Chapter 17 Summary and Analysis
⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.
Summary
After returning to her cottage from a long run, Mallory receives a two-word text from Adrian: “good news.” She calls him and learns that the library has found a book of Annie Barrett’s paintings. Adrian is at his parents’ house for a dinner party and asks Mallory to come over so he can be excused from the gathering. She agrees, quickly showers, and borrows one of Caroline’s prettiest outfits—a mint-green minidress with a floral print—before hurrying to the Flower Castle.
Adrian meets her at the door and explains that he told his parents she found some sketches hidden under the floorboards of her cottage, a small lie to avoid revealing the full story. Inside, the house feels warm and intimate, filled with mission-style furniture, family portraits, and houseplants. Adrian introduces Mallory to a dozen middle-aged guests, including his father Ignacio, who toasts her as a Penn State distance runner. His mother Sofia, noticing Mallory’s interest in the library book, leads her outside to the extravagant backyard garden—a lush sanctuary with hydrangeas, zinnias, a koi pond, and a cedar gazebo.
In the gazebo, Sofia reveals the discovery: a slender, self-published pamphlet titled The Collected Works of Anne C. Barrett (1927–1948), compiled by George Barrett in 1949. The book contains a note from George describing Annie as a “foolish” and “solitary” young woman who turned down social invitations and spent her time painting or walking barefoot in the forest. He recounts her abduction in December 1948 and presumes her dead. The pamphlet includes black-and-white photographs of Annie’s abstract paintings—blurry shapes, splatters, and diagonal lines—which look nothing like the realistic drawings Mallory found in her cottage. Sofia suggests that some artists work in multiple styles, but Mallory is disappointed that the book doesn’t answer her questions.
Sofia then shares another discovery: she found George Barrett’s will (he died in 1974) and Jean Barrett’s will (she died in 1991). Jean left fifty thousand dollars to a niece, Dolores Jean Campbell of Akron, Ohio—a surprising bequest because George’s introduction explicitly states that he and Jean had no siblings. Sofia speculates that Dolores might be the child of a cousin, possibly a consequence of Annie’s “irresponsible” behavior, and that Jean may have felt an obligation to look after the girl. She gives Mallory a phone number for Dolores, who now lives in a retirement community called Rest Haven.
Mallory is eager to call immediately, but Adrian suggests waiting until morning. She tells him about her latest confrontation with the Maxwells, who don’t believe her story about the drawings. Adrian reassures her they’ll prove she’s telling the truth. They return to the house for churros, then take a walking tour of the garden. Adrian shows her the cardinals’ nest, a prayer alcove, and a bench by the koi pond. They share churros with the fish, and Adrian kisses her. Mallory wants to pull him closer but stops herself, feeling she must tell him the truth. She hesitates, unable to ruin the perfect moment. They kiss again, and she decides to stay in the garden past midnight.
When the party ends, Adrian walks her home, insisting despite her stun gun. As they approach the Maxwells’ house, Mallory feels the spell break and tries to hint at her secret, telling Adrian they should take things slowly. He jokes about changing his major to “Mallory Quinn” and asks her to dinner the next evening at a tapas place in Princeton. She agrees, and they kiss outside her cottage. After he leaves, she resolves to confess everything over dinner, reasoning that he’ll be forced to drive her home and give her a chance to explain. She unlocks her door, turns on the light, and finds Ted Maxwell lying in her bed.
Key Events
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Adrian texts Mallory with news about a book of Annie Barrett’s paintings.
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Mallory attends Adrian’s parents’ dinner party, where Sofia shows her the self-published pamphlet compiled by George Barrett.
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The pamphlet’s abstract paintings contrast sharply with the realistic drawings Mallory found.
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Sofia reveals Jean Barrett’s will left $50,000 to a mysterious niece, Dolores Jean Campbell of Akron, Ohio.
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Sofia gives Mallory Dolores’s phone number, suggesting she may be connected to Annie’s “irresponsible” behavior.
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Mallory and Adrian share a romantic evening in the garden, but Mallory struggles with her secret.
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Adrian walks Mallory home, and they plan a dinner date in Princeton for the next evening.
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Mallory decides to confess everything to Adrian during that dinner.
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Mallory returns to her cottage and discovers Ted Maxwell in her bed.
Character Development
Mallory is increasingly torn between her growing feelings for Adrian and the weight of her deception. She lies to his parents and their friends, and she feels the lie compounding with each passing moment. Her internal conflict is palpable: she wants to be honest but fears rejection. Her decision to confess over dinner shows a glimmer of courage, even as she rationalizes the timing to trap Adrian into listening. The chapter also highlights her vulnerability—she’s physically exhausted from running, emotionally drained from the Maxwells’ disbelief, and now faced with a direct threat from Ted.
