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Content Warning: This section of the guide discusses suicide, death and illness, sexual content, pregnancy loss, and substance use.
Faye Heron, a successful writer and director, travels from Los Angeles to a small college town in upstate New York. She is returning to the town for the funeral of her late film professor, Professor Patrick Toner (PT). PT died a week earlier due to a sudden heart attack; since Faye now works in the television and film industry, PT was extremely impactful in her education and career development. Faye arrives late to the funeral and recognizes one of the eulogists’ voices as that of her ex-boyfriend, Henry Spalding. Henry’s voice still has a powerful, unsettling effect on her.
Outside, she is greeted by her old friend Campbell (who is PT’s nephew and Henry’s cousin) and his young son, Tookie. After departing the church, Faye reflects on her mixed feelings about the visit. It has been twelve years since she and Henry broke up, and this will be her first time seeing him. He has a wife and young children, and she is also married. She has written and directed a viral, career-making television episode based on their painful breakup. In addition to the funeral, Faye plans to attend a small ceremony where PT’s ashes will be scattered in the lake; he made this request since, years earlier, his late wife Sarah drowned herself in the lake.
Faye drives to PT’s home, where a post-funeral reception is taking place. The house is filled with memories for her, since she, Campbell, and Henry often spent time there as students. She recalls memories of PT and Sarah (who died right before they graduated). At the reception, Faye has a tense encounter with Campbell’s wife, Corrine Holland. Corrine and Faye dislike one another and Faye suspects that Corrinne envies her professional success. Many individuals from the college administration are present at the funeral, and several offer to introduce Faye to Emma King. Emma is a student at the college who recently received a prestigious writing scholarship; as part of the scholarship, she has submitted a draft screenplay to Faye for feedback, but Faye has not yet read the screenplay. Emma was also working closely alongside PT up until the time of his sudden death.
From an upstairs guest room, Faye looks out the window and sees Henry and his wife arguing in the garden. Faye returns downstairs for dinner and meets Emma. During the dinner, she observes Henry caring for his young daughters. When one of the daughters begins to have a tantrum, Henry and his family leave the event abruptly. Henry departs without ever having spoken to or acknowledged Faye.
As Faye leaves the reception, Emma insists on walking with her. Emma tells Faye that the official story of PT’s death is suspicious. She claims that she was the one to find PT’s body, not the house cleaner (as Faye was previously informed). Emma elaborates that PT canceled his classes the day before he died and emailed her to tell he had something urgent to tell her. When she arrived at his house the next day, he was dead and she noticed that his hands were covered in Band-Aids. Faye urges her to speak to the police.
Faye discovers that her rental car is blocked by Campbell’s vehicle so she must go to the local fraternity house to find him and ask him to move it. Emma accompanies her. At the frat house, Faye meets Corrine’s younger brother, Win, who is a student at the college. In an upstairs room, she finds Campbell, Henry, and a visibly intoxicated Corrine. Everyone, including Emma and Win, seems interested in the history between Henry and Faye. At Campbell’s urging, Henry offers Faye a formal apology for their past. Faye accepts, though the gesture feels forced and awkward. Henry leaves almost immediately afterwards.
In her hotel room that night, Faye attempts to log into her email but finds herself locked out after too many attempts. She emails her assistant for help. She also alludes to a message from “the person I should not be speaking to” (35) making a cryptic reference to a past meeting. As she drifts into a reverie, she recalls her sophomore year of college and her first sexual encounter with Henry. She had heard rumors that Henry engaged in kinky sexual practices with his then-girlfriend, which left her intrigued. Since she and Henry had a shared social circle at the small college, they knew each other and she began to suspect that he was also attracted to her.
At a party at PT’s house, she talked with Henry about his upcoming Thanksgiving plans. She marveled at the generational wealth shared by Henry, Campbell, and PT: Their families had adjoining lake houses in a remote location (Lake Wanika) while Faye grew up in a much more modest midwestern family. Later, Faye and Henry slipped up to a bedroom, and he initiated a sexual encounter in which she was required to obey his instructions. Faye found the experience extremely arousing and this encounter cemented her desire for Henry.
The next morning Faye makes her way to the lake for the ceremony to scatter PT’s ashes. She reflects on the sadness she felt when she learned of Sarah’s suicide after the latter suffered recurring miscarriages. She arrives at the lake at the same time as Henry does: His wife drops him off but is not staying for the ceremony. Faye shares Emma’s strange story about PT’s death, which Henry agrees is bizarre. He then reveals he has brought some of Faye’s old belongings that she left behind years ago and offers to drop them off at her hotel room after the service. Faye agrees to the plan. They meet up with Campbell and Corrine, and Faye is surprised to see Corrine seems pleased to see she and Henry together.
At the dockside ceremony, Faye delivers a moving speech about her connection to PT. She was the recipient of the same writing scholarship that Emma received, and these funds, as well as the mentorship she received from PT, transformed the trajectory of her life.
After the service, Henry and Faye drive back to the hotel in her car. She reveals that she is not immediately returning to Los Angeles: She has booked an isolated cabin nearby to spend some time finalizing a script. Henry goes to fetch the clothes he is returning to her. Alone in her room, Faye takes an urgent call from her agent, who also adds Faye’s husband to the call. Faye learns that a major actress wants to read the script for her new film. This has the potential to be a major career breakthrough, but Faye must finish the script within one week. To complete the work, Faye tells her agent and husband that she will be completely unreachable until it is done.
