60 pages • 2 hours read
Sarah DessenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The theme of truth and lies is deeply ingrained in this story. Annabel’s main struggle revolves around telling the truth rather than suffocating her real thoughts, feelings, opinions, and experiences. In one of the worst-case scenarios, Annabel’s omission of Will raping her not only harms her mental, emotional, and physical health, causing embodied trauma symptoms like vomiting whenever she’s triggered, but it ruins her friendship with Sophie and lets Will, the perpetrator, off without consequence. Annabel is so fearful of hurting others that she avoids telling people anything that may upset them, even though her secret about Will is hurting her most.
Unlike Annabel, Owen believes deeply in being honest. He doesn’t consider white lies or lies of omission acceptable; nothing but the full truth satisfies him. In Owen’s perspective, the truth is black and white and should be told unflinchingly, even if the truth might hurt someone’s feelings. His perspective is that that hurt is temporary, while the hurt of telling a lie cuts deeper and can last much longer. When Annabel and Owen meet, their viewpoints about the truth clash, but Owen ultimately inspires Annabel to tell the truth instead of letting her emotions fester.
Annabel gradually changes, offering her opinions without worrying that she will upset others. Annabel learns her self-worth and how to value her thoughts, feelings, and opinions as much as those of others. Her interior life, health, and happiness are worth just as much as anyone else’s, a realization that helps her heal and finally share her secrets. By telling the truth, she can quit modeling without harming her mother, repair her relationships with Owen and Clarke, and testify against Will. Her views on truth and lies shift toward honesty, matching Owen’s beliefs. Annabel no longer thinks it’s helpful to lie in any form but to be honest and share her ideas and experiences.
In the book’s conclusion, Annabel knows that sharing the whole truth about Will’s crime will make a positive difference by putting a criminal in jail. In legal terms, much like Owen’s strict definition, there is no wiggle room between a lie and the truth. Something is either a fact or it is not. In the courtroom, Annabel is in a setting where she has no choice but to tell the whole truth or risk strict legal consequences. Using the courtroom setting bolsters this theme, as the legal view of being honest or lying is unambiguous. Facts are absolute facts, and lies are anything that does not fit into the category of clear truth, including lies of omission or using well-meaning, nice language to tell a white lie. Like Owen, Annabel knows the definitive difference between truth and lies by the novel’s end.
Appearances don’t always show the depth of characters or situations, a theme that applies to multiple situations in Just Listen. First, since Annabel and her sisters are models, their careers focus on appearances and outer beauty, rather than inner beauty. This beauty and the roles they play as models do not reveal their personalities, talents, flaws, feelings, or anything beyond the surface. The book establishes this theme immediately, opening with Annabel analyzing her commercial and knowing she’s far from “the girl who has everything” (2) shown on the TV.
The commercial pops up again when Mallory gushes over the commercial. Mallory has pictures of Annabel posted in her room. Like many, Mallory aspires to be like the character Annabel plays, who is less a person than an archetype. Annabel finds this focus on her appearance stifling: “I wanted to tell her, right then, that this wasn’t true. That I was far from the girl who had everything; that I wasn’t even that girl in the pictures, if I ever had been” (112). Annabel doesn’t tell Mallory the truth about how her real high school life, and life in general, isn’t one glamorous moment after another.
Appearances can’t convey the dreams, challenges, or feelings, that everyone endures. Kirsten tells Annabel as much, saying that modeling isn’t “real,” but creative works like her film are “real” and “personal” because they have deeper meanings and show vulnerability and inner life. The creative outlets of film and writing, which Kirsten and Whitney enjoy, allow them to share their emotions through themes and symbolism that highlight their internal, personal selves rather than being constrained to the surface-level external.
The Greenes’ glass house is also a symbol of this theme, from the outside, it shows a portion of the family’s living space but not all of it. Similar to modeling, the glass house doesn’t convey the family’s inner lives, just a picturesque scene of the classic “happy family” in their home together. Again, it shows an archetype rather than something real or substantial. Outsiders may be able to view them through the glass in certain parts of the home, such as the kitchen and living room, but they aren’t seeing the secrets the family harbors. For instance, people cannot look at Whitney and know she has an eating disorder or Annabel and know she’s been raped. The judgments are purely appearance based rather than backed up by the greater depth of their characters, the reality behind the fragile glass coating.
