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56 pages 1 hour read

Riley Sager

The Only One Left

Fiction | Novel | Adult | Published in 2023

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Themes

How Chauvinism and Paternalism Dictate Women’s Fates

In The Only One Left, men prioritize their comforts, desires, opinions, and personal conveniences over the needs and wellbeing of women. This dynamic persists in both of the novel’s timeframes—its Gothic atmosphere of dread and claustrophobia is heightened by the powerlessness its female characters feel at the hands of the male authority figures in their lives.

In 1910, when Evangeline Staunton, the beautiful daughter of a wealthy and elite Gilded Age family, became pregnant by one of her family’s servants, she was in a potentially ruinous position. The social mores of her time dictated female sexual purity and fidelity to one’s social class, so she was in danger of becoming a pariah. Evangeline’s vulnerability was exploited by Winston Hope, a new-money social climber who coerced the Hope family into letting Evangeline marry him—even a marriage to a social inferior was better than having a baby out of wedlock. The controlling and abusive Winston reveled in his newfound power: He had numerous affairs and wasted Evangeline’s money, spending recklessly on the opulent Hope’s End even after his business ventures failed. The toxic family dynamic relied on patriarchal power: Neither Evangeline nor her daughters could stand up to Winston, and legally, they had no recourse to prevent his behavior. Winston’s need to assuage his insecurities superseded any duty he felt to ensure the safety of his family.

In the 1920s, another authority figure in the lives of the Hope women offers only paternalistic and dismissive care. While Evangeline’s suffers from her husband’s emotional, sexual, and financial abuse, her physician Dr. Walden prescribes laudanum—a sedative that will keep Evangeline quiet, for her husband’s sake. Her medically induced addiction keeps her compliant and harmless. Not only does Dr. Walden prioritize Winston’s power over Evangeline’s agency, but he is also clearly a terrible doctor who nevertheless retains his position. The doctor is easily bamboozled by Virginia, who feigns her mother’s symptoms to get her own prescription of laudanum. Later, after Virginia’s failed suicide, Dr. Walden misdiagnoses her with hypoxia and a permanent disability—a mistake that allows Virginia to maintain some of her ability to resist her sister.

In 1983, Kit McDeere, a woman with low socioeconomic status, is also subjected to financial control as her father Patrick uses her to protect himself from criminal responsibility for her mother Kathleen’s death. For six months, while Kit is under suspicion for Kathleen’s fentanyl overdose, Patrick remains distant and accusatory, offering no support during her six-month suspension, fear of losing her job, or guilt over her mother’s death. Patrick, who actually did help Kathleen die by assisted suicide, does nothing to help Kit until she is reinstated, at which point Patrick demands she come home because he doesn’t like the attention that her affiliation with the Hope family brings.

Moreover, Patrick uses his friend Detective Vick to pressure Kit—the same detective whose intrusive and presumptive investigation into Kathleen’s death tormented Kit. Though no longer actively pursuing a case against her, each time Detective Vick interacts with Kit, he tries to manipulate her with feigned empathy and paternalistically condescending invitations to unburden her conscience, confident that she is guilty. When she defends herself and criticizes his professionalism, Vick dismisses her as an overly emotional woman. Using his power as the town’s main law enforcement, Detective Vick protects other men; he gives the benefit of the doubt to Patrick, who is an obvious suspect in Kathleen’s death, and refuses to consider that Mary’s death was murder rather than suicide.

Class Status, Resources, and Privilege

Class delineations are deeply palpable within the microcosm of Hope’s End. Far more rigid and pronounced in the 1910s and 1920s, these external parameters played a significant role in the precipitating events of the Hope family murders. No characters are satisfied with their place. The elite embrace their status and relish their power, but are always interested in climbing higher. The socially inferior parlay their deep resentment into unscrupulous and opportunistic schemes to rise, determined to change their fate.

In the early 1900s, Winston Hope and the Staunton family were both well-positioned to capitalize on their differently elevated places in American society. The Stauntons were one of the preeminent families of the Gilded Age that marked the end of the 19th century in the US. However, their social standing was only as good as their ability to embody the strict and repressive ideals of the time—as soon as Evangeline had a sexual relationship with a servant and became pregnant, the whole Staunton family was in danger of being kicked out of their social circle. Desperate to stay securely positioned in the hierarchy, the Stauntons sacrificed their daughter, marrying her off to the boorish Winston. Evangeline married down, but her baby was born within wedlock, giving the Stauntons social cover. Winston, a new money merchant, had the power of financial success; however, he was an inveterate social climber who wanted to be let into the inner circles of society. Obsessed with class status, he persuaded the Stauntons to let him marry the tainted Evangeline—a marriage that was clearly not based on love, and that soon descended into recriminations about Lenora’s illegitimacy, the Stauntons’ snobbery, and Winston’s need to be perceived as superior.