Soon after the call ends, Henry arrives at her room with her old clothes. He makes them both drinks and he questions her about her relationship with her husband, noting that “you’re not acting married” (66). Faye confesses she wants a divorce but fears it would ruin her. She also explains that her husband is in London on a work trip and that no one will be reaching out to her for the next week. Henry confronts her about the TV episode, asserting that her depiction of their breakup is false. As the confrontation continues, Faye grows severely disoriented and realizes that Henry put something in her drink. Henry admits that everything leading up to this moment has been a ploy to get her to trust him and agree to meet him alone.
As she loses consciousness, Henry takes her phone. Someone knocks at the door, but Henry calmly reassures them that everything is fine and Faye is too heavily sedated to cry for help.
The novel alternates between two main storylines: a present-day plotline set in motion by the inciting incident of PT’s death and flashbacks to events from Faye’s past (including her college years and her relationship with Henry). The flashbacks gradually provide information about Faye and Henry’s past, heightening suspense and tension around the events unfolding in the present-day plotline. The New England college town setting evokes classic campus novels such as The Secret History or Bunny where a beautiful setting masks sinister secrets and (often class-based) conflict.
Faye’s return to her college town symbolically returns her to a previous life stage when she was much more vulnerable and strips her of the mantle of power and success that insulates her in Los Angeles. As a college student without generational wealth, Faye compared herself to wealthier students like Campbell and Henry. Now, her Hollywood career means that she is every bit as wealthy as they are, but she continues to feel inferior. Faye’s careful observation of the “old-money” New England setting evokes her status as an outsider and introduces The Insulating Power of Wealth. She recalls telling Henry, “it’s so funny to me that PT refers to that place [the cabin] as his lake house when isn’t this [his house in the town] technically a lake house too?” (38) For Faye, the possibility of someone owning not one but two waterfront properties is unimaginable, whereas for characters like Henry and PT, it’s the norm.
As a psychological thriller, Helpless establishes hints of foreboding and sinister events in its opening chapters. Emma’s comments foreshadow that PT’s death may be complicated than it appears. Small details such as Faye being locked out of her email account become important in the subsequent plot. References to Sarah’s death by suicide set the stage for crucial plot context that will emerge later, as well as thematic explorations of feminine roles. The apparent explanation that Sarah died by suicide after struggling with recurrent pregnancy loss foreshadows Corinne’s reveal of her own struggles with infertility and is situated within the novel’s broader exploration of how women cope with secret pain and unfulfilled desires. Like the other female characters, Sarah seems to suffer because she wants something that she can’t have.
The narrative device of an unreliable first-person narrator is also a trademark of many psychological thrillers with a female protagonist. Generally, a character who narrates a text from the first-person point of view (using “me” and “I) will be emotionally compelling to readers (even if simultaneously unlikeable). Because this mode of narration provides intimate access to a character’s thoughts, feelings, and motivations, readers often feel a bond with the narrator of a text. However, this narrative structure also means that plot events are filtered through the perspective of a character who almost always has a stake in these events. Long before the reveal that the entire narrative is Faye’s pitch to a team of Hollywood executives, readers are reliant solely on her perspective and understanding. The first plot twist, in which Henry drugs Faye in her hotel room, makes it clear that Faye’s perception is not necessarily accurate: She interpreted Henry’s advances as desire because that was what she wanted them to be.
Thrillers with an unreliable female narrator such as Gone Girl and The Girl on the Train typically use this device to explore representations of memory, subjectivity, power, and stereotypes of women as less rational and less trustworthy than their male counterparts. The unreliable narrator undermines the assumption that a version of events can inherently be trusted. While some unreliable narrators may be deliberately deceptive, characters may also be perceived as unreliable because of stereotypes: For example, a female character may be perceived as more likely to be lying or exaggerating events, or a character experiencing addiction may be assumed to always be misremembering. Unreliable narrators shed light on who has or lacks power within social systems to explore the threats that women still face.
Faye’s ongoing attraction to Henry, as well as the gradual reveal that seemingly toxic dynamics animated their relationship, evokes the power of first love. Novels such as Tell Me Lies likewise explore how formative relationships and sexual encounters can linger years later. The flashback to Henry and Faye’s first sexual encounter reveals that they had an intense sexual connection fueled by Faye’s consensual submission, introducing the theme of Agency within Relationships. However, the allusions to an unflattering television episode based off their relationship hints that what began as consensual power play may have spiraled into emotional abuse.
Faye’s initial reaction to seeing Henry again is unabashed lust, not fear. Her eagerness to begin an affair (which is what she interprets he wants when he fabricates an excuse to come to her hotel room) leaves her vulnerable and directly endangers her after Henry exploits her lust and drugs her. Faye’s desire is genuine, but it makes her vulnerable to being deceived and tricked. She also inadvertently gives Henry the upper-hand by revealing that she has established expectations that she will be unreachable while she completes her script: Henry realizes that he can abduct her without anyone coming to look for her. In these initial chapters, Faye is portrayed not as helpless, but as reckless, fueled by her desire for an untrustworthy man. By drugging Faye and taking her phone, he executes the ultimate act of narrative theft, silencing her voice.



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