Throughout the book, there are countless examples of Annabel and other characters not speaking up, including Whitney and Clarke. For instance, Whitney keeps her anorexia and bulimia a secret for months, though Kirsten is observant enough to notice that Whitney is losing weight, not eating, and working out too much. By remaining silent about her inner pain, Whitney’s physical health deteriorates until she must go to the hospital and then a treatment center. If Whitney had shared her low self-esteem and sense of self-worth, she could have worked through her emotions more healthily and addressed her eating disorder before her health was in jeopardy. In this case, silence is actively dangerous, nearly leading to Whitney’s death.
Kirsten’s story arc involves more listening and speaking up. She tells her family about Whitney’s eating disorder. Because Kirsten knows that Whitney’s health is in danger, she has no problem sharing that Whitney has an eating disorder. Unafraid of conflict, Kirsten uses her voice to save Whitney. Still, speaking out is a balance, and as a teen, Kirsten was talkative to a fault, not leaving much room for others to speak. In college and the aftermath of her sister’s hospitalization, Kirsten changes into a more quiet and reflective character who is committed to listening. Because she learns to really listen to others, Kirsten doesn’t need to talk as much. She repairs her relationship with Whitney because she listens to her sister and empathizes with her, rather than talking over her as in the past.
Likewise, Owen listens to others and values their opinions. Since he’s passionate about music, Owen has lots of practice with listening. He doesn’t insert his thoughts, ideas, or feelings into conversations when others are speaking, which is difficult for Annabel at first:
This is the problem with dealing with someone who is actually a good listener. They don’t jump in on your sentences, saving you from actually finishing them. Or talk over you, allowing what you do manage to get out to be lost or altered in transit. Instead, they wait. So you have to keep going (297-98)
Owen is also unafraid to share his emotions, as he can’t allow himself to let his anger build up and turn into physical violence or screaming. Instead, Owen copes with his anger by listening to music and calmly venting his feelings. Unlike Annabel, Owen doesn’t keep his feelings inside but purges them and learns to cope through the power of music. He also unknowingly creates the climactic change in Annabel by burning her the “Just Listen” CD. He accidentally makes it a blank CD, but by listening to nothing, Annabel learns to listen to herself and finds the courage to use her voice and share her darkest secret.
As the opposite of Kirsten and Owen in terms of boldness, Annabel suppresses her truths. She listens well to others, but she has trouble sharing her inner life with even those closest to her. For example, she doesn’t feel comfortable telling her mother she doesn’t want to be a model any longer. Grace loves and accepts her, but Annabel thinks of her mother’s depression when her grandma died and worries about causing another depressive episode. Annabel’s empathy takes control, and she thinks of her mother’s well-being over her own. Despite her good intentions, this creates incredible stress for Annabel. Her fears prove to be unfounded; Grace finds a new role at the modeling agency after Annabel quits and supports her daughter’s decision. This emphasizes that our worst fears can be unfounded, and honesty usually won’t turn out as badly as we fear it will.
Similarly, Annabel takes her silence to an extreme when she doesn’t tell anyone about her traumatic rape. By not speaking up, Annabel harms her mental and emotional health, stuck in a pattern of reliving the past and experiencing it physically through nausea. Additionally, she acknowledges that she could have tried to stop Will from committing this crime again: “I had a flash of the last few months […] Maybe I couldn’t have changed any of that. But now, too late, I was realizing I might have been able to change something. Or one thing” (247). Because she tried once with Sophie, who did not listen to her, Annabel thinks others may not believe her, causing fear, worry, and shame. Annabel finally steps into her truth by confiding in her loved ones and testifying in court. As a result, she gets a happy ending: her trauma symptoms ease, she gets the guy, Will goes to jail, and she has strong, compassionate relationships with her family and friends.
By Sarah Dessen