56 pages 1-hour read

Too Old for This

Fiction | Novel | Adult | Published in 2025

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Chapters 1-18Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of gender discrimination, graphic violence, and death.

Chapter 1 Summary

Late one evening, Lottie is visited by Plum Dixon, a young docuseries producer. Lottie reluctantly lets her in and serves tea while studying her guest.


Plum explains she is making a show about Lottie’s past crimes and will proceed with or without her cooperation. Lottie feigns interest and asks to see clips of Plum’s work. While Plum is distracted by her phone, Lottie takes an umbrella and prepares to strike her from behind.

Chapter 2 Summary

Lottie strikes Plum twice, bags her head with plastic, and cleans the kitchen floor. She finds Plum’s phone and laptop in her car and recognizes the risk of tracking.


She drives Plum’s car to the Salem airport, crushes the electronics under the wheels, and discards them in a public trash can. She takes a taxi home. Back in her garage, she moves Plum’s body into a chest freezer and plugs in her rechargeable chainsaw.

Chapter 3 Summary

The next morning, a brief feeling of regret vanishes after Lottie listens to a voicemail Plum left earlier. She cleans the kitchen floor again before going to the garage to begin dismembering the frozen body.


Her son, Archie, calls to announce that his younger girlfriend, Morgan, is pregnant and they plan to wed. Lottie claims she is gardening and ends the call, then returns to the dismemberment.

Chapter 4 Summary

Lottie wraps the remains in butcher paper, labels the packages as cuts of meat, and stacks them in the freezer. She burns Plum’s belongings in her fireplace but keeps a file from Plum’s bag labeled with Lottie’s birth name, Lorena Mae Lansdale. She reads the first page of the file, which describes her life as tragic, before stopping to take a nap.


That evening, Lottie begins burning Plum’s remains, noting the patience and practice it takes to do so correctly. A voicemail arrives from Cole Fletcher, Plum’s boyfriend. Lottie calls him back and lies that Plum left around nine o’clock, mentioning she was leaving town. She resumes burning the remains, adding rosemary to the fire to mask the odor.

Chapter 5 Summary

Days pass, and Lottie worries she missed something. She pulverizes the last bone fragments into ash and puts the residue into a metal bucket. That evening she attends her regular Thursday church bingo to settle her nerves.


Glenda, the event coordinator, criticizes her spinach dip. Lottie joins her friends, Sheila and Bonnie, who spike her punch. Lottie shares Archie’s news, and the women compare their children’s choices while she maintains her composed facade.

Chapter 6 Summary

After bingo, Lottie finds no news about Plum. On Sunday, Cole Fletcher knocks on her door. Before answering, Lottie retrieves a walker from a closet to appear frail. She invites him in for tea and cookies.


Cole says police found Plum’s car at the airport and now view him as a suspect. He describes Plum’s mission to help the wrongly accused. Lottie expresses concern and asks gentle questions to gather details while reinforcing her harmless image.

Chapter 7 Summary

That evening, Lottie reviews Plum’s file and an old, unflattering newspaper photo of herself. The photo triggers a flashback to 1985 Spokane, where Detective Kenneth Burke interrogates her as Lorena Mae Lansdale about three murders. He shows her graphic crime-scene photos and mixes up details to trip her, but she remains silent.


When Burke asks about her son’s father, Lottie reacts with revulsion but still says nothing. The police let her go. In the present, she regrets only that she did not dispose of those bodies more carefully.

Chapter 8 Summary

The following week, Lottie visits Sheila’s house to test potluck recipes. The smell of cooking meat reminds her of the recent burnings. She reflects that she had retired from killing because it became a chore, but Plum forced her back. They also discuss a birthday gift for Noah, Lottie’s grandson.


After they finish, Lottie gives Sheila a tin of ashes from her fireplace, calling it fertilizer for the lawn. The ashes are Plum’s remains, and Lottie leaves, satisfied she has disposed of more evidence.

Chapter 9 Summary

A week or two after Plum’s disappearance, a news report announces the official investigation. Detectives Rey Tula and Kelsie Harlow arrive at Lottie’s house. Using her walker, Lottie repeats a careful timeline. To steer suspicion toward Cole, she adds that she just remembered a bruise on Plum’s temple.


Lottie also claims she noticed Plum’s earrings, adding a concrete detail. Tula and Harlow take notes and thank her. Lottie is satisfied that her performance has guided their focus.

