The Truth About The Harry Quebert Affair

Chapter 22 adds a significant metafictional element to the narrative. Metafiction is a form of narrative device whereby the author abandons the main narrative and refers to the novel itself as a construct, thus reminding the readers that they are experiencing a fictional work). The chapter contains excerpts from The Harry Quebert Affair, the book that Marcus is about to start writing. This excerpt not only moves the story forward by conveniently offering details on the rich businessman Elijah Stern, but it also stresses the artificiality of the novel we are reading. Dicker counterbalances this approach at the end of the chapter by positioning an excerpt from another fictional novel, Harry Quebert’s The Origin of Evil (at this point we still think this is his work and not, as we will later find out, Luther Caleb’s), ostensibly written in 1975.

In giving us several fictional timeframes to contend with, the author offers a more profound commentary on the nature of artistic creation. Within the fictional world he creates, the first layer consists of the events that take place in 1975; then follows “Harry’s” book, which utilizes said events for the purposes of telling a story of love and loss. The author roots both these timelines in the main story arc of 2008, from which point he also slips into the various points in the past, and, finally, into the future through excerpts from Marcus’s book, which is yet to be published. Thus, the timeframe of the novel we are reading consists of a cross-section of the past, the present, and the future, and they coexist within the narrative with the purpose of illuminating the story Dicker tells us. This only reinforces the awareness that what he shares with us is a creative construct that both sweeps us in and distances us from itself. This stylistic device is a frequent choice of postmodern writers, because their wish is that reading should become more than just passive reception of information, and more of a participative process.

Additionally, in this chapter Marcus and Perry Gahalowood form more of a partnership, as they both slide into the thrill of the investigation. It becomes clear that Marcus has a talent for discovering important pieces of information, and what helps him is that the laws and regulations that restrict Perry in his work do not bind Marcus as an amateur detective. This is another trope of detective fiction. This is why Marcus will be able to search Elijah Stern’s house surreptitiously in Chapter 19, and discover Nola’s portrait, while Perry will need sufficient evidence to obtain a search warrant from a judge to do the same thing.

Another trope of crime fiction is frequent recapitulation of events through hypotheses, conversations, reviews of evidence, and guesswork—as Perry says, “Let’s go back to the beginning, if you don’t mind” (188). The purpose of this is to keep the readers apprised of what has happened thus far in the story and to offer them a range of possible causes and consequences that often serve to add mystery to the events, so that the denouement can come as a shocking surprise.

Aside from his frequent use of foreshadowing, the author also utilizes backshadowing, especially in Harry’s comments about the Origin of Evil. Harry says, “All I did was write a book about Nola and me” (193). This statement may evoke sympathy in the readers as long as they believe he is the author of the book. However, once we later learn he has stolen the book from its writer and published it under his own name, our perspective shifts dramatically, and the shift threatens our allegiance to his character. This is why the author will later introduce a manuscript entitled The Seagulls of Somerset, which is Harry’s novel; by publishing it under Caleb’s name, Marcus can attempt to right Harry’s wrongdoing.  

Nola’s attempt to commit suicide in Chapter 21 is another example of backshadowing. Upon first reading about it, readers will naturally assume the only reason for her actions is that she cannot be with Harry and his rejecting her. However, Nola’s psychiatric disorder sheds new light on most of her actions, including her suicide attempt: The pressure of her strong emotions for Harry has brought on delusions involving her mother, and this indicates that Nola feels conflicted and in need of punishment for being disobedient.

Chapter 20 offers a diversion from the main plotline, depicting Tamara Quinn’s attempt at organizing an “exquisite country lunch” (224). The author uses the opportunity to deepen the characterization of the members of the Quinn family, all of whom have a substantial role to play in the unfolding main events of the novel. Backshadowing is at play here as well, as Tamara, Robert, and Jenny will leave strong impressions at the outset that will radically change by the end of the novel. Harry’s failure to appear at the party, which Tamara has organized to flaunt him to her friends, provides additional motivation for her subsequent actions against him.