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64 pages 2 hours read

Stuart Turton

The 7½ Deaths of Evelyn Hardcastle

Fiction | Novel | Adult | Published in 2018

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Character Analysis

Aiden Bishop

Aiden is the protagonist and the narrator of the novel. All of the action is focalized through his point of view. Aiden’s characterization is complex because he occupies the bodies of different hosts over the course of the plot and adopts some traits of these host characters along the way. As Aiden explains, “their memories crowd the edges of my mind, the weight of them almost too much to bear. I want everything they want […] I’m no longer a man, I’m a chorus” (343). Due to Aiden’s lack of memory and fixed identity, many common aspects of characterization, such as occupation, social status, and even physical appearance, are conspicuously absent. Part of why Aiden’s quest to uncover the murderer is so important is because this discovery will allow him to finally understand who he actually is.

Over the course of the plot, Aiden takes on the traditional role of the hero and tends to act with integrity and loyalty. When other characters repeatedly question his commitment to trying to save Evelyn, he insists that “I can’t watch her die and do nothing about it” (185). Aiden is also persistent, committed, and optimistic. Even when his quest to solve the murder seems completely impossible, he remains steadfast: “For too long I’ve allowed this day to dictate terms to me, but no longer. If somebody wishes to murder Evelyn with this pistol, they’ll have to come through me first” (193). Notably, Aiden also shows a deep capacity for forgiveness when he advocates for Anna’s release, even though she murdered his own sister. Aiden shows his capacity for forgiveness when he argues that “You asked me to believe that Blackheath could rehabilitate people, and I have. Now you need to do the same, because you’re so blinded by who Anna used to be, you’re ignoring who she’s become” (388).

While Aiden has many brave and noble qualities, he is also quick to trust the wrong people and can become fixated on certain beliefs, such as when he mistakenly becomes convinced that Lady Helena is the killer. Aiden is repeatedly manipulated by his antagonists, including Daniel and Evelyn, and he falls into their traps because of his tendency to be trusting. Aiden’s character is also rendered more complex because of allusions to a darker history: In the past, he has obsessively tried to seek vengeance against Anna, and has even killed her in previous loops of the game. Part of why Aiden holds so strongly to the belief that people can change and become better is because he needs to believe that he himself is capable of this type of change.

Anna

Anna is an important secondary character who often functions as a sidekick to help Aiden in his quest to solve the murder. Anna has a consistent physical presence since she occupies the same body even as the days repeat. She is a petite, unremarkable looking young woman who “can’t be more than twenty-three, small enough to tuck into a pocket” (42). Her physical appearance, combined with her disguise as a maid, allows Anna to often go unnoticed, which is an asset as she avoids the Footman and tries to learn more about the crime. Anna’s unimposing physical appearance also juxtaposes her shocking and violent past.

Anna is clever, quick-thinking, and loyal, all of which contribute to her being helpful to Aiden as he works to solve the crime. She is, however, hampered by lacking some of the advantages Aiden has: She can’t move between bodies, so she doesn’t get to see events from different perspectives. At various points, Anna also reveals some cold and ruthless aspects to her character, which foreshadow the eventual reveal that she has been a violent criminal. When Aiden learns the truth about her history, he muses that “this doesn’t feel like a revelation, more the voicing of facts I’ve long been familiar with. Anna’s fierce and fearless, even brutal when she needs to be” (385). Anna most directly reveals her loyal and caring character when she attempts to sacrifice herself in the final confrontation with Evelyn, telling Aiden “Don’t you dare come back for me” (424) before lunging at Evelyn while knowing that she will almost certainly die.

The Plague Doctor

The Plague Doctor is a secondary character who functions as a confidante and guide to Aiden during Aiden’s quest to solve the crime. The Plague Doctor is a partially omniscient figure who knows everything about the rules of the game, Aiden and Anna’s past lives (from before they entered Blackheath), and also about the previous loops that Aiden has unsuccessfully completed. Interestingly, the Plague Doctor also has some limitations: He doesn’t actually know who killed Evelyn because, as he explains to Aiden, “it’s not my place to know. I watch you, and you watch Evelyn” (151). The Plague Doctor does intervene in the events of the game, giving Aiden the best odds of success by doing things like choosing the sequence of hosts and allowing him to move through different host, but the Plague Doctor cannot free Aiden unless Aiden actually completes the task of solving the crime.

The Plague Doctor’s depiction as an enigmatic and secretive character is heightened by his physical appearance. Throughout the novel, he wears a costume that almost entirely obscures his face and body with “a black greatcoat, the beak belonging to a porcelain mask” (29). In medieval times, a plague doctor would have had some ability to move amongst individuals infected with disease without falling ill himself, and likewise, the Plague Doctor exists outside of the rules of the game and can move around without being impacted by the game. The Plague Doctor’s costume also hints at the thematic role played by his character, as he attempts to heal Aiden by giving Aiden the opportunity to redeem himself and become a better person.

While he is partially a supernatural figure, the Plague Doctor also experiences an interesting minor conflict as an employee working within a larger system. When Silver Tear comes to Blackheath, she references “what our superiors will do to you if Annabelle escapes Blackheath” (366). The Plague Doctor is accountable to some sort of larger system, and like Aiden, he also has to make complex ethical choices. Silver Tear argues that it would be irresponsible and unethical to allow Anna to leave, but the Plague Doctor sticks to a more objective ethical standard, insisting that “the rules of Blackheath are very clear, and I’m beholden to them […] if she brings me the name of Evelyn Hardcastle’s murderer, I can’t refuse to hear her case” (366). By ultimately honoring the rules of the game and allowing both Anna and Aiden to leave Blackheath, the Plague Doctor shows himself to be a fair and compassionate individual who acts with integrity and good judgement.

Evelyn Hardcastle

Evelyn Hardcastle is a significant secondary character; the entire action of the plot revolves around the attempt to find her killer and potentially prevent her death altogether. Evelyn is a complex character, because for most of the novel, the woman whom Aiden interacts with is not actually Evelyn. Rather, the real Evelyn disguises herself as a maid and pays a woman named Felicity Maddox to personate her. The false Evelyn is striking and glamorous, with a “thin, angular body and high cheekbones” (36) whereas the true Evelyn is much plainer, with “pockmarked skin […] oval eyes and freckles swirling into a milky white complexion” (412).

Clothing also highlights the cleverness of the disguise; the false Evelyn wears beautiful gowns and expensive jewelry, including “a blue evening gown and tiara [with a] lavish diamond necklace draped around her neck” (123) whereas the true Evelyn wears a modest maid’s uniform. Part of why Evelyn’s plot is successful is because Aiden and other characters expect to encounter a beautiful, glamorous young woman, and they are seduced by the charisma Felicity exudes in the role of Evelyn. Aiden even at one point finds himself feeling jealousy and desire for her: “she must have some suitor in the house, and I’m ashamed to say I’m jealous of this secret correspondence” (45). Ironically, Felicity, the woman who is able to perform the attributes of class and gender associated with Evelyn, is a working-class individual, “some sort of con artist” (420). This characterization develops themes of deception and performance, showing that almost anyone can appear to be anything if they have sufficient motive to do so.

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