Chapter 10 Summary

Immediately afterward, Lottie refines her lie, adding a curling-iron burn on Plum’s arm. She excuses herself to get tea, offering to come back for more questions. However, the detectives seem to take her bait about Plum’s injuries and leave.


She takes a bath, replays the interview, and wonders if the detectives know her true identity. She recalls being cleared in 1985 and suing the city of Spokane. The settlement, which funded her house, can serve as proof of past innocence.


She makes a to-do list and resolves to call Stephanie, her ex-daughter-in-law. The act of planning calms her.

Chapter 11 Summary

A frustrating grocery run with rude teenagers reminds Lottie of Gary. In a flashback to when she was 28, she meets Gary and goes to his house. After they shower, he mocks her for being unmarried and childless. Enraged, Lottie trips him, and he dies after striking his head on the faucet.


She stages the scene to look like an accident and leaves. Authorities rule the death accidental. Lottie feels relief, not grief, and discloses that Gary is Archie’s father.

Chapter 12 Summary

While cooking, a telemarketer named Jax calls. Lottie flips through the 1985 evidence list from Plum’s file and recalls killing Marilyn Dobbs and Paul Norris. Marilyn was Archie’s substitute teacher who judged Lottie, insisting that Archie needed a “father figure” at home. Paul owned the local grocery store and used to follow her around, watching for her to steal something after Lottie was once short on money to pay for her groceries. Each time she killed, it was fueled by anger that wouldn’t subside. She confronts Jax about his predatory tactics, but he responds with ageist contempt and hangs up.


At bingo, her dish earns praise, but she keeps thinking about Jax. The unresolved anger lingers.

Chapter 13 Summary

The next day, Lottie fails to reach Jax through an automated phone system. Detective Kelsie Harlow arrives alone, dressed in workout clothes. Lottie serves coffee and maintains her frail persona. Kelsie reveals a problem with Lottie’s story: Plum appears on no flight manifest out of Salem.


Kelsie says that without proof of a crime, the case stalls, and Cole remains the only suspect. She tests Lottie’s recall of the bruise and burn locations. She admits the visit is on her day off because the case frustrates her, then leaves.

Chapter 14 Summary

Kelsie lingers in the kitchen before leaving, accepts more coffee, and scans the room. She reveals her tactic: She showed Lottie’s and Plum’s photos to airport staff, and no one recognized either. Lottie keeps her composure, recognizing Kelsie is just looking for a reaction from her. After Kelsie leaves, Lottie writes down her license plate number, reminding herself not to panic.

Chapter 15 Summary

After a nap, Lottie calls her ex-daughter-in-law, Stephanie, in the afternoon. She vents about Archie’s new life and makes passive-aggressive comments about visits with the grandchildren.  The conversation exhausts Lottie, who thinks about how she will always be loyal to her son after everything they went through.


In a brief flashback, Lottie recalls changing their names after moving. A young Archie, bullied over his mother’s past, decided the bullies must have a mental disorder. The conclusion freed him from blaming her, and Lottie holds on to that loyalty.

Chapter 16 Summary

A few days later, Lottie is beginning to relax after there are no more news stories about Plum. However, Kelsie then visits her again. She shows her a photo she took of Lottie walking in a parking lot without her walker. Lottie provides a quick excuse.


Kelsie drops the polite tone and produces an old newspaper headline naming Lottie as Lorena Mae Lansdale, the “Lady Psycho Killer.” She states she knows Lottie killed Plum to protect this secret. Lottie notes that Kelsie is operating alone, and Kelsie confirms it is a “shakedown.”

Chapter 17 Summary

Kelsie demands $50,000 within one week or she will expose Lottie’s identity. After Kelsie leaves, Lottie imagines killing her and hears the remembered sound of her father hitting baseballs—the same sound Gary’s head made. Lottie starts to plan.


At Thursday’s church social, she fears exposure. She wins a raffle for a spa facial but turns away when Glenda tries to take her picture for the church newsletter.

Chapter 18 Summary

During the week the money is due, Lottie can raise only $9,000. In disguise, she follows Kelsie and discovers she lives in her grandmother’s cottage. She learns the grandmother is in an expensive nursing home, which explains Kelsie’s need for cash. Lottie’s joints stiffen, and she cuts the surveillance short.


At home, she fields calls about Archie’s wedding and Bonnie’s family problems. Lottie decides she cannot count on luck to kill Kelsie away from home and needs a different approach that accounts for her age and Kelsie’s movements.

