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Harlan CobenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Whistleblowing has always been part of the American political landscape, stretching as far back as 1772. Documents known as The Hutchison Letters exposed the titular Massachusetts governor urging for stricter infringements on colonists’ liberties. They were published in the Boston Gazette after Benjamin Franklin sent them to John Adams.
Notable leaks of confidential information include the Watergate Scandal in 1972, which resulted in President Richard Nixon’s resignation two years later for covering up the burglary and wiretapping of the Democratic National Committee headquarters; the Plame Affair in 2003, which was named after the leaked identity of a CIA agent; and contractor Edward Snowden’s 2013 release of National Security Agency documents detailing the surveillance of American citizens. Despite the legal consequences Snowden faced, which led to his exile, he claimed that he would “be satisfied if the federation of secret law, unequal pardon and irresistible executive powers that rule the world that [he] love[s] are revealed even for an instant” (Greenwald, Glenn, et al. “Edward Snowden: The Whistleblower Behind the NSA Surveillance Revelations.” The Guardian, 11 June 2013).
Cable news and the internet changed the face of whistleblowing, offering more widespread channels and access. Snowden’s cache of intel was leaked to journalists and later published by The Guardian and The Washington Post, but he was also assisted by Wikileaks. Founded by hacker turned editor (and controversial figure) Julian Assange in 2006, the website Wikileaks rose to prominence with its publication of international government, military, and corporate secrets provided by whistleblowers intended for the consumption of the general public. Similarly, in Fool Me Once, Corey “The Whistle” Rudzinski hosts a website for leaked intel.
In 2010, disillusioned intelligence analyst Chelsea Manning leaked a massive trove of documents to Wikileaks after uncovering human rights violations committed by the US Army and CIA in Afghanistan and Iraq during the so-called “War on Terror.” The leak included video taken of a July 12, 2007, Baghdad airstrike. Apache helicopters were dispatched to the location of an earlier, minor attack against an American Humvee. The pilots fired missiles at a group of men, only some of whom were armed. More strikes followed; gunfire hit a van and a building used for cover. Among the dead were Reuters correspondents Saaed Chmagh and Namir Noor-Eldeen and a van driver, Saleh Matasher Tomal, who tried to help Chmagh; two of Tomal’s children were injured as well. The claim that the incident was an accident was dispelled by the unedited video, dubbed “Collateral Murder,” in which the US soldiers “aim and fire at the group, then revel in their kills” (Bumiller, Elisabeth. “Video Shows U.S. Killing of Reuters Employees.” The New York Times, 5 April 2010). This incident has many similarities with that in which Maya is involved in Fool Me Once; she kills civilians without clearance, and a video is leaked.
The American public has reacted with ambivalence to Manning’s actions: “To some, Manning is a heroic whistleblower; others, including the U.S. military, consider her a traitor” (Davies, Dave. “Chelsea Manning Shared Secrets With WikiLeaks. Now She’s Telling Her Own Story.” NPR, 17 Oct. 2022). Manning’s 35-year sentence for charges including espionage was commuted by President Barack Obama in 2017.
Harlan Coben’s niche within the mystery genre is suburban discomfort—characters cosseted in lives that seem happy and secure are undone by secrets and trauma from the past. Family bonds and loyalty are tested, and identity is often revealed to be a construct. Coben’s characters often reside in suburban New Jersey, where he was raised and now lives with his own family. His characters revel in the safety and security of their suburban lives. However, their perceptions are punctured when an unthinkable crime shatters their reality. These crimes often destroy families but are granted a sort of inevitability by Coben’s overarching theme of The Lasting Consequences of Trauma and Secrets. Affairs, violence, and malfeasance rear their ugly heads when his characters feel most comfortable. Misdeeds come back to haunt them, with their pasts catching up to them in explosive ways.
As Louisa Mellor jokes in her appraisal of Coben’s TV adaptations:
Secrets are the perennial theme of a Harlan Coben thriller, which all take the stance that we can never really know anybody. That nice lady in the PTA? Once ran a brothel. Your kids’ badminton coach? Did a hit-and-run aged 18. The helpful receptionist at the gym? She’s actually your daughter (Mellor, Louisa. “The Undemanding Joys of a Harlan Coben Thriller.” Den of Geek, 8 Dec. 2021).
Mellor goes on to list dramatic twists, dark comedy, upscale trappings, and satisfying endings as hallmarks of Coben’s work. Coben’s thrillers may upend his characters’ lives, but he hews to the structures of the genre, and his plot threads unravel to weave a concrete answer to the mystery.
Fool Me Once was loosely inspired by experiences in Coben’s life: acquaintances who are veterans with PTSD, meeting a voracious reader who happened to be a helicopter pilot during a United Service Organizations tour, and the prevalence of nanny cams among his fellow parents. The life of the female pilot he met appealed to him for a change of pace. Fool Me Once is the first novel of Coben’s to be written from a female protagonist’s perspective. Of Maya, Coben has said, “She’s colder, she’s smarter, she’s tougher, she’s more removed, she’s more damaged, and her occupation has really changed her” (Orr, Amanda. “Thriller Author Harlan Coben: ‘Probably My Most Shocking Ending.’” Houston Chronicle, 22 March 2016). In Coben’s telling, Maya is a departure from his typical “warm and fuzzy characters, in the suburbs and happy to be there” (Orr). Maya is keenly aware that the suburban fantasy is not for her and that even though she loves her daughter, Lily’s conception was an accident. Even though she doesn’t wholly buy into the American Dream of white-collar, blue-chip wealth, Maya is not immune from its underbelly.
In an op-ed he wrote for The New York Times in 2008, Coben calls watching one’s children via various types of spyware “[s]cary. But a good idea” (Coben, Harlan. “The Undercover Parent.” The New York Times, 16 March 2008). Citing the dangers of social media and the amount of adult material that modern children can access, he wonders if a “watchful eye” would make a difference in extreme situations. The overarching theme of secrets connects Coben’s works, and Fool Me Once is no exception.
By Harlan Coben