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50 pages 1 hour read

Paula Hawkins

Into the Water

Fiction | Novel | Adult | Published in 2017

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Symbols & Motifs

Nel’s Mother’s Bracelet

Nel’s mother’s bracelet—an item she has worn almost every day since her mother died—appears frequently throughout the story, either physically or in discussions among characters. The bracelet serves as a representation of Nel’s spirit—absent upon her death, reappearing as characters begin unpacking the truth, and figuring prominently in how the story resolves. Helen, drawn to the bracelet among rubbish in the car, keeps it, and by extension has Nel’s spirit with her as she tries to go about her regular life. Mark, looking for something of Katie’s to keep with him, find’s Nel’s avatar instead in Helen’s office, and this bracelet ultimately contributes to his (suggested) death when Lena finds it with him. Helen’s possession of the bracelet brings both Erin and Jules to her doorstep, culminating in something resembling justice for Nel as Patrick is jailed for multiple murders. As Nel’s pursuit of the truth behind Patrick’s past indirectly causes her death, her spirit causing Patrick’s deserved downfall is fitting.  

 

Emotions as Water

Hawkins often uses water-based metaphors for especially strong emotions that characters are feeling. When Mark finds out his secret is out and he must run, he thinks: “It was, he thought, as though he were in deep water, as though he were reaching for something, anything, to save himself” (157). While sifting through Louise’s threats to Nel, Jules feels like “the house seemed to shift, to tilt like” (178). Later on, when describing her own trauma as she goes to confront Robbie, Jules refers to “memories that rose now like driftwood out of water” (251). Louise, unable to process her grief over Katie’s death, observes: “A fissure had opened and guilt seeped through, a trickle at first and then a flood” (139). Just as water can pull people under and overwhelm them, deep, negative emotions can have the same effect. 

Trauma’s Lasting Impact

Despite Erin’s assertion: “Kids can block it out, trauma like that” (130), childhood trauma actually has a deep, lasting impact. Both Sean and Jules experience considerable trauma as children, and both exhibit signs of PTSD in adulthood. Sean frequently dissociates from the present, requiring practiced movements, such as touching the scar on his arm, to bring him back to the moment. He has flashes of memories that he finds elusive, feeling that he misremembers them, or that he is reliving moments from the night that his father killed his mother. Sean runs from his trauma, trying to evade it rather than address it, which only drives him into further difficulties. Hawkins implies that Sean’s murder of Nel came as an attempt on Sean’s part to push away memories of his mother than Nel wanted to force him to relive.

Jules panics in the presence of threatening men, a reaction that stems from her rape at age 13. She has difficulty relating to others, often acting with emotional distance. After she sees Robbie, her rapist, at Nel’s funeral, Jules can no longer sleep. Unlike Sean, Jules eventually faces her trauma head-on, confronting Robbie for Lena’s sake. In doing so, she finds a way to move forward from her trauma, wanting to be strong again for her own sake and for Lena’s. 

The Bonds of History and Community of Women

In writing about the Drowning Pool, Nel seeks a common thread among all the women associated with the pool. While their experiences differ—some are put to death, some commit suicide, and one simply washes her hands there after murdering her husband—what unites them all is that they are women living in a society that treats them as secondary to men. When women blame each other for men’s crimes, the book argues, that culture perpetuates as it has for centuries, starting with Libby Seeton. Yet when women stop blaming each other and bond instead, they are able to overcome their situation and find resolution. Women in Into the Water who hate and mistrust each other at the beginning find peace in learning to band together with other women. Those who resist the community of women—like Helen—end up alone, with little hope for the future.

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