Chapters 1-18 Analysis

These opening chapters establish Lottie’s character through the juxtaposition of her violent actions and the societal judgments that fuel them. Her use of an ordinary household object as a weapon is a direct physical manifestation of this dynamic, serving as a reclamation of power from those who dismiss her. Plum is murdered with an umbrella, an object associated with domesticity and protection. This act highlights Lottie’s reactionary anger while introducing the theme of The Perils of Ageism and Gender Discrimination. The choice of weaponry highlights the hidden dangers within the domestic sphere and challenges conventional notions of feminine and elderly weakness.


The narrative links  Lottie’s violence to specific provocations rooted in judgment. Lottie’s rage is consistently triggered when she is underestimated or patronized, from the teenagers in the grocery store to Jax, the predatory telemarketer. A key flashback reveals that her first murder was a direct response to Gary’s contemptuous dismissal of her as a single, childless woman. His judgment catalyzes her rage, demonstrating that her violence is an ingrained, albeit sociopathic, response to being marginalized.


The novel’s narrative structure, which relies on non-linear flashbacks and embedded documents from Plum’s file, systematically recontextualizes Lottie’s present-day violence. These elements dismantle an initial perception of her as an unprovoked killer, instead presenting her actions as the culmination of a lifetime of rage against perceived injustices. The story opens with Lottie as a remorseless killer, but the strategic placement of flashbacks to her 1985 police interrogation and her first murder provides a psychological framework for her brutality. The excerpts from Plum’s file, particularly the unflattering newspaper photo and the media’s judgmental description of her as a “never-married single mother” (35), offer objective evidence of the public shaming she endured. The flashback to Gary’s death is the most critical, framing her original act of murder as a direct reaction to being condescended to and dismissed. By withholding this key motivational history, the author manipulates the reader’s understanding. Lottie’s silence during the 1985 interrogation is thus recast from an admission of guilt into a calculated act of defiance. This fragmented timeline mirrors Lottie’s own fractured self and forces a re-evaluation of her character.


The theme of The Performance of Identity as a Tool for Survival is embodied by Lottie’s house on Bluebell Lane, which metaphorically represents Lottie herself and her dual nature. Lottie makes the connection explicit, stating, “We match, me and this house” (2), noting its worn facade but “good bones.” This description mirrors Lottie’s carefully constructed persona: an aging woman whose deteriorating body conceals a formidable and ruthless intellect. The house’s outward appearance of neglect disarms visitors, from the unsuspecting Plum to the police detectives, making it the ideal stage for her crimes. Within its walls, a space culturally coded as “safe,” she commits murder, methodically dismembers a body, and erases evidence in her fireplace. This interior reality parallels her own calculated performance as “Mrs. Jones,” the feeble, church-going widow who uses a walker as a prop to manipulate perceptions. Her ability to seamlessly switch between personas is a survival mechanism honed over decades, beginning with the foundational act of changing her name from Lorena Mae Lansdale to escape her past.


Downing explores the anxieties of aging through the central theme of The Frailty of the Body Versus the Resilience of the Will. This internal conflict is dramatized by the contrast between Lottie’s meticulous, intellectually demanding crimes and her awareness of her physical limitations. She is constantly cataloging her body’s decline, from creaking joints to the sheer physical effort required to move Plum’s corpse. She observes, “My body has been turning against me for a while now, acting like it’s no longer happy to be here” (10), a sentiment that underscores her fear of losing control. This physical struggle is set against the sharp mental acuity she demonstrates in her elaborate cover-ups and police manipulations.


Central to Lottie’s deceptive strategies is the recurring motif of food and tea, which functions as a narrative device to weaponize the cultural association of femininity with nurturing. Lottie consistently offers refreshments to disarm her targets, a performance of hospitality that masks her predatory intent. She serves tea to Plum just before killing her, provides tea and cookies to Cole Fletcher to elicit information, and offers coffee to the detectives while fabricating lies to incriminate Cole. This performance of domesticity is a tool of manipulation that plays on the societal expectation that an elderly woman offering food is, by definition, harmless. This motif creates a sense of dissonance between her benign outward actions and her cold, calculating internal monologue. The reader becomes privy to the sinister reality behind the grandmotherly facade. This narrative technique critiques the ingrained social scripts that govern hospitality and gender roles, exposing the potential for violence lurking beneath polite surfaces.

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