Adrian emerges as a supportive and romantic figure. He covers for Mallory with his parents, reassures her that they’ll prove her story, and shows genuine affection. His playful humor (“I want to change my major to Mallory Quinn”) reveals his infatuation, but also his naivety—he has no idea what Mallory is hiding. His insistence on walking her home and his concern for her safety demonstrate his protective side.
Sofia proves to be a sharp and resourceful investigator. She uncovers the pamphlet and the will, and she immediately spots the inconsistency about the “niece.” Her warning about poking noses into family secrets foreshadows danger. She also shows a playful side, teasing Adrian about his poor lying skills.
Ted Maxwell appears only at the end, but his presence in Mallory’s bed is a chilling violation. It escalates the threat from a vague unease to a direct confrontation, forcing Mallory to face the reality that her safety is compromised.
Themes, Symbols, or Motifs
Family secrets are central to this chapter. George Barrett’s pamphlet is an attempt to control the narrative of Annie’s life, painting her as foolish and irresponsible while omitting any mention of a possible child. Jean’s bequest to a “niece” hints at a hidden family connection, suggesting that the Barretts may have concealed a pregnancy or a child. Sofia’s warning about “family secrets” underscores the danger of digging too deep.
Hidden identity is mirrored in the contrast between Annie’s abstract paintings and the realistic drawings Mallory found. The abstract art could represent a deliberate concealment of truth, while the realistic drawings might be a more honest expression. Mallory herself is living a hidden identity, pretending to be someone she’s not, and the chapter emphasizes the impossibility of maintaining that facade.
Deception and lies are woven throughout. Adrian’s “little white lie” to his parents, Mallory’s lies about her past, and George Barrett’s sanitized account of Annie all illustrate how lies can spiral and obscure the truth. Mallory’s internal monologue about being “past the point of no return” highlights the corrosive nature of deception.
The garden sanctuary serves as a temporary escape from reality. The lush, idyllic setting allows Mallory to forget her problems and feel a sense of peace. But as soon as she leaves the garden, the “spell” breaks, and she’s reminded of her true self. The garden symbolizes a fragile illusion of happiness that cannot last.
The mystery niece is a motif of unresolved questions. Dolores Jean Campbell represents a potential key to unlocking the truth about Annie’s fate. Her existence challenges the official story and suggests that the Barretts had something to hide.
Why This Chapter Matters
This chapter is a turning point in the mystery. The discovery of the pamphlet and the will provides a concrete new lead—Dolores Jean Campbell—that could connect Annie’s disappearance to a hidden family secret. It also deepens the romantic subplot, raising the stakes for Mallory’s personal dilemma. The chapter ends on a cliffhanger with Ted Maxwell in Mallory’s bed, escalating the tension and setting up a direct confrontation. Mallory’s decision to confess to Adrian adds urgency to the next chapter, as readers wonder whether she’ll follow through and what Ted’s presence means for her safety.
Study Questions and Answers
1. Why is the discovery of Jean Barrett’s will so significant to Mallory’s investigation?
The will reveals that Jean left $50,000 to a niece, Dolores Jean Campbell of Akron, Ohio, even though George Barrett’s introduction in the pamphlet explicitly states that he and Jean had no siblings. This contradiction suggests that Dolores may be a hidden relative, possibly a child of Annie’s. If Dolores is still alive, she could provide crucial information about Annie’s life and disappearance, potentially unraveling the Barretts’ carefully constructed story.
2. How does Mallory’s internal conflict about lying to Adrian affect her actions in this chapter?
Mallory is torn between her desire to be honest and her fear of rejection. She hesitates to kiss Adrian, then kisses him again, but ultimately cannot bring herself to confess. She rationalizes that she’ll tell him everything over dinner in Princeton, where he’ll be forced to drive her home and give her a chance to explain. This conflict drives her to postpone the truth, creating dramatic irony and increasing the emotional stakes.
3. What does the contrast between Annie’s abstract paintings and the realistic drawings suggest about the mystery?
The abstract paintings in the pamphlet look nothing like the realistic drawings Mallory found. Sofia suggests that artists can work in multiple styles, but Mallory is unconvinced. The contrast may indicate that the pamphlet was curated to hide the truth—perhaps the realistic drawings were too revealing, or they were created by someone else. It raises the possibility that George Barrett deliberately excluded certain works, or that the drawings Mallory found are not Annie’s at all, deepening the mystery.
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