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56 pages 1 hour read

The Heiress

Fiction | Novel | Adult | Published in 2024

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Themes

Rediscovering the Past From a New Perspective

Content Warning: This section of the guide contains references to physical abuse, domestic violence, psychological manipulation, death by suicide, alcohol use disorder, and substance misuse.

In The Heiress, Camden McTavish returns to a past that he purposely left behind. Cam was adopted by the extraordinarily wealthy Ruby, who made him her heir at the age of 16, but he “knew that that kind of wealth came with strings attached” (26). He remembers the pressures, fears, and bullying he faced at Ashby House, and resolves to live his life far from the entanglements of the McTavish family. However, when Cam returns to Ashby House over 10 years later, he is forced to reckon with the fact that his past is more complicated than he remembered. His shift in perspective is gradual, first rooted in memories of Ashby House and the neighboring town, Tavistock, and then of his relationship with Ruby herself.

Cam suspects that home is going to be different than he remembers before he even sees the house. Although he remembers the road and its difficulties accurately, Ashby House’s gate is different than he recalled:

In my mind, the gate loomed up to the sky, bars thick and black, locking McTavishes inside, locking anyone else out. But now I see that […] you could probably climb the gate with no problem. And the bars are thinner than I remembered, flecked with rust now, some of the filigree details almost eaten through with it (72).

Cam now sees that the gate, which he identified as both imprisonment and protection when he was young, is not much of an obstacle at all. This very visual shift in perspective is his first inkling that the McTavish family’s outsized influence on him may not be quite as potent now that he is an adult. His memories of nearby Tavistock are challenged as well; on his first trip into town, Cam notices that some businesses have closed, a clear sign of time passing, and he is surprised at how strongly he regrets their absences. He suddenly remembers the town as a positive aspect of his past he’d long forgotten: “[T]here had also been good. The meals at the Jay. The standing account at the local bookstore, how Ruby encouraged my love of reading and always let me buy any book I wanted” (125). Many of these positive memories of Tavistock are intertwined with his positive memories of Ruby, which also begin to reappear.

Beyond reevaluating his memories of Ashby House and Tavistock, Cam is also forced to reevaluate his relationship with Ruby. He realizes, “I’ve spent the past ten years trying not to think about Ruby, and when I have, I’ve remembered only the bad things” (126). Now he remembers her affection and “[t]he way she would ruffle [his] hair and say, You and me against the world, whenever Nelle or Howell or Ben was being a dick” (125). When Cam left North Carolina, it was because of Ruby’s controlling behavior, and his feelings of past suffocation color all his memories. His return challenges this perspective, and he is surprised by the more nuanced reality of what he left behind. He finds a photo of himself and Ruby and is surprised to find that “[he] look[s]…Happy. No tight smile, no faking it for the camera. It’s a real, goofy smile as [he] look[s] lovingly at Ruby” (162). Further, he realizes that his memory of even himself isn’t accurate; he says, “I don’t remember that picture. Don’t remember taking it—hell, I don’t even remember being that kid” (162). Although he may not remember it that way, the photo makes it clear to him that his childhood, and especially his relationship with Ruby, was more complicated than his memories indicated.

The Influence of Family Culture on the Individual

In The Heiress, Rachel Hawkins uses the McTavishes, a powerful North Carolina family, to explore the question of how family influences the individual. The McTavishes claim that blood is what makes a McTavish, even going as far as to question Ruby’s inheritance because she isn’t a blood relative, but Hawkins suggests, over the course of the novel, that family isn’t about bloodlines—it’s about culture. The behavior of the McTavishes, who use their influence to get away with everything from drunk driving to murder, isn’t the result of blood or genetics but is instead rooted in the family’s culture, developed over several generations of wealth and entitlement.

