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58 pages 1 hour read

Ruth Ware

The Lying Game

Fiction | Novel | Adult | Published in 2017

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Chapters 15-22Chapter Summaries & Analyses

“Rule Two: Stick to Your Story”

Chapter 15 Summary

This chapter begins a new section of The Lying Game titled “Rule Two: Stick to Your Story.” The women know exactly whose remains are on the beach. Thea is drunk and shatters her wineglass in anger. While Fatima looks for cuts, Isa notices the pale scars on Thea’s arm. Thea worries that rumors could cause her to lose her gaming license and her job. Fatima and Isa could also lose their positions. They agree to say they know nothing and saw nothing if questioned about the body. Kate wants them to attend the Salten House alumnae dinner the next night, which will provide an excuse for their presence in Salten. Fatima thinks there is no way they would receive invites “after what happened” (71), but Kate has invitations. 

Chapter 16 Summary

Art class at Salten is very different from Isa’s other classes. The art teacher is Kate’s father, Ambrose, who insists his students call him by his first name—something just not done at Salten. Ambrose is 45 years old, with a lined, but young-looking face. Isa remembers he was always “working, laughing, loving” (74). When Ambrose introduces himself, he takes Isa’s hand and presses it between his. Tongue-tied Isa feels like she is the only person in his world. Isa and her friends did not mind Ambrose drawing them, “Though maybe we should have” (74). On her first day in class, Isa did not know about Ambrose’s past drug convictions, his lack of teaching qualifications, or the impact Ambrose would have on their lives.

Chapter 17 Summary

Art class is liberating. Ambrose allows the girls to remove their ties and blazers. Many of the girls have a crush on Ambrose and unbutton their shirts until their bras show, but Ambrose remains professional and keeps his distance, “physically, as well as metaphorically” (76). When Isa has trouble with her self-portrait, Ambrose advises Isa that she is just drawing her features, not the person inside. He sees that Isa is a brave girl who is nervous but “stronger than she knows” (77). Ambrose wants Isa to draw what he sees in her. Isa completes the drawing, which shows an open-faced girl with “nothing to hide” (77). Isa still has the picture but thinks the version of herself in the drawing no longer exists, and maybe never existed. 

Chapter 18 Summary

Isa feels like she should think about Owen, but instead thinks about Ambrose, Luc, and Kate. Isa feels haunted by the past, and understands why Kate stays at Tide Mill. Isa spots a piece of paper sticking out of a floorboard. Examining the paper, she finds it is a sketch, possibly one of Ambrose’s. The sketch shows a girl, possibly Kate, but the face has scribbles over it and someone poked the eyes out with a pencil. Isa wonders who would have done that. She knows Luc loved Kate and wonders if Kate might have done it. Wind snatches the paper from her hands, and it falls into the waters of the Reach. Isa thinks it is good that the paper is gone. 

Chapter 19 Summary

The next morning, Isa finds Kate and Fatima outside next to a bloody, dead sheep. Isa wonders if Shadow killed the sheep. Kate is skeptical but knows that someone left the gate open. Kate pays the farmer not to report the dead ewe. As Kate returns to the house, Isa watches her shove something into her coat pocket. Kate removes her bloody coat and goes to clean up. Isa offers to wash the coat and checks the pockets, finding a bloody, wadded up note that reads, “Why don’t you throw this one in the Reach, too?” (87). Isa panics. This means someone else knows their secrets. She thinks about telling Fatima then changes her mind and washes the note down the drain.

Chapter 20 Summary

Isa suddenly sees threats everywhere in Tide Mill and decides to take Freya for a walk to the village. Isa needs the baby’s sunscreen, which is in the bathroom where Kate is bathing. Kate lets Isa into the bathroom and, from the tub, tells Isa to take her bankcard and withdraw money to pay herself and Fatima back for the sheep. Isa asks what really happened with Shadow and the sheep. Kate gets “remote” (92), and says she simply should have checked the gate. Isa knows she is lying: Going still and quiet is Kate’s physical tell. Isa does not confront her about the lie, thinking Kate probably has reasons that Isa does not want to know. 

Chapter 21 Summary

Isa ponders whether Shadow killed the sheep and who wrote the note. Isa remembers the first time the four girls snuck out of school and went to the Tide Mill. In the recall, Isa meets Luc Rochefort, whom Kate calls her stepbrother. Luc is five months younger than Isa, dark-haired and golden-eyed. Ambrose is out for the night, and the girls and Luc dance and drink. When Ambrose returns home, he gets a drink for himself and does his first sketch of the group, all piled together on the couch, “curled in one another’s arms” (97). As they earn open weekends, the girls spend them at Tide Mill. The housemistress, Miss Weatherby, is happy that Isa has friends, but urges her to foster more friendship. Kate rejects this advice.

Chapter 22 Summary

Salten is more run-down than Isa remembers. Fishnets decorate houses and stores in Salten, both as a nod to the town’s heritage, and to attract tourists. The nets unsettle Isa, who thinks they make the town look sad and spooky. To Isa’s dismay, unpleasant Mary Wren, the “village matriarch” (104), still works at the post office. Mary is surprised to hear that Isa and her “clique” are attending the dinner (105). Mary remembers what “terrible little liars” they were (107). Isa admits they were not nice to other girls at school. As Isa tries to leave, Luc enters. Isa notes Luc’s drastic change. He speaks angrily to Isa, insisting that Kate, and Isa, knew the horrors Luc was returning to in France. Isa does not know why Luc is so angry. 

Chapters 15-22 Analysis

This section provides a more immediate understanding of the novel’s major conflict and increases the stakes for the protagonist and her friends. Not only does Ware reveal that Ambrose disappeared, but the women implicate themselves by concealing knowledge of the body. Though it’s suggested that the body is Ambrose’s, it’s not yet clear how or why he died. The women believe that the discovery of the body threatens their livelihoods: All could lose their jobs. This high risk-factor for the protagonist is another characteristic of the psychological thriller. Additionally, the potential for exposure and loss increases the friends’ motivations to lie.

Isa’s memories of Ambrose suggest a sexual nature to his relationship with Kate and her friends: from the “electric shock” Isa felt when their eyes met, to her discomfort with displaying a picture he drew of her. Jerry, the pub owner, also seems to allude to Ambrose doing something taboo with the girls, recognizing Isa as “one of them girls her pa—” (100). Though Ware seems to hint that Ambrose sexually abused the girls, the narrative later reveals this as a misdirection, or red herring, although Ambrose’s drawings will impact the plot as threats and tools of blackmail.

Ware employs smaller conflicts and the novel’s first physical clues—the sheep, the note, and the scribbled picture—to muddy the waters, confusing the issue of who did what, and thereby increasing tension. She introduces three characters who have different views of the girls than what Isa has portrayed so far. Jerry Allen represents the townspeople’s suspicions about Ambrose and his relationship with the girls. Mary Wren, who liked Ambrose, has no love for the four “little liars” (107). Luc, once a good friend, now appears filled with hatred for both Kate and Isa. Isa’s interactions with these three characters threaten the identity she has constructed for herself and the lies that hold it together. Isa also lies to herself, offering superficial reasons for her tears after her encounter with Luc and avoiding the powerful feelings that underlie her memories of him.

Isa’s actions reveal a progressively fragile emotional state and drive for self-preservation. Isa begins talking to herself and lies again to her friends despite their long-held rule of trust. Isa’s lies here