57 pages • 1 hour read
The message from Ned to Nikki about his trip to London caused much confusion. It was a week after his disappearance when his body was finally discovered in the sea where he drowned. The inquest identified the time of his death as early Saturday morning but was inconclusive as to whether his death resulted from foul play. His parents came to identify both Ned’s body and that of his brother, whose body was discovered on the island.
Nikki
In Ned’s absence, which is starting to look strange, Nikki takes a long walk and reflects on her relationship with Ron. Over the years, she has begun to see it as abuse and has been glad that her son would never know his father. At this point, she runs into Kurt himself. He asks her if she knew about the filming, and she tells him that she only suspected this weekend and feels betrayed by Ned, whom she respected and trusted. Kurt has watched enough of the video to see his father prey on a series of young women, though Ned cut out the sexual activity. Kurt refuses to pay and hands Nikki the memory stick. She watches it. Ned hadn’t included Nikki on the tape, but the young girls remind her of herself back then, and she sees Ron use the same routines on them. She is sick in the bathroom.
Jess
Jess gets hold of a guest costume and stalks Georgia throughout the performance. While she had always imagined Georgia as a reluctant party to the crime, the footage showed the woman taking charge in the aftermath. Jess now wants to force a confession from the woman. She accosts her, calling Georgia a murderer. The actress is genuinely confused, and Jess provides a few details about the accident. Georgia denies even being in England at that time. She tells Jess that her husband has many affairs, often with women who fit a certain physical type and resemble Georgia. At this point, Jackson lurches into the room.
Adam
Adam sees Jackson’s entrance and thinks that Jackson’s alcohol addiction is worse than it’s ever been. Searching for Ned, Jackson mistakes Adam for his brother. Adam clarifies his identity and ushers Jackson into a different room. Jackson isn’t the first to make the mistake. The identical costumes have led to multiple people congratulating Adam as the man of the hour. Even Annie handed him a drink meant for Ned. Jackson warns Adam not to mess with him, and Adam feels as though the actor might be drawing on a line from one of his films. Jackson then storms out of the room.
Exhausted (and drugged from the drink that Annie gave him), Adam sits down in an armchair. He remembers the first crime that he committed on Ned’s behalf: burning down the original Home Club. He resolves to quit regardless of the consequences but is then strangled from behind by Keith, who thinks that he is Ned.
Annie
Freddie backs out of the conspiracy. Annie reminds him of the consequences and asks why he betrayed his friends. He tells her that he was being blackmailed over a sexual scandal. Newly wary of being recorded, he would insist on meeting the journalist at Home where cameras and phones are forbidden, which ironically made him susceptible to Ned’s blackmail.
Keith emerges, his hands torn up from the struggle, and Freddie disappears. Annie learns that Keith murdered Adam and stuffed him inside a trunk. Frantic, Keith demands to know what he should do, and Annie wonders why everyone expects her to solve their problems. Then, they hear a helicopter preparing to take off and remove Freddie from the island.
Freddie’s helicopter woke up Lyra Highway. She then heard two men shouting, one of whom was Keith, and peeked out of the window. Keith joined a man whom she couldn’t see (Jackson) in a Land Rover, and they drove off. Lyra now knows about the drunk driving incident but not about the murder that sent Keith fleeing. Adam’s body was discovered the next morning after Jackson and Keith had already drowned in a waterlogged car. Coroners have noted the potent mix of alcohol and various drugs in Jackson’s bloodstream.
Jess watches Jackson stumble about while calling for Ned. She realizes that she believes Georgia. Sobbing, she runs out of the manor, overwhelmed with emotions including relief that she is not a murderer. She watches the video again, having recorded it on her phone. This time, she correctly identifies the woman in the video: Annie Sparks.
Nikki
Nikki remembers killing Ned on Friday night. She confronted him on the jetty, a place that he often went to think. Ned admits that he knew Nikki’s age and that she fit the profile of the girls whom Ron groomed. He set it up and filmed it. While he had other videos, it would have been hard to prove that those girls were underage. When Nikki became pregnant, he approached Ron, demanded money, and arranged the adoption, taking advantage of the looser adoption laws in the United States. Ron was thus protected from a potential paternity scandal.
Nikki asks why Ned kept her around, and he replies that she’s a good PA. One of her best characteristics is that she doesn’t ask questions, never catching onto the blackmail scheme. Even if she had, she would have been trapped since no one would believe that Nikki hadn’t been in on it. His contempt is the last straw. She walks away, surprising even herself when she turns back and runs at him, shoving him into the water.
Annie
Annie rushes to look for Keith and Freddie’s memory sticks. They self-erase after 72 hours, but she wants to copy them to her laptop so that she has leverage over the men who could expose her involvement in Adam’s murder. She finds Keith’s but not Freddie’s. Someone calls Annie from the Boathouse, where the locals whom Adam invited to watch the fireworks have arrived.
The journalist interviews Annie, the interim CEO of Home Group. In the days following the tragedy, she kept the other clubs open, fielding a record number of new applications. Ned’s death remains a mystery, though some speculate that either Keith Little or Jackson Crane might have been able to shed some light on the issue if they hadn’t died the next night.
