46 pages • 1 hour read
Susan ChoiA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In the present day, Claire has an online conversation with a "listener," who is like a therapist. She is discussing a recent event she is sorry she went to. Before she went, she was nervous. Once there, she was among thousands of people attending. She wonders if she set herself up for disappointment, but knows she wanted to feel like she was doing something about an undisclosed problem. She signs off quickly, then reopens her computer to rate and pay her listener. Claire recalls more details from the event as she rewatches a tribute video to someone's life online. This was in a new building; she recalls visiting the older building three years ago, though she has not yet revealed what this older building was. She had hoped that something would happen at the event, as many people will be there, though what she hopes for is unclear.
Thinking back to a conversation with her mother, Claire remembers how upset she was. Her mother had realized that Claire was likely to want more; later, it is revealed that this is finding her birth parents. Her mother tells her that she understands: Dad and I can't be everything to you" (239). Claire is uncomfortable with this, as they have been good parents. Her discomfort is vaguer; she believes that her parents failed to give her "The Look" (239). She does not feel seen by them. As Claire watches the tribute video at the event, she scans through the children in the pictures with their theater teacher, Lord. However, she does not find what she is looking for. The current principal makes an announcement that with the support from the Lewis Family Foundation, the school will now be renamed the Robert Lord School for the Arts. A man nearby in the audience tries to talk to Claire, but this makes her uncomfortable, and she leaves.
Claire remembers three years earlier, when she'd tried but failed to make an appointment with Lord. When she finally got an appointment and arrived at school, the administrators were surprised, attributing it to an older administrator: "It must have been Velva" (244). Claire received a visitor's badge shaped like a theatrical mask, and a young girl walked her to Lord's office. There, Claire struggled to interview him. She was surprised by him, finding him more masculine and aggressive than she'd anticipated. She had a hard time speaking, and he made a joke about her name; "Claire" means "clear." Claire gave him a letter she wrote in advance. The letter explained that she (under the name "Evangeline") was born in January 1985 to a 16-year-old girl who had been accepted to a prominent performing arts high school. The father was listed as someone who is "on the paternal side German, also many generations in this region" (246).
Lord challenged the document, stating it wasn't clear what region the letter referred to. However, Claire knew it was their region because of the file, and became sure that it referred to this school. She tried to clarify the facts for him, but Lord refused to accept them. She made excuses to herself about him because of his age. He tells her that he couldn't violate the student's privacy even if he had known her, which he doubts. Claire left, unsatisfied.
Six months earlier, Claire's mother had died, leaving Claire her adoption file. Feeling guilty about researching her birth parents, she makes a nicely presented copy of her father's beloved farm journal for him. Later, she receives a call from an unknown number. It is Lord, telling her he regrets not sharing more information with her, but couldn’t share it at school because of protocols. He invites her to lunch at a restaurant, and he accepts. Later, he changes the invitation to dinner at his home: "Sofie and I can treat you to a much better meal here" (251). This reassures Claire, who assumes Sofie is his wife and considers what type of person Sofie could be.
Claire meets Lord at his high-rise apartment. Claire asks after Sofie and learns that she is Lord's housekeeper. Lord is divorced, with two grown sons. Claire doesn't enjoy the dinner, growing increasingly uncomfortable and nauseous. Lord invites her to get some fresh air on the terrace, but when they go out, he pushes himself on her, kissing her aggressively. She pushes him off, and he begins to shame her, telling her, "We seem to have had a misunderstanding," and, "You've embarrassed me" (255). Claire apologizes to him and runs downstairs, focusing on her need to urinate. The following day, Claire spends $200 on Listeners, making different plans for how to deal with the situation, but doesn't have a definitive answer.