Ruby McTavish, or Dora Darnell, is Hawkins’s central example of the power of the McTavish family culture to shape an individual. Ruby uses her wealth and influence to quash investigation and rumors regarding her four husbands’ deaths. She feels she can’t leave Ashby House because, as Cam puts it, “They might as well be gods here. It’s why they all stay” (245). Ruby fully embraces the McTavish culture of using influence to avoid accountability. As her sister, Claire Darnell, tells her, “You may have been born a Darnell, Dora, but they made a McTavish out of you in the end” (230). Ruby herself eventually recognizes this, leading her to adopt Cam. While her primary purpose is to take the fortune away from the McTavish family, she will not make him her heir if his “soul showed any signs of curdling under the influence” of the family (232).

Although Cam does escape the full influence of the McTavishes, the family still does affect him. Jules notices how Cam changes soon after they arrive. This change is so apparent that it actually alters his features: “Cam’s mouth curls into a sardonic smile, lips pressed together so hard that a dimple [Jules] never noticed dents one cheek” (79). She also sees changes in his behavior, as when he interacts with Nelle and Jules “sees the satisfaction in his eyes when the barb lands. Another side of Camden [she doesn’t] fully recognize” (116). Cam himself notices how the family culture affected him in the past, as when he used the McTavish name to quash questions about Ruby’s death, just as she had upon the deaths of each of her husbands. However, in Cam’s case, he purposefully distanced himself from the family by moving to California and refusing to use the money from his inheritance. In this way, Cam limits the impact of the family’s influence on him.

In the end, Cam puts the issue of family names and legacies in perspective when he notes, “Ruby was Dora Darnell, yes, but in the end, wasn’t she Ruby McTavish, too? And Jules might have been born Caitlin Darnell, but she was Jules” (271). Cam sees that a name is just a name and because of that, he and Jules see the potential to reimagine the McTavish family culture. Hawkins uses the McTavish family to show the impact of family culture on the individual on both Ruby and Cam, but the novel offers hope through Cam and Jules’s willingness to leave Ashby House behind and transcend the McTavish family legacy.

What Makes a Good Person

In The Heiress, Rachel Hawkins explores the question of what makes a good person through the characters of Jules and Cam. Popular media often creates two-dimensional characters that are either good or evil, hero or villain. However, Jules and Cam are realistic, three-dimensional characters who lie, scheme, and even murder but may still be considered “good” people. Through her utilization of literary elements like first-person point of view and direct address, Hawkins balances the characters’ extreme actions with their histories, reasons, and intentions, adding sympathy and nuance to their characterization.

One strategy that Hawkins uses to create sympathetic characters who make morally questionable decisions is first-person point of view. First-person allows for greater connection and empathy between the character and the reader, creating a more nuanced understanding of a character’s motivations. Because the chapters rotate between Cam and Jules’s perspectives, the reader is given insight into both characters’ personal histories and emotions, creating dimension and more nuanced portrayals. With Jules, Hawkins goes one step further, using a device called direct address to balance the reader’s perception of her actions. Jules addresses the reader when she says, “Are you frowning right now, thinking to yourself, Bitch, didn’t you set a house on fire? Didn’t you murder two people? In what world does that make you not a bad person? (282). Jules acknowledges what she’s done, speaking to the reader in the way an actor might turn to speak directly to the camera. Whenever Jules’s actions cross conventional moral boundaries, Hawkins uses this device to appeal to the reader’s sympathy.

Hawkins also reveals Jules’s and Cam’s wrongdoing strategically throughout the novel; by the time the reader hears the full extent of their actions, they have revealed their histories, insecurities, and fears. For example, long before the reader learns that Jules sought out and cultivated a relationship with Cam as a part of her plan with Ruby, she has asserted numerous times that her love for him is authentic. To her claims, Hawkins adds Cam’s own assessment of Jules’s love when he says, “[S]he did the dumbest thing she could’ve done. She fell in love with me, too” (269). Cam’s unquestioning belief in Jules’s love, despite what he knows about its origins, lends credence to her assertions. If this foundation hadn’t been established, Jules’s assertion that she is acting in Cam’s best interest would be more suspect. Using these strategies and approaches, Hawkins adds nuance to the characterization of Cam and Jules, suggesting that their actions cannot be reduced to a binary understanding of good and bad.

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