The Hawthorne Legacy

Tobias Hawthorne, the Texas philanthropist who leaves his estate to Avery, puts the mysteries of The Inheritance Games series into action. Tobias speaks to classist themes, as his character represents the great power that wealth brings. This is most painfully evident in the way that Tobias was able to bury the truth regarding the fire on Hawthorne Island. Avery recognizes the infuriating hypocrisy of Kaylie being blamed for a party that led to the fire “when the three upstanding young men had been partying straight out of rehab” (119).

Toby Hawthorne II, aka “Harry,” is Tobias Hawthorne’s son (and Skye’s and Zara’s brother). Although his character is hardly present, appearing only in a few final chapters, Toby/Harry serves as the driving plot device in the story. The characters are all motivated by a mission to find him. He is also used as a plot device to drive Avery’s coming-of-age narrative as she explores her self-identity and her roots after she (mistakenly) comes to believe that Toby/Harry is her biological father. The fact that Toby/Harry later refers to Avery as his “daughter” (337) even though they aren’t blood relations speaks to the book’s argument that the concept of “family” is a social construct and doesn’t have to be rooted in biology alone.

Avery’s half-sister, Libby is used to drive the plot’s action in the story, acting as an extension of Avery’s character by undertaking trips Avery can’t. For example, Libby and Nash travel together to Connecticut to try to find Toby/Harry, and they follow a clue to Costa Rica. Libby’s character also helps support Avery’s coming-of-age narrative since Libby is Avery’s guardian at the start of the book and who Avery will emancipate herself from in the book’s final chapter. Libby’s character also helps to support the argument that “family” is a social construct, not a biological truth. When Avery tells Libby that she believes Toby/Harry is her biological father, both girls realize that this means they aren’t biological half-sisters after all. Asserting their sisterly bond, Avery tells Libby, “If you say we aren’t sisters, I will flying-tackle you right here” (178).

The oldest of Tobias Hawthorne’s four grandsons, Nash primarily serves as a potential love interest for Libby. His character also helps to explore the theme of the “love triangle” since his ex-fiancee, Alisa, is also frequently present when Nash and Libby are present, creating a hint of a love triangle’s tension. Nash’s character also helps support the Coming-of-Age theme, as Nash—like Jameson and Grayson—learns his biological father’s identity and confronts him in the book. Nash’s character further supports Avery’s coming-of-age story, as she frequently flashes back to something he once told her: “You’re not a player. You’re the glass ballerina—or the knife” (The Inheritance Games 154, 359; The Hawthorne Legacy 341). By the book’s end, Avery will assert herself and deny this objectification of being the ballerina. 

The second oldest of Tobias Hawthorne’s four grandsons, 19-year-old Grayson is primarily used to set up the “love triangle” theme, as he is the other Hawthorne brother with whom Avery has romantic chemistry (in addition to Jameson). The chemistry is especially evident when Grayson kisses Avery to cut her off from saying something damaging during their interview. Grayson’s character is well put-together and frequently highlights the class difference between Avery and the Hawthorne boys. For example, he teaches her how to swordfight, arguably a very “high-class” hobby. He also speaks Latin in front of her to his brothers. Although Grayson’s words support Avery, they still ostracize her because she doesn’t know Latin. Finally, Grayson speaks to the coming-of-age theme as he is forced to confront his biological father, Sheffield Grayson, who turns out to be the story's villain.

The second youngest of Tobias Hawthorne’s four grandsons, Jameson is Avery’s primary love interest and drives her romantic subplot. At the same time, he supports her coming-of-age narrative. At the start of The Hawthorne Legacy, Avery feels like Jameson still sees her as an object. However, by the book’s end, Jameson recognizes that Avery is not a passive object. Only once this transition is made does Avery open herself up fully to proactively pursue a meaningful relationship with Jameson.