54 pages • 1-hour read
The Obsession
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Themes
Content Warning: This section of the guide includes discussion of death and emotional abuse.
Redefining Identity in the Shadow of Infamy
In The Obsession, Nora Roberts argues that true identity is not a permanent stain inherited from family but a deliberate creation forged through moral courage and personal choice. The novel follows Naomi’s journey from being the daughter of a notorious serial killer to becoming a self-defined individual, suggesting that while one’s past is inescapable, it does not have to dictate one’s future. Through Naomi’s persistent efforts to build a new life, Roberts illustrates that the self can be reclaimed and redefined, even in the shadow of profound trauma and infamy.
Naomi’s primary strategy for escaping her father’s legacy is to actively construct a new identity. She legally changes her surname from Bowes to Carson, her mother’s given name, and adopts an itinerant lifestyle to outrun the notoriety that follows her. This physical and legal separation is mirrored by her professional life as a photographer, a career that provides a powerful metaphor for her quest for self-determination. By controlling the camera, Naomi reframes the world, choosing her own subjects and compositions. This act of framing is a direct inversion of her childhood experience, where she was framed by the media and her father’s crimes. Her photography is not merely a job but a tool of empowerment, allowing her to shape her own perspective rather than being a passive subject in someone else’s tragic narrative.
Naomi’s struggle for self-definition is starkly contrasted with her mother Susan’s inability to escape her past. Susan remains psychologically tethered to her husband, telling Naomi, “He’s your daddy, he’s your blood” (26), a statement that reflects her belief in the unchangeable nature of family identity. She cooperates with tabloids and the author Simon Vance, further commodifying her family’s trauma and reinforcing her role as the killer’s wife. Unlike Naomi, who fights to create a future, Susan remains trapped in the past, with her identity subsumed by her husband’s monstrous one. This juxtaposition highlights that redefining the self requires a conscious and often painful rejection of assigned roles. Ultimately, Naomi’s journey shows that while the past cannot be erased, its power can be neutralized through acts of will and the courage to forge an identity based on one’s own values and choices.
The Risk and Necessity of Vulnerability
The Obsession posits that while trauma engenders a protective instinct for isolation, true healing and safety are only found when those who have been traumatized embrace the risk of vulnerability. The novel traces Naomi’s gradual transformation from a fiercely independent and emotionally guarded survivor into a woman capable of love and trust. Her journey illustrates that meaningful human connections are essential to overcoming the isolating effects of the past.
Naomi’s initial defense against further pain is self-imposed solitude. Haunted by her family’s dark history, she builds walls around herself, viewing isolation as the only true form of safety. This is evident in her conscious decision to avoid putting down roots and developing deep emotional attachments. Having witnessed the destructive nature of her parents’ relationship, she associates intimacy with danger and control. Her resolution that she “[i]sn’t ready to be touched” and might never be reflects a deep-seated fear of vulnerability (49). This emotional armor, forged in childhood trauma, protects her from being hurt but also prevents her from forming the connections necessary for healing, leaving her perpetually on the run from both her past and the possibility of a future.
Naomi’s healing begins when she starts to dismantle these walls and allows herself to be vulnerable. Her relationship with Xander challenges her fear of intimacy, forcing her to slowly learn to trust another person. This newfound connection is bolstered by the unconditional love and support she receives from her uncles Seth and Harry and, later, her friends Jenny and Kevin. When she finally reveals her past to them, she risks rejection but instead finds acceptance, a crucial step that allows her to integrate her history rather than be defined by it. Through these relationships, Roberts contrasts the possessive, damaging dynamic of Naomi’s parents with the nurturing power of a chosen family. By accepting the love and support of others, Naomi discovers that true safety lies not in isolation but in the strength found in mutual trust and vulnerability.
The Invasion of Privacy and the Spectacle of Trauma
The Obsession critiques a culture that consumes personal tragedy as entertainment, illustrating how public fascination with crime can transform private suffering into a public spectacle that obstructs healing. The novel contrasts the media’s exploitative gaze with Naomi’s attempt to reclaim her own story, highlighting the crucial battle for narrative control in the aftermath of trauma. Roberts argues that the commodification of pain not only violates survivors’ privacy but also actively hinders their ability to move forward.
The novel portrays the media and its consumers as voracious forces that feed on Naomi’s trauma. Susan facilitates this exploitation by cooperating with tabloids and the author Simon Vance, whose book Blood in the Ground turns their family’s nightmare into a commercial product. This culminates in the movie Daughter of Evil, which triggers Naomi’s trauma by broadcasting her most painful memories for public consumption. This external focus on her past constantly threatens to erase the new identity that she has worked so hard to build. The exploitation is not limited to mass media; it also occurs on a personal level. Her high school acquaintance Anson Chaffins attempts to blackmail her for her story, promising to keep her identity a secret if she gives him an exclusive. He tells her, “I want you to tell me the story” (74), revealing his desire to use her pain for his own professional gain. These invasions of privacy underscore how a tragedy can be stolen from those who lived it and repackaged as a consumable good.
Against this backdrop of exploitation, Naomi’s career as a photographer becomes an act of defiance. By stepping behind the lens, she reclaims the power of the gaze, shifting her narrative from the object of public scrutiny to a perspective she can control. Her photography allows her to frame the world on her own terms, a stark contrast to the way the media frames her as the daughter of a serial killer. Her first act of agency begins when she writes her own story for The New York Times, and her ultimate act of agency occurs when she voluntarily tells Kevin and Jenny her true identity toward the end of the book. In this way, she seizes control of her narrative, presenting it with both dignity and truth. Through these acts, Roberts suggests that the right to tell one’s own story is a fundamental component of healing. The novel thus serves as a powerful critique of the true-crime genre, advocating for the protection of privacy and the recognition of the human cost of turning suffering into a spectacle.
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