals Daphne’s secrets only in the Epilogue, ensuring the plot remains propulsive until the end. Daphne’s secrets may be revealed to the viewer, but are still an enigma to her sisters, adding a note of mystery and thrill even to the decisive ending of the book.
The author shows all the Palmers keeping secrets from each other and the outside world. They do this to both protect their private selves and exert control over other family members. JJ, for example, keeps her sexuality and uninhibited self from her family, putting on an obedient, demure act. Similarly, Daphne makes herself invisible so she can watch everyone and learn their secrets. In the process, she masks her own uncanny intelligence, as well as her sinister streak. As an adult, Emma hides her authentic self from Nathan, afraid that her natural assertiveness will drive him away. Irene and Randolph’s secrets are crueler: Both keep their illegal acts and infidelity secret while demanding chastity, obedience, and perfection from their daughters. This links the motif of lies and secrets with concern over image and appearances. Irene and Randolph lie because they want to appear stalwarts in their community. While secrets can sometimes be self-protective, such as JJ’s false childhood persona, they also drive characters apart or cause psychological damage. JJ’s secrecy places a wedge between her and Emma, and Daphne’s secrecy links to her developing murder habit. The text suggests that the worst secrets are those that characters keep from themselves, as in the case of JJ. Thus, JJ, Emma, and Daphne must accept their secret selves fully in order to evolve.
The flash drive containing Randolph’s secrets is a MacGuffin, an object that acts as a plot device, driving the narrative action as characters strive to acquire it. Emma first mentions the drive when she recalls her mother hiding it in a lockbox in Daphne’s room. Through her mother’s sense of urgency around the drive, Emma senses its importance, leading her to take it with her when leaving home. When the drive accidentally lands in Daphne’s possession, her discovery of the drive’s contents represent a turning point in the plot. Fourteen years later, Nathan’s possession of the drive leads to his murder, and later, Daphne plants the drive in Hadley’s house to frame him for the murders of Irene, Randolph, and Nathan.
The drive is also a motif that symbolizes Randolph’s lies and secrets and The Domestic as a Dangerous Space. While the novel does not specify who loaded the documents and pictures on the drive, the author suggests that Irene collated the information. Not only does the drive contain information about Randolph’s robberies, it also shows him at the site of Kenneth’s murder. Thus, the drive stands for the dangerous past, which the sisters must bring to light to heal themselves.
The expression “yellow wallpaper, white grip, red hand” (158) often flashes through JJ’s mind, symbolizing The Psychological Effects of Abuse and Trauma, particularly on memory. The phrase refers to JJ’s memory of her parents’ murders, which she suppresses until she can only recall it as a collage of images. Only after she begins to revisit Arden Hills do the memories become more insistent, allowing her to gradually connect the splintered images into a context and a narrative. The yellow wallpaper belongs to her childhood bedroom, suggesting that she returned to her room before her parents died. The white grip refers to Logan’s revolver, which she remembers holding. Though initially, JJ assumes this means she killed her parents, when JJ risks her life to save Emma from drowning, her memories resurface in their entirety, and she recalls that Irene shot herself. The red hand refers to the flecks of blood that splattered on JJ when her mother pulled the trigger, as well as Daphne’s blood-stained hands. Her ultimate recovery of the meanings behind each of the three elements of the phrase leads to her redemption and the reunification of her family. This suggests that facing trauma leads to healing.
By Kate Alice Marshall