logo

61 pages 2 hours read

Trent Dalton

Lola in the Mirror

Fiction | Novel | Adult | Published in 2023

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapters 17-20Chapter Summaries & Analyses

Chapter 17 Summary: “Things That Go Bump in the Night”

Content Warning: This section of the guide includes discussion of graphic violence and addiction.

The sketch depicts a city bridge leading into a giant skull. The museum label notes that this is a depiction of the dark underbelly of Brisbane.

Walking in the rain, Lola feels alive and grateful. When she approaches a grassy area, she sees Charlie passed out drunk. As she gets closer, a figure emerges from the shadows with a bloodstained cricket bat. Lola runs and threatens the man with her knife. In a quiet voice, he confesses to killing the other two men. Lola begs him not to hurt Charlie. Putting her knife away, she tells him to club her instead. When he takes a step toward Lola, she adds that she prefers that he did not hurt her because she just fell in love. This is enough to make the man pause and then disappear. Terrified and relieved, Lola wakes her friend.

It is still raining the next morning. After Lola recounts the previous night, Charlie jokes that if he were killed, he would be famous. Lola begs him to stop drinking, and registering her genuine fear, Charlie apologizes. However, they argue about Danny, and then Lola learns that the scrapyard was sold, so they will lose their homes. An hour later, Lola is at the police station. She agrees to make a statement about her encounter with the murderer. Then, Topping introduces Detective Sergeant Cameron Millar from Perth. He tells Lola that she has been missing for 18 years and that she is famous. They show her a photograph of her sister, Phoebe Gould, who wants to tell Lola her story.

Later, Lola watches Brandon beat another client. Unable to endure anymore, the man tells Brandon where to find money, which Brandon stows in Lola’s backpack. At their next stop, Lola is horrified to find out that Serge is thin and using again. Distraught, Lola throws herself over Serge, who pees in fear, and she tells Brandon to take the money from her paycheck. Back at Brandon’s apartment, he takes a call from Flora and orders Lola to remove her shirt. He knows about Detective Topping. Lola explains that Topping is finding her real family, but Brandon knows it is more than that, so he tackles her. Clawing at her clothes, he finds the phone, grabs her throat, and slams her head into the floor. Retrieving her knife, she lodges it in his throat. He tightens his grip on her neck, but the door bursts open, and Topping shoots Brandon.

Topping calms Lola as she screams, but then Flora, who appears in the doorway, shoots him dead. She inspects Topping’s body, unloading two more bullets into his head. Lola throws her knife into Flo’s shoulder, grabs her backpack, and runs, dodging bullets.

Chapter 18 Summary: “The Girl on the Lam”

The drawing depicts a girl on a bike fleeing a massive monster claw emerging from the water. The museum label explains that this work was completed while the artist eluded Flora Box, and it suggests that the hand is invincible.

Lola runs. She knows she cannot go to the police station because her knife, with her fingerprints on it, is in Flora’s arm. Instead of going to the scrapyard, she keeps running. While cleaning up inside a gas station bathroom, she thinks of Danny but then discovers $50,000 inside her backpack. Wracking her brain, she remembers Esther’s hole in the ground, and when she arrives there, Lola convinces the woman to let her stay.

Chapter 19 Summary: “The Hunter and the Prey”

The sketch depicts broken pieces of glass reflecting parts of a woman’s face and landmarks like the Eiffel Tower and the Queen Street Mall. The museum label explains that this is a self-portrait that illustrates the artist as both predator and prey in her hunt for her identity.

Esther’s hole is much larger and more habitable than Lola thought it would be. For three days, Lola stays inside while the rain continues. She listens to the news on the radio. The hole is dark, but Esther likes it because she is invisible. One night, when Esther returns, she describes Danny in a brown vintage suit on the bridge. He goes every night, waiting for hours. When Lola insists on seeing him, Esther dissuades her because Flora’s men are everywhere. She advises waiting until the flood causes panic, for then, no one will notice Lola. She can go to Danny and meet her sister, Phoebe.

When the day to meet Phoebe arrives, Lola leaves. Wearing a yellow raincoat, Lola moves stealthily, and when she sneaks into the scrapyard, she feels guilt about the destruction Ephraim’s men caused. Her magic mirror is fractured into hundreds of pieces, and she whispers for Lola Inthemirror. The reflection responds from a hole in the dirt, her face composed of glass fragments reflecting different versions of her. When Lola, the girl, admits that she is falling apart, the woman tells her she must find answers and meet her sister. After the reflection claims that the girl will triumph, Lola disagrees, and the reflection dissolves into the soil. Before disappearing, the woman tells Lola that the mirror is not magical, the girl is.

