64 pages • 2 hours read
Stuart TurtonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Alongside a sophisticated mystery plot, Turton uses his novel to make a compelling philosophical argument about the possibility of redemption and moral growth. Blackheath is a type of futuristic prison wherein “by locking prisoners inside the murder, we give them a chance to atone for their own crimes by solving somebody else’s. It’s as much a service as a punishment” (381). Thus, Blackheath is explicitly set up to facilitate rehabilitation and redemption, at least on the surface. However, as Aiden comes closer to helping Anna meet the conditions of her release, the Plague Doctor warns that “my superiors do not want to see Annabelle Caulker leave Blackheath […] they’ll be looking for any excuse to keep her imprisoned” (389). Silver Tear later presents exactly this point of view when she blames the Plague Doctor for “open[ing] the door to a creature who must never be allowed to leave this house” (365). Silver Tear and her superiors represent the viewpoint that Anna will never be redeemed, while the Plague Doctor is hesitant and unsure of what to believe.
Aiden, on the other hand, is fully invested in the possibility of redemption, even though he is the individual who could most justifiably hate Anna. Aiden makes an impassioned plea that “it wasn’t done with violence, and it wasn’t done with hatred. It was done with forgiveness. Annabelle Caulker is dead” (388). In Aiden’s mind, the Anna he has come to love and trust is fundamentally a different person from the mass murderer Annabelle Caulker. His own forgiveness, and the loyalty that Anna has shown to him, have transformed her into someone who is worthy of freedom and a fresh start.
Aiden is still haunted by the pain of losing his sister, and he even occasionally has misgivings about Anna, wondering “whether any part of the monster who murdered my sister has survived, waiting to surface again” (394). Nonetheless, Aiden chooses to believe in Anna’s redemption because he also wants to believe in his own; Aiden needs to believe that he has become someone different from the man who vengefully and cruelly tortured Anna for 30 years. His faith in the possibility of change and redemption seems to be supported by Anna attempting to sacrifice her life for him during the final confrontation with Evelyn; fortunately, Felicity intervenes and saves them both, but in the moment, Anna was willing to give up her life and freedom for Aiden. Their mutual hope in redemption is what allows Aiden and Anna to leave Blackheath and look toward a future where there is “a chance to be braver or kinder, to make what was wrong right. To be better than I am today” (430).
Since the novel is set at a manor house populated by both the elite Hardcastle family and their wealthy guests, as well as the various servants and workers who keep the house and estate functioning, the theme of class dynamics can be clearly observed. The novel suggests that the wealthy, upper-class characters are generally cruel and malevolent in some way; as Evelyn observes at the start of the novel, “Wealth is poisonous to the soul […] their manners are a mask” (49). Turton reveals the cruelty of the upper-class characters both through how they treat each other and in how they treat lower-class individuals. The apparent plot to force Evelyn into marrying a grotesque man whom she despises reveals that her parents see her as a pawn who they can use to suit their own purposes, and it hints at a cold relationship between upper-class parents and children. Much like the proposed marriage between Evelyn and Ravencourt, the marriage between Lord Peter and Lady Helena was “convenient—necessary, one might say—but there was no affection” (234). Both parties were unfaithful to one another, leading to the secrets and lies surrounding Cunningham and the other Hardcastle children. In addition to all of these toxic and dysfunctional dynamics within the wealthy Hardcastle family, various wealthy characters who act as hosts to Aiden, particularly Jonathan Derby, are shown to have dark secrets due to their selfish and entitled nature.
We also see the cruelty of the upper classes in through how they treat servants and working-class characters. Evelyn is particularly heartless when it comes to these individuals and seems to regard them as disposable and less than human. The first person she kills is a young stableboy because she realizes “I didn’t have to fetch help. I didn’t have to do anything at all. I could leave him there” (417). Evelyn shows her cruelty towards the lower classes by expecting the stablemaster to take the blame for Thomas’s murder and planning to kill off Felicity as soon as she has completed her plan. In the end, however, Evelyn’s tendency to treat lower-class characters as disposable proves to be her undoing. When Felicity learns that Evelyn attempted to murder her, she retaliates: as the Plague Doctor explains, “Evelyn deserved to die, and Felicity deserved to kill her” (426). Despite all of her other cruel deeds, it is Evelyn’s cruel and entitled tendency to treat lower-class characters like pawns that leads to her death.
Throughout the novel, Aiden has the opportunity to observe a number of parent-child relationships, often with elements of secrecy involved. Although Aiden starts off by fixating on how parents can often be cruel to their children (he thinks that Evelyn’s parents are mistreating her, and that her mother might even be planning to murder her), he eventually comes to see parents loving and protecting their children even when those children are not necessarily deserving. Several of the parent-child relationships depicted in the novel involve a parent having an illegitimate or secret child: Cunningham is Lady Helena’s illegitimate son, and the young maid Lucy is Stanwin’s daughter. In both cases, the parent goes to great ends to protect and care for their child, even if they cannot publicly acknowledge them. Aiden reflects that Stanwin “probably funneled his family a little money over the years, intending to make them comfortable” (309) while he learns from Cunningham that Lady Helena would “ask after my happiness, my education. She was kind to me” (326).
When Aiden spends time in the host body of Jonathan Derby, he also has the chance to observe the relationship between Jonathan and his mother, Millicent. Jonathan Derby is a violent and cruel rapist, but nonetheless, Millicent protects her son from the consequences of his action. As Doctor Dickie explains, “How many times have you wept at your mother’s breast, begging her to fix it, promising never to do it again and knowing full well that you would?” (191-192). While the novel presents some characters, such as Anna, as capable of redemption, it also presents figures like Derby who are completely irredeemable, leaving Aiden disgusted and horrified when he has to experience the lusts and rages of his host. Even so, when Millicent Derby dies, Aiden can feel the intensity of Jonathan’s grief: “No matter how much I tell myself that this woman isn’t my mother, I can’t make it let go” (201). This parent-child relationship shows how even when the child is undeserving, his parent tends to love and protect him.
Perhaps the most striking example of parents protecting an undeserving child is the tragic history of Lady Helena and Charlie Carver covering up their daughter’s murder of her own brother. As Evelyn callously explains, “Carver filled in the rest for me. Accident, children playing, that sort of thing. He handed me the story gift wrapped” (415). This explanation also completely changes the interpretation of what Stanwin saw when he came upon Lady Helena with the body of her dead child: “She kept saying it was an accident. That was it, over and over again” (312). Rather than a woman trying to cover up a heinous crime, Lady Helena was a distraught mother protecting her daughter. While Carver gives up his own life by taking the blame for the crime, Evelyn is “utterly without empathy, intolerant of remorse” (416) as she finally reveals the true story. Evelyn also heartlessly kills the mother who protected her for almost 20 years. By the end of the novel, rather than seeing Evelyn as the victim of her parents’ greed, Aiden is able to see Lord Peter, Lady Helena, and Charlie Carver as the victims of Evelyn’s brutal violence.
By Stuart Turton
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