Three years later, Claire has continued following the school for performing arts on Facebook. There, she learns about the death of Velva Wilson, secretary at the school. Later, she sees a post that the school will change its name due to an accusation of sexual abuse against Lord. Claire remembers that during her visit to the school, she forgot to return the visitor badge. Returning to the main office, she met Velva, who appeared shocked to see her and told her to come closer. She noted that Claire must be more than 20 years old. Claire said that she was 25. Velva asked her name, and Claire told her. However, Claire does not realize the significance of this exchange until after the school has renamed the building. Then, it is too late, as Velva is already dead.
While the first section of Trust Exercise shifts back and forth between past and present and the second section shifts between first and third person, the third section does not play with these formal devices. Instead, it works on the reader through a gradual revelation of facts—shifting our belief in what "actually" occurred, rather than how the story is told. Choi signals this change by opening with untagged dialogue that could be read as an internal monologue (though is revealed not to be), almost as though the narrator is arguing with herself. However, Choi then evokes this internal conflict using a third-person, past-tense narration for the rest of the section as she plays with belief, rather than form.
The third section of Trust Exercise complicates our understanding of the truth by playing with blurred identities. As Claire visits Lord, her note does not make it clear whether her birth mother was Sarah or Karen. However, it does say that the father is from their region and of German descent—in other words, it is not Martin. Velma's reaction to Claire also implies that Lord is her father. Thus, if Karen is Claire's birth mother, Lord, not Martin, is likely her father. On the other hand, Karen implied in the second section that Sarah had the affair with "Mr. Kingsley," the pseudonym she used for Lord; therefore, it is possible that Karen and Sarah are the same character. Choi provides no clear-cut answers or interpretations. In doing so, she drives home the theme of the pervasiveness of sexual abuse. Whether Lord abused one girl, whether Martin, Liam, and Lord abused three—or some combination of these stories—Choi argues that such abuses are so common that it almost doesn't matter. They all could have happened, because events like this occur constantly.
Unreliable narrators also appear in this section. Claire tries to explain her situation to the Listeners but gets different reactions from all of them. She does not know the whole story for much of this section—and even when the facts are revealed to her, at the end, Choi has already thrown so much into question for the reader that we wonder what she can truly believe. Lord proves himself as an unreliable storyteller as well, in addition to being thoroughly despicable, claiming not to have known Claire's mother when he likely did and misrepresenting the dinner at his home. Even the school is an unreliable narrator, casting Lord as a benevolent teacher in his memorial video. In this section, Choi is not as kind to unreliable narrators as she was in earlier sections; while Claire is grappling for an answer, Lord and the school lie for their own malevolent purposes. They have understood the power that comes from telling a story with authority, while Claire is still struggling. Even Lord's "true" name shows the power that he has claimed for himself.
While Lord's attempted assault on Claire provides another example of sexual assault, the lack of consent in this case is more clear-cut than in either Sarah's or Karen's. In putting the three stories in sequence, Choi asks the reader where the line is in terms of consent, implying that in all three cases, this line was crossed. Though Claire's is the only case that many people would traditionally qualify as assault, Choi uses Sarah and Karen's stories to show the various levels of trauma that other more insidious kinds of assault can lead to. Furthermore, even Claire—who is not interested in Lord sexually, and who is likely his daughter—finds herself apologizing and trying to appease his ego as she leaves the rooftop. In other words, she feels some level of guilt for his actions. This draws a parallel with Karen's story, as Karen was left to deal with the consequences of Martin's choices, as well as her own when she was too young to make them responsibly.
Finally, Claire's relationship with her adopted mother informs the reader's understanding of complex female relationships. While Claire loves her mother, she still feels that something is lacking in their relationship. It is this lack that drives her to search for her birth mother. She describes this in terms of vision, a lack of being seen as she wants to be seen. Choi thus connects the theme of female relationships to the theme of performativity as protection: Claire believes that if she can find someone who sees her correctly, she will finally be worthy. This is similar to Sarah's belief that being cast as a star will change her self-conception, or "Karen's" frustration with "Sarah's" presentation of her. In every case, the women are seeking something from their relationships with other women that the world at large has failed to give them.
By Susan Choi