49 pages • 1 hour read
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 phrase “nature versus nurture” is used to describe the debate about the relative influence of genetic inheritance and environmental influence on human development. In The Locked Door, the question is raised as to whether Nora inherited a tendency toward violence from her father, convicted serial killer Aaron Nierling. Although Nora repeatedly insists that she is not like her father, she also seems to fear passing his genes on to her children, indicating that she does believe violence can be inherited.
Throughout the novel, Nora argues that she’s “not like [her] father” (37, 268), “not a murderer like he is” (160), and “not a monster like he is” (230). Nora uses her career as a surgeon as evidence of the difference between them, explaining that, while he murdered multiple women, “[She] save[s] lives” (37). Nora’s repeated, intentional denial of similarities between herself and her father is a reflection of her belief—and her hope—that environment can overpower genetics.
Despite these denials, Nora’s narration reveals that she worries about the genes her father passed to her. She decides not to pursue romantic relationships or build a family because they “do share the same blood” (160), and she “can’t risk passing on [her] genes to anyone else” (171). These references to blood and genes suggest that Nora believes her father’s violence is an innate, inheritable tendency that she may also possess and be able to pass on to her children. The novel suggests that this idea was planted by Nora’s maternal grandmother, who took her in after her father was imprisoned and her mother died by suicide. Nora’s grandmother repeatedly warned her, “[Y]ou have the devil in you” (134). By the time she turned 18, Nora had learned from her grandmother “what it meant to be Aaron Nierling’s daughter” (217). Nora’s fears about inheriting her father’s violence reflect a belief that a violent nature cannot be reversed by a loving environment.
In the novel’s final chapters, Harper reveals that she has been murdering Nora’s patients to avenge Aaron Nierling. She argues that, by giving into their murderous impulses, she and Aaron are being “true to [them]selves” (291) and chastises Nora for rejecting her “natural instincts” (292). Although Nora firmly and repeatedly rejects the idea that violence is “natural” to her, Harper also reveals in the novel’s final lines that Nora facilitated the murder of her patient Arnold Kellogg, who had abused his wife. This final reveal implies that, despite her protests, Nora is capable of murder like her father and sister. Ultimately, the novel suggests that certain traits—in Nora’s case, a propensity toward violence—are inherited genetically, but that Nora may be successful in overcoming this genetic propensity by building a happy life with Brady and Ruby.
The problem of blurring the lines between professional and personal identities is an important thematic concern in The Locked Door. Nora considers her profession as a surgeon to be a central part of her identity, insisting that it is her means of saving lives instead of doing harm as her father did. While Nora is proud of her profession, others consider it evidence of her dangerous proclivity for violence.
Nora considers her “unbelievable career” to be “everything [she] ever wanted” and is proud of the work she put into achieving it (45). She is flattered when Brady recalls that he’d “never seen anyone so dedicated” to achieving her goals (56). At times, Nora’s justifiable pride in her career veers into arrogance. When she is summoned to a police station as a part of a murder investigation, Nora is angered at being made to wait, thinking, “I don’t have time for this. Don’t they realize I’m a surgeon? I saved a woman’s life this morning” (205). Nora’s attitude reflects a belief that her time is more valuable than others’ because of her profession as a surgeon.
Although Nora is proud of her career, others see it as evidence that she might be guilty of the murders of her two patients. Although Nora rejects the stereotype that “all surgeons are butchers” (121), the people closest to her—including her love interest, Brady, and her father, Aaron—speculate that her career is evidence of deep-seated violent instincts. When Nora denies involvement in the murders, Brady points to her job as an explanation for the accusations, telling her, “[Y]ou’re a surgeon—you cut people up for a living” (181). Aaron Nierling uses similar logic, asking Nora if she gets “any satisfaction out of ripping [patients’] guts out” (230) during surgery. Both Brady and Aaron conflate the violence of Aaron and Harper’s murders with the necessary trauma of surgery and suggest Nora chose her career in order to safely cut into people without risk of prosecution.
The deaths of Nora’s patients also cause her to worry about how she might be presented in the media if the link between herself and Aaron becomes common knowledge. When one of the victim’s mothers visits the practice and accuses Nora of hiding her true identity, she threatens to go to the media, which Nora worries could undermine her career. It is only at the novel’s end, when the crimes have been resolved, that Nora appears to have found peace both personally and professionally.
Throughout The Locked Door, Nora displays signs of ongoing trauma induced by the arrest of her father for murders conducted in her childhood home. Nora’s trauma manifests in an inability to form emotional connections with men and an acute physical reaction to seemingly harmless things like police stations and the scent of lavender. These symptoms demonstrate the lasting effects of childhood trauma.
At the beginning of the novel, Nora suggests that she decided “a long time ago” that “relationships wouldn’t be a part of [her] life anymore” (10). The fact that adult Nora made this decision in the distant past indicates that it was connected to her father’s arrest. The novel also suggests that it may not have been entirely her decision: Nora admits that she has “always had trouble getting close to men” (42) and that she “can’t stand physical affection” (43). As the novel progresses, Nora begins to “wish [she] were the sort of person who could’ve spent the night” with a man (212), further suggesting that she is not, as she claims, purposefully alone. These additional details suggest that Nora’s inability to connect with men may be a traumatic response to her father’s violence against women, rather than a conscious decision.
In addition to her emotional troubles, Nora also has physical reactions to everyday things as a result of her childhood trauma. When she is followed in her car by a strange man, Nora refuses to report the issue to the police, claiming, “[T]he thought of entering a police station makes me physically ill” (20). Nora explains, “[A]fter what I went through all those years ago, I never want to go into a police station ever again” (20). Nora’s intense physical reaction to police stations as an adult is a result of the trauma she experienced while turning in her father and helping police investigate his crimes. Nora has a similar physical response to the scent of lavender, which her father used to hide the scent of decomposing bodies in their basement. As an adult, the scent of lavender “still turns [her] stomach after all these years” (17).
As the novel progresses, Nora slowly takes back control of her life by working through her trauma. The string of new murders forces her to confront her father’s legacy and to differentiate herself from him once and for all, while her growing attachment to both the stray cat and Brady illustrates how she is starting to become more willing to emotionally connect with other living beings. By the novel’s end, Nora has become engaged to Brady and is a doting stepmother to Ruby, which suggests that she no longer lives in fear of love and happiness.
By Freida McFadden