53 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of death, emotional abuse, physical abuse, and death by suicide.
As a domestic thriller, this novel builds tension and drama through lies and deceit that are enmeshed in the familiar comforts of everyday life and driven by people closest to the protagonist.
Ray Cafferty exemplifies the turmoil of malicious familial deception. Ray hides his true nature for years, getting both Ariel and her mother to depend on him both personally and professionally. Personally, he stands as a seeming antithesis to his abusive brother, Edward, allowing Ariel’s mother to believe that a romance with Ray will lead to the loving relationship she never had with his brother. Professionally, Ray takes over the family company Chime Co. under the guise of caring for Ariel and her mother. He frames his control of the firm as sparing them the trouble of doing so, enabling Ariel to have an undemanding job and preserve time and energy for glass blowing; likewise, her mother is free to spend her time daydreaming about her wedding. When Ray’s real personality comes to light—exposing him as a greedy, conniving man who killed his brother to frame him for his own misdeeds—it destroys the family and threatens the lives of the people who most trusted him.
The novel also features a more nuanced version of the domestic deceiver: Jay Marker, whose months-long impersonation of programmer Drew doesn’t preclude him from romancing Ariel, the daughter of the owner of the company that Jay is investigating for criminal activity. Despite Jay’s noble motivations—the desire to bring police officers like Amina’s tormentor to justice—and his feelings of guilt, he continuously lies to Ariel throughout their relationship. He even goes so far as to leverage her access to company files against her, sneaking onto her laptop while she is asleep. In some countries, Jay’s decision to have sex with Ariel in his disguise as Drew would be considered sexual assault because she does not have enough information to give full consent for the encounter. However, the novel does not dwell on these moral quandaries; rather, it positions Jay as a suitable romantic partner for Ariel despite his aptitude for lying.
Finally, Ariel herself practices familial dishonesty when she lies to her son, Buzz, about his father to protect him. Moreover, her experiences with the deeply untrustworthy Ray do not seem to impact her ability to trust others in her orbit, as she happily reunites with Jay and believes in his immediate willingness to become a father and husband after five years apart. The novel thus does not wholeheartedly condemn lies within close personal relationships; instead, it argues that what matters more is motive.
In the novel, the impact of technology on personal lives is multifaceted. The novel’s plot hinges on the misuse of technology that is trusted to make homes safer, as unscrupulous actors use access to ostensibly secret information to victimize the vulnerable via invasion of privacy. Chime Co. markets its cameras as protection, something that Jay believed when he purchased them for his foster family; in fact, greedy insiders use them to trade private footage for personal gain. At the same time, even accidental mishaps with technology imperil relationships: Text messages delivered five years late sow chaos.
While the novel’s main antagonists are a malicious Chime Co. owner and his employee, the company’s product is suspect even when used correctly. Chime Co. emphasizes its contribution to safe neighborhoods, hiding the reality of how freely police departments can access footage without oversight or limits. Lulled into a false sense of security, Ariel doesn’t think twice about where her trust fund wealth comes from; she considers her job a boring necessity to enable her glass blowing until she is forced to account for her uncle’s actions. The harm caused by an evil predator like Ward is easy to understand; however, the novel also asks readers to consider the more pernicious effects of commercializing and outsourcing technology in sowing neighborhood fear and distrust.
Layered over this atmosphere of constant surveillance are the crimes of evildoers like Bryan Zarkey and Ray Cafferty. Bryan points out that his drug dealing and blackmailing are enabled by the fact that people quickly forget about being on camera. This allows him to capitalize on private information on behalf of Ray, who is eager to sell access to Chime Co. footage. The most devastating effect is on Amina, whose recorded sex life becomes fodder for Ward’s exploitative harassment and sexual assault and leads to her death by suicide. Less dramatically, when Ariel learns about her uncle’s role in issuing fake warrants for camera footage, she tries to escape, only to have Chime Co. security cameras track her.
Other devices are also implicated to some degree. When a malfunctioning cell phone tower releases messages, one of them prompts Ariel into investigating Drew/Jay’s disappearance, but another almost destroys the marriage of Larri and Tara. Although Tara has assured Larri that she is no longer using drugs, Larri is more willing to believe the seeming appearance of Tara’s former drug dealer in the text message than what her spouse is telling her. Overreliance on the supposed objective nature of technological information leads to a breakdown of trust between the couple. The unintended messages emphasize how dependent we are on technology, which sometimes glitches with potentially disastrous results.
The end of the novel does not address the issues it has raised. After Ray’s arrest, Chime Co. continues to manufacture and sell its door cameras; neither Ariel nor her mother considers the ethics of maintaining this business. The devices and systems that have betrayed characters are so entangled in daily life that no one remembers the threat they pose or changes anything about their lives to adjust.
The actions of all the novel’s antagonists result from the fact that greed spurs immorality. The desire to have more material gain justifies the malicious actions of Ray, Bryan, and Ward.
As befits his own comparison of himself to Claudius from Shakespeare’s Hamlet (See: Symbols & Motifs), Ray is the strongest negative example of the theme. His need to run the family company Chime Co. without the influence of his brother, Edward, leads him to frame Edward for his shady business dealings and then to murder him in a way that suggests suicide. Similarly, Ray’s desire to have Edward’s wife to himself drives his years-long deception, as he pretends to be a kind and warm man in opposition to his abusive brother. Ray’s greed is so overpowering that he justifies away any negative consequences from his actions; he risks the very family he has schemed to obtain—Ariel, her mother, and Buzz—in his endless craving for more.
Similarly, Bryan, or Brainz, is also motivated purely by greed. His point-of-view chapters fixate on his desire for money; he kills, deals drugs, and sets up illegal and false transactions to enable increased profits. Brainz’s narrative perspective allows readers to see his callous and amoral attitude toward others. Ward, a minor character, is a mirror of Bryan; his horrific mistreatment of Amina shows firsthand just how warped Bryan’s mindset is: Even the death of a teenager as a result of his criminal activities doesn’t cause him to reconsider his plans.
In contrast to characters driven to evil by greed, the novel tries to offer the counterexamples of protagonist Ariel and her love interest, Jay. However, this moral opposition isn’t completely satisfying. While Ariel is presented as not motivated by money or power, her inheritance and trust fund enable her rather carefree lifestyle: She slacks off at work, knowing that she will never be fired from her family’s company, and indulges in her hobby of glass blowing. More believable as a selfless character is Jay, who gives up his own life, work, and the woman he loves in service of justice. The novel ends by punishing greed and rewarding self-denial: In The Five Year Lie, the antidote to overwhelming greed is love.



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