The Unknown

Riley Sager

The Unknown

Riley Sager
61 pages2-hour read
Fiction
Novel
Adult
Published in 2026

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Background

Content Warning: This section of the guide includes discussion of death by suicide, sexual violence and harassment, child abuse, racism, gender discrimination, mental illness, suicidal ideation, and self-harm.

Cultural Context: The #MeToo Movement and Hollywood Exploitation

The #MeToo movement emerged as one of the most significant cultural reckonings of the 21st century, though its origins predate its viral moment by more than a decade. The phrase “Me Too” was originally coined in 2006 by activist Tarana Burke, a Black woman working with survivors of sexual violence in marginalized communities. Burke intended the phrase as a tool of solidarity and healing, particularly for young women of color who had experienced sexual abuse.


The movement achieved global prominence in October 2017 when actress Alyssa Milano encouraged women to tweet “#MeToo” if they had been sexually harassed or assaulted, following the publication of investigative reports by The New York Times and The New Yorker detailing decades of allegations against film producer Harvey Weinstein. Within 24 hours, the hashtag had been used more than 12 million times on Facebook alone. The revelations about Weinstein, who was ultimately convicted of criminal sexual acts and rape in 2020 and sentenced to 23 years in prison, triggered a cascade of accusations against powerful men across industries, including actors Kevin Spacey and Bill Cosby, chef Mario Batali, journalist Charlie Rose, and Today Show host Matt Lauer.


The movement exposed what had long been an open secret in Hollywood: the “casting couch” culture, a euphemism dating back to the earliest days of the studio system in the 1920s, in which producers, directors, and executives leveraged their gatekeeping power over careers to coerce sexual favors from aspiring performers. Historical accounts of studio moguls such as Harry Cohn and Darryl F. Zanuck established a template of exploitation that persisted for generations, protected by non-disclosure agreements, industry blacklists, and the destruction of any accuser who spoke out alone.


One of the most striking features of the #MeToo movement was the strategic power of collective testimony: Accusers discovered that speaking together lent credibility that individual voices had been denied, and investigative journalists frequently corroborated stories by locating multiple survivors with strikingly similar accounts. The movement also spawned Time’s Up, a legal defense fund launched in January 2018 by hundreds of women in entertainment to support survivors pursuing justice, and it prompted legislative reforms around non-disclosure agreements, workplace harassment policies, and statute-of-limitations laws in several states.


Critics have noted the movement’s uneven reach. Its early beneficiaries were disproportionately white and famous, while the low-wage workers whom Burke originally sought to serve remained comparatively invisible. However, its reshaping of public discourse around consent, power, and accountability is undeniable. Within this cultural landscape, the novel situates Ronan Peters, its “hottest director in Hollywood” (12), as a recognizable archetype, and its central revenge plot, in which Violet Wright and her colleagues unite “to make Ronan pay for what he did” after his secret recordings led to the suicide of Elise Haines (283), translates the collective strategies of real-world accusers into fictional retribution.

Medical Context: Dissociative Identity Disorder

Dissociative identity disorder (DID), formerly known as multiple personality disorder until its renaming in the fourth edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM) in 1994, is among the most controversial and misunderstood conditions in modern psychiatry. The current, fifth edition of the DSM defines DID by the presence of two or more distinct personality states, or “alters,” that recurrently assume executive control of the individual’s behavior, accompanied by significant gaps in the recall of everyday events, personal information, and traumatic experiences that cannot be attributed to ordinary forgetfulness. The American Psychiatric Association identifies DID as fundamentally a trauma-response disorder, noting that “overwhelming experiences, traumatic events, and/or abuse occurring in childhood” are the primary etiological factors (Spiegel, Dave. “What Are Dissociative Disorders?American Psychiatric Association, Oct. 2024).


The prevailing clinical model, sometimes called the trauma model or the theory of structural dissociation, holds that young children (typically before the age of six or nine, when personality integration normally consolidates) exposed to severe, chronic, and inescapable abuse may fail to develop a unified sense of self. Instead, the child compartmentalizes intolerable experiences into separate identity states, each holding distinct memories, affects, sensory perceptions, and even physiological markers such as differing handwriting, allergies, or visual acuity. Alters may take many forms, including child alters frozen at the age of trauma, protector alters who manage threats, persecutor alters who internalize the aggressor, and host alters who function in daily life while remaining amnesiac to the abuse.


The disorder gained significant public attention through Flora Rheta Schreiber’s 1973 book Sybil and Corbett H. Thigpen and Hervey M. Cleckley’s 1957 book The Three Faces of Eve, though both cases have since been the subject of scholarly reappraisal and, in Sybil’s case, accusations of therapeutic confabulation. The “memory wars” of the 1980s and 1990s produced fierce debate between clinicians who accepted DID as a genuine trauma sequela and skeptics who argued that it was “iatrogenic,” produced by suggestive therapy, hypnosis, and cultural expectation. Contemporary research using neuroimaging, however, has documented measurable differences in brain activity, connectivity, and hippocampal volume among individuals with DID, lending support to the trauma model.


Treatment typically involves long-term, phase-oriented psychotherapy aimed at stabilization, processing of traumatic memory, and eventual integration or cooperative functioning among alters. Comorbid conditions including post-traumatic stress disorder, depression, self-harm, and suicidal ideation are common, and diagnosis is frequently delayed by years or decades. Within this clinical framework, the novel positions Azra Kovacic, whose alters, including the dominant Daisy Rue and the figures of Katrina, Jonquil, and Phoebe, emerge in response to the paternal abuse she survived. Azra’s case is documented in Mrs. Semple’s journal observations: “Daisy’s madness would quickly become apparent” as she conversed with “invisible acquaintance[s]” (331).

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