Jamie Mason, author of Three Graves Full, comes to BookPeople Tuesday, February 24, at 7 pm, to talk about her new novel, Monday’s Lie. She joins us in conversation with Mark Pryor, author of the Hugo Marston novels.
– Post by Molly
Whether you’ve been reading Gillian Flynn’s Gone Girl, Mette Ivie Harrison’s The Bishop’s Wife, or Jamie Mason’s just-released thriller, Monday’s Lie, you may notice a trend in the genre: authors are finally addressing the primacy of relationship violence as opposed to stranger danger. These three novels all explore the strange ways in which love slowly turns to hatred, and marriage becomes a battlefield with increasingly deadly reactions to ever smaller offenses.
Monday’s Lie begins with Dee, unhappily married to Patrick, and struggling to express her frustrations, fearing the loss of normality that she has worked hard to achieve. Dee’s reason for seeking a cookie-cutter lifestyle in the suburbs with a man she doubts, fights with, and possibly fears? The roots lie in Dee’s childhood, where her mother, a CIA operative gone at the drop of a hat on sometimes lengthy missions, taught Dee and her brother extensive memory and observation skills. Dee, as an adult, craves the stability and normalcy she never had as a child, and links her intensive observation skills with the unhappiness she felt at her mother’s profession. As the novel continues, and Dee’s marriage reaches a crisis point, Dee must re-activate her childhood abilities, this time not as a game, but as a matter of life and death.
Monday’s Lie is a novel of subtle, numerous ironies. The story zeroes in on how a person can ignore warning sings through the novel’s ironic depiction of a CIA-trained woman unwilling to take seriously the warning signs she can’t help but notice. Mason also explores the irony of keeping up appearances. All Dee has ever wanted was to be normal. She then realizes “normal” is based solely on the public expression of her life, and has nothing to do with who she is. By striving for normality, Dee sets herself up for the gulf between reality and appearance, a gap that grows wider as her husband becomes increasingly distant in private while presenting himself as boisterous and loving in public.
Mason has written not only a fascinating exploration of observation and deliberate ignorance, but also a darn-good thriller whose plausibility reminds us that sometimes, fear is not just paranoia, and to pretend the world, and the people in it, are harmless is to give up one’s ability to anticipate others’ actions. Mason’s protagonist is incredibly observant, and as the danger to her increases, she must come to terms with her power, and act on the things she observes, in order to preserve her own safety.
I think I enjoyed this book so much because Mason, instead of writing a story about a woman who must learn how to empower herself, tells the story of a woman who already has agency, but must empower herself simply by being willing to use that power. Dee continually weakens herself through ignoring her own powers of observation in favor of falsely upheld notions of domestic bliss, and when she comes to terms with that which is already in her, she becomes a force to be reckoned with.
As women, we may not all have through-the-roof detection skills learned from our mothers, but we all have some knowledge, some power, that we refuse to use effectively. We may or may not feel that “normalcy” is a goal to strive for, with its implication of feminine weakness as a desirable quality, but we all could use our talents a little more, and let ourselves be blinded by our own desires a bit less. In other words, we could all benefit from a read-through of Monday’s Lie.