Annie
On her way to Adam’s funeral, Annie finishes reading the Vanity Fair article and recollects the week following the deaths. Repeatedly interviewed by the police, “she [has] given her version of events so many times it [has] started to feel like the truth” (285). She has been trying to get into the bunker so that she can destroy the footage of Jackson and her.
Annie doesn’t know the details of Ned’s various blackmail ventures. She wakes up, anxious, asking herself if she has the strength to follow through on her plans. She intends to let in a new generation of wealthy members and accumulate new secrets. Unlike the old Home clubs, these patrons will come from a broader range of industries, giving her access to new types of indiscretion.
Laura
Laura is Adam’s wife, and the novel substitutes her point of view for that of her husband whose death has devastated her. She struggles to make any sense of the ordeal. She hates the way that Adam has been made into a footnote in the stories of Keith, Jackson, and Ned. Halfway through Laura’s eulogy, Annie’s phone rings.
Jess
Jess wrestles with the traumatic events of the island weekend. Her old job has accepted her back after the Island Home staff were let go due to the location’s closure with their non-disclosure agreements still in place. She remembers the chaotic mess of Sunday morning and the gradual discovery of all the bodies. Annie demanded Jackson’s key and likely found the memory stick, unaware that Jess had recorded it on her phone. Jess has waited until the media frenzy around Island Home died down so that her parents’ story didn’t get lost amid the noise. Finally, on the day of her father’s birthday, she calls Annie, interrupting Adam’s funeral. Jess tells her that she has seen what Annie did and that “it’s over” and hangs up. She has uploaded the footage to YouTube and emailed it as an attachment to the police. She is now free to move on and live her life.
Nikki
Nikki is let go from the Home Group with a large bonus. Despite multiple offers, she remains unemployed, spending her time in quiet pursuits. She sometimes thinks about contacting Kurt but hasn’t yet. One night, she catches part of an awards show and a tribute to the now-deceased Ron Cox. Kurt makes a speech, remembering the loving father and talented director. Then, he talks about the other side of his father, “the man that some of them knew. That some of them had helped enable” (303). He calls out his father’s crimes against women and condemns systemic abuse of women. Nikki cries and, proud, finally decides to contact Kurt.
The Club ends with a series of mistakes and corrections that resolve the backshadowing provided throughout the novel. Jackson is not dead (yet). Georgia is not the woman in the video with Jackson; Annie is. The person whom Keith strangled was not Ned but Adam. Ned is dead, not alive. Ron was a good father but not a good man, and Kurt publicizes his crimes. The novel forces characters to confront themselves and one another, and the results differ based on their willingness to do so and what they find inside.
The theater masks enable both error and revision, contributing to the theme of Constructing and Revising Personal Narratives. They contribute to Keith’s ability to strangle the wrong man, but they also create circumstances in which Jess can confront Georgia and rethink her history. She accosts the actress on the dance floor and makes her accusations. At some point, Jess’s grip on Georgia becomes reciprocal, the two women clutching one another’s arms while “Georgia [brings] her masked face up to Jess’s masked face, so close they [are] staring directly into each other’s eyes” (244). Lloyd momentarily eradicates the differences between these women by showing them in the same masks, face-to-face, suggesting that they are both survivors of harms against women that the novel explores. Jess learns that Jackson has affairs with women of a similar physical type, and she revisits the evidence with this in mind. Her discovery that Georgia was not part of the long-ago crime frees her from a narrative that crystalized while she was still a teenager. Jess ends the novel by revising this narrative about herself and Jackson.
As Nikki rethinks her past, she remembers prior acts of Constructing and Revising Personal Narratives, particularly the portrayal of Ron. For a long time, she still felt honored by his interest, but she gradually came “to see it all in a more uncomfortable light” (230). She sees herself differently too: “And now, when she looked at photographs of herself back then, she was struck not just by how pretty and how reed-thin she was, but by the fact that no one could actually have believed she was the age she had claimed to be” (231). The novel highlights the power of perspective when revising narratives. Now, Nikki realizes that Ned deliberately set her up to be abused in order to gain leverage over Ron. She confronts Ned, and his complete lack of remorse leads to her killing him. The text never passes judgment on the murder, which is unpremeditated.
Annie doubles down on her investment in Home rather than moving forward. She tries to bury all evidence of her crime and steps into the role of acting CEO. As she sleeps in Ned’s bed and looks in Ned’s mirror, the novel suggests that she becomes Ned. She lacks access to the old blackmail footage and plans to lure in new members. The ending reveals that the Vanity Fair article is Annie’s account of the weekend, highlighting her ability to construct narratives. The novel doesn’t allow Annie to dwell in this comfortable narrative. While the reader never sees the results of Jess sending the video to the police and publishing it online, they are left to surmise that it will affect the Home organization as well as Annie.
The coverage of Adam’s death makes him a footnote in the media narrative but makes him central to the ending of the novel. Laura grieves his loss and fumes over “the way that people only ever talked about Adam in passing, that the newspapers and the magazine pieces always had Keith […] or Jackson Crane as the focus, or Ned and the clubs. What about Adam?” (293). The author’s treatment of Adam is kinder than his treatment by the fictional press. Lloyd gives Laura the last, tender word on him. The book hence reminds the reader that stories emerge differently from different perspectives. After all, Lloyd used several perspectives to tell this one story.
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