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Content Warning: This section of the guide includes discussion of substance use, addiction, and graphic violence.
The sea, specifically the North Sea, is the first symbol to appear in I Found You. The first line is “Alice Lake lives in a house by the sea” (3). This establishes the setting, as well as how the sea represents both home and isolation for her. She is lonely and longs for romantic companionship in the small town of Ridinghouse Bay, and the sea reflects that. It also is part of her identity: her “salty seaside mama persona” (334). Alice builds a new life here, away from her home in Brixton.
For Gray, the sea is ominous. It is a site of trauma: Mark uses it to kill Gray’s sister and father. This is foreshadowed in Jewell’s use of sea imagery. For instance, Mark leaves the Ross family “once again windswept and unsettled in his wake” (112). This metaphorical use of the sea is a clue to Mark’s violent use of the sea later. Gray also sees Mark look “out to sea for a moment before suddenly and fearsomely kicking the seawall” (129). This more directly links the sea with his violence. The last time Gray sees his sister, she “had disappeared into the North Sea with a psychopath” (260). When Gray is looking out at the sea, wondering about her fate, next to his dead father, he loses his memories of the trauma.
When Gray loses his memory and becomes Frank, “He returns to […] the beach, staring out to sea as though waiting for the ocean to bring him something” (56). He hopes that the sea holds answers. Alice finding him on the beach is a rebirth. In her seaside home, he recovers memories and gains love.
Maps are a crucial element in Alice’s art. Their use represents her creative powers. This choice of medium started with her dad’s large road map: she “used to leaf through it on long journeys […] Dad gave me his old car when I was eighteen and when I sold it a few years later I found the old road map in the glove compartment” (81). In her early twenties, Alice makes a likeness of Jasmine with this old map.
Later in life, her map art becomes her livelihood. Maps represent her life’s plan. They are how she pays her bills, and they help provide security. For the people who buy her art, her maps made into flowers, the maps represent their love for the person they are giving the art to. She worries about the end of her relationship with Frank, thinking “it’s sitting on the horizon and she doesn’t like the look of it at all. It looks cruel and mean. It looks like her, sitting alone in her room, cutting up maps to make art for people to give to people they love” (197). When Alice is single, the maps symbolizing love between other people makes her feel lonely.
However, when she is reunited with Frank at the end of the novel, she uses maps to make a piece of art for his mother: a dancing peacock. Alice uses maps of where she imagines Kirsty might have gone had she lived. Alice had an “idea that [she] could somehow re-create [Kirsty’s] lost life. Give her the history she never had. Make something real” (339). Here, maps symbolize remembering the dead.
Alice chooses a peacock for her art piece because it holds symbolic significance for Frank. He and Kirsty saw the peacock at Kitty’s house multiple times. The first time, Jewell uses a simile to describe it: “On the lawn, fluttering its iridescent fan of feathers like a showgirl, stood a peacock” (77). She compares the bird with a performer, or stage persona. Mark uses Kitty, her house, and her peacock, to put on a show to dazzle Kirsty. Here, the bird represents wealth.
On a different day, Gray has a hallucination of a peacock’s fan while high on ecstasy. His “head swam with kaleidoscopic images, changing, moving, diverging, and converging, and then pulsating in time to the music into what he suddenly realized was the unfurled fan of a peacock’s tail” (174). This happens when he kisses Izzy. The peacock temporarily represents the joy of his first kiss, heightened by the drugs.
Later that night, Gray and Kirsty have a bonding experience with the peacock. They sit outside the party, still high, and Kirsty declares that the “peacock is dancing!” (184). The drugs also cause Gray and Kirsty to declare their platonic love for one another. This is their last happy moment before Mark assaults and kills Kirsty. The peacock symbolizes their love and connection in the end. This is why Alice makes maps into a peacock for Gray’s mother for Kirsty’s funeral.
The fourth key symbol in I Found You is hands. Alice and Frank think his hands symbolize different things. Alice believes Frank has “Good hands. Good wrists” (51-52). They are an extension of what she perceives as his internal goodness.
Frank unconsciously touches the wrist that Mark broke in 1993 from time to time. For example, “He massages his right wrist with his left hand” (73). Mark breaking Gray’s wrist meant Gray couldn’t swim into the sea to save Kirsty, nor could he perform CPR to save his father. Broken, his hand symbolizes his helplessness in the face of tragedy, even on a subconscious level.
Frank also has confusing flashes of memory in which his hands enact violent revenge. He vaguely recalls strangling Mark after remembering how Mark killed Kirsty, and this causes him to gaze at his hands. Derry comments on this: “‘Did you kill him? You keep looking at your fingers’—she glances down at his hands—‘like you don’t recognize them. Like they don’t belong to you’” (294). The person who avenged Kirsty is the Gray layer of Frank’s personality. He dissociates from this person when he loses his memory.
After Frank receives psychiatric care and begins to identify as Graham, instead of Gray, his hands become his own again. When Graham and Alice meet before Kirsty’s funeral, Graham “smiles and finally his hand reaches across the table for hers” (338). His hand becomes a symbol of their love at the end of the novel.



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