Conversely, characters like the governess Miss Baker, Patrick McDeere, and Berniece Mayhew resent the wealthy class, feel demeaned by their inferior status, and believe they are owed more. Miss Baker was a pragmatic realist who parlayed her affair with Winston into financial advancement. Her most lucrative opportunity came when Virginia’s son was born, and she accepted a considerable sum from Winston in exchange for taking the baby away from Hope’s End. Conversely, Berniece and Patrick are fueled by bitterness, feeling justified to take any action to move up the ladder. Berniece revels in blackmailing Lenora, delighted as much by the power she holds over the Hope sister as by the money she earns. Similarly, Patrick’s promises to Virginia crumbled in the face of Winston’s bribe of $50,000. Evidence of Patrick’s underlying disdain for Virginia and her ilk emerged over the summer; embittered by the fact that Winston Hope was murdered before writing him a check, Patrick sustains his resentment into adulthood. He also tries instilling it in his daughter; Kit frequently references disparaging statements he has made about those with money. The endless pursuit of ever-higher class status spurs on the novel’s antagonists and ensures their downfalls, regardless of their actual class status.

The Uses of Secrets

The novel demonstrates many ways that characters use secrets. Each character’s values are revealed through their relationship to the many hidden facts about the Hope family murders, and through the lengths to which they are willing to go to construct and uphold self-serving narratives based on lies and obfuscations.

Lenora keeps secrets out of her selfish need for power and control. Despite much evidence to the contrary, Lenora is still convinced for 54 years after the murders that her sister Virginia killed their parents, though Lenora has decided that Virginia was justified to do so. For most of her life, Lenora has remained committed to maintaining control over Hope’s End and everyone else in it. Lenora has grown to empathize with her sister, but her conviction that Virginia is guilty of homicide is rooted in Lenora’s guilt for having tormented Virginia for her entire life—Virginia must be guilty or else Lenora is a complete monster. Lenora clings to her fake identity and the mystique of the murders’ ambiguity—these secrets are the source of her power and have allowed her to escape culpability.

Virginia uses her secrets for protection and justice. To punish her sister for her many betrayals, Virginia feigns severe disabilities to trap Lenora in the house, anchoring her to Hope’s End just as Virginia is anchored there too. Keeping her true physical condition hidden is also a defensive move: If Lenora discovers that Virginia can speak, Lenora might harm her sister to avoid her testimony ever getting out. When Virginia decides to trust Mary with her story, she uses the family’s secrets to slowly reclaim her voice and identity; however, as after Mary’s death, Virginia again clams up both to protect herself and Kit, the daughter of Virginia’s ex-boyfriend. Virginia worries that if Kit realizes that “Ricky” is her father Patrick, Kit would disbelieve Virginia—or possibly become a target herself.

Kit is the least secretive, violent, or vindictive character in the novel. She uses secrets to connect to other people through empathy. Though she is wounded by the stubbornness of her patient’s secret-keeping, Kit feels a kinship with Miss Hope since both women know what it’s like to be thought capable of matricide. When she unburdens herself to her patient about the circumstances of Kathleen’s death and her guilt about her role in it, Kit is emboldened to take steps on behalf of Miss Hope. By fighting to uncover the secrets of the Hope family, Kit bonds with the novel’s other positive characters: groundskeeper Carter, Virginia’s old best friend Archie, and Virginia’s secret granddaughter Jessie.

Similarly, Archie’s secret-keeping is completely altruistic. He remains at Hope’s End and bids his lover Ricardo good-bye to fulfill a promise made to his best friend Virginia and to repay her acceptance of his identity as a gay man during a period in history when this sexual orientation was met with ostracism and legal repercussions. Virginia protected his secret, so he protects her from Lenora. Virginia laments that she cannot reveal to her best friend the extent of her able-bodied status, but feels duty-bound to conceal her condition so that she and Archie may never be in danger.

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