As Lola weeps, Charlie appears with bruises on his face. Lola reveals her plan to meet her sister before running away for good. When Charlie sees the money in her backpack, he vows to come with her. They whisper “colorful” to each other, and Lola learns that he has not had a drink in four days. They plan to meet later, and then she asks him for the key to Danny’s house.

Chapter 20 Summary: “Portrait of the Artist Lying Flat on Concrete, Apparently Stone-Cold Dead”

Lola’s drawing shows a dead girl with blood pooling at her abdomen. She is in front of Brisbane City Hall, which represents, according to the museum label, the city’s apathy for the artist’s demise.

As Lola rides past the river, the water churns angrily, tossing things as big as yachts and houses in its current. Lola pedals fast until she reaches Danny’s house. She races to the door, and Danny’s mother answers, knowing instantly who she is because Danny has not stopped talking about Lola. His mother says she thought it was a beautiful story of how they met, and she had hoped Lola would show up on the bridge.

When Lola steps inside the house, Danny is there, and she asks why he wore the brown suit to the bridge. He wants to be part of her story, and he tries to make them into the image in the mirror. Then, she cries as she explains having been in his house and seeing the drawing before he showed it to her. When he keeps his head down, she turns to leave, telling him to stop waiting for her. Danny refuses. He wants to help her and repeats this even after she says that someone else is writing her story and they can do nothing about it. As she pedals away, he pledges to never stop waiting and to always see her. She vows to never stop running.

Chapters 17-20 Analysis

The theme of Resilience of the Human Spirit is evident when Lola confronts the murderer. To protect Charlie, she offers herself in his place, but when the man steps toward her, she asks him to reconsider because she fell in love, and “it feels like floating down a river, except that river is on the moon” (332). This strikes a chord with the man because he pauses, asks a few questions, and then walks away. By sharing her humanity, specifically what it is like to fall in love, Lola diffuses the situation, causing a murderer who seems inhumane to reconsider his violence and retreat. Lola then composes herself and thinks, “What a fraud I am. Like some frill-necked lizard hissing at a red-bellied snake. All bluff” (333). Despite viewing herself as a fraud, this interaction proves that Lola is strong and will not stand down when it matters. Even though a frill-necked lizard is neither stronger nor more dangerous than a snake, its scare tactic is enough to keep it safe. By disarming the aggression in the interaction, Lola shows what she is capable of when she needs to save a friend’s life, and she does this by showcasing her emotions and vulnerability.

Another theme that weaves the narrative together is Art as Reflection and Redemption. In addition to her drawings, which help her make sense of her world, Danny’s drawings breathe new life into Lola, for she continually thinks of how he has seen her and how she is not actually invisible. Lola also continues to use art as a vehicle to reflect, not just through Buckle’s narration but also via connections she makes to famous artists and their work. When Lola runs from Flora, covered in blood, she tries to imagine how others would see her: “They’re looking at my clothes and wondering why I’m covered in blood. How the fuck did I get so much blood on me? Red splattered over me like the splattered blues and blacks and yellows in the Land of Jackson Pollock” (367). The only way Lola can make sense of her appearance and situation is by relating it to art. Pollock’s abstract expressionism is a chaos of paint splashed across a canvas. This mirrors not only Lola’s appearance—splattered in blood—but also reflects her swirling emotions and frenzied situation. Both are so out of control they cannot be clearly defined in her mind. This is reflected in her question; she knows exactly how so much blood got on her, but its presence still startles her. The trauma of the past few hours, coupled with her swirling emotions—fear, love, anger, sadness—create chaos for Lola, much like Pollock’s paintings do for his audience. Always present in some way, art serves as both a vehicle of reflection and a way for Lola to reinvent herself.

Interwoven with these themes is also The Struggle for Identity Amid Adversity. After hiding for days, Lola makes it back to the scrapyard and looks in her broken magic mirror. Her reflection insists that “the past has nothing to do with who you are. And the past has nothing to do with who you will be” (388). The past the woman refers to is the truth of Lola’s identity, which, although factual, does not shape her as much as she thinks. The reflection reminds her that she is in control of her identity and future. However, Lola refuses to believe this, and the reflection in the mirror slowly dissolves, but not before the woman says, “You are magic […] You’ve always been magic. You’ve never needed a mirror to see who you are” (389). The mirror’s declaration is a truth that Lola has never seen because she has been searching externally for answers about her identity. Despite believing otherwise, the girl possesses everything she needs to know about herself; she just needs to look inward. Additionally, the dissolution of the reflection emphasizes this because the reflection and the girl are the same person, for the woman is Lola’s subconscious, underscored by how each fragment depicts a different version of the girl’s life. Lola, the girl, does not need a mirror to listen to this voice.

blurred text
blurred text
blurred text
blurred text