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58 pages 1 hour read

Elle Cosimano

Finlay Donovan Knocks 'Em Dead

Fiction | Novel | Adult | Published in 2022

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Symbols & Motifs

Disguises

Disguises are a common motif in the mystery genre because hidden identities and motivations are essential to the construction of the plot. From the beginning of Finlay Donovan Knocks ’Em Dead, Finn is engaged in this kind of subterfuge. She disguises her identity on the forum—as do the other users—by creating a burner email account and using it to sign up for the forum using an anonymous username. She uses Bree’s identity when she interacts with the security company watching over Steven’s office at the farm. She pretends to be an accountant working with Steven’s business when she talks to the storage unit attendant. She also impersonates Kat at the jail and has Vero impersonate Irina at the car dealership while she impersonates Irina’s assistant. 

These are all literal examples of Finn using disguise—but there is also a figurative use of disguise that permeates her life and offers a metafictional comment on the genre itself. Finn is a writer of romantic suspense novels, and her hero is a thinly disguised but more self-interested and adventurous portrait of herself. Finn’s hero is not someone mistaken for an assassin—she is a real assassin. She is, like Finn, involved with both an attorney and a police officer—but she does wild things with them like have sex inside a jail. Finn’s literal disguises are a way to temporarily be someone else when it is more expedient in order to accomplish a short-term goal like getting into the jail to see Feliks. Her figurative disguise, on the other hand, is a way to transcend her own limitations in a longer lasting way. It allows her to experience things that lie outside of her usual comfort zone. In this way, the hero that Finn has created becomes a commentary on the experiences of reading and writing mysteries.

Motherly Love

The fierceness of women’s love for their children—particularly that between mothers and their daughters—is a motif that runs throughout the novel, supporting its theme of Women’s Networks of Support. Although Finn loves her children, so much so that she is willing to go to extraordinary lengths to save them from the pain of losing their father, the motif is most clearly illustrated in the relationships of Susan and Finn, Mrs. Westover and Theresa, and Bree’s mother and Bree. Bree’s mother sets fire to Steven’s trailer because she is furious about the way Steven has treated her daughter. Mrs. Westover hides Theresa and Aimee when they are on the run, and she undertakes the dangerous task of burying her own estranged husband’s body and faking a cause of death to protect Theresa. Susan unintentionally provides the novel’s inciting incident when she posts a complaint about Steven in the online women’s forum because she hates the way he made Finn feel. Finn’s epiphany that her mother is “FedUp” comes because it suddenly occurs to her that all these incidents are “connected by one common, unbreakable bond […] A mother’s love” (343). Through Finn’s experiences both as a mother and daughter, this motif is highlighted throughout the novel.

The Christmas Stocking

The Christmas stocking that Finn hangs up for Vero is a symbol of Finn’s love for Vero and her acceptance of Vero as family. In Chapter 13, as Finn and Vero decorate Finn’s house for Christmas, Finn is discomfited by the sight of three stockings hanging up, ready to receive gifts for herself, Delia, and Zach. Although Vero has only been living with them for a short time, Finn has come to see her as an invaluable part of the household and as such a close friend that she is essentially a family member. As such, Finn thinks, Vero should have a stocking hung up with the rest of the family’s. 

As the story continues, however, Finn discovers that there are many things she does not know about Vero and that Vero has lied to her and gambled away the money she took from Finn’s accounts. This creates some doubt about whether Finn and Vero will remain close. Yet, in the novel’s Epilogue, Finn does hang a stocking for Vero alongside the rest of the family’s. When Finn looks at Vero’s recently hung stocking between her own stocking and the children’s stockings, she thinks that it “[looks] nice there […] filling out the empty spaces between [them] and returning a sense of balance” (351). This makes it clear that although Finn has had her doubts, in the end, she has accepted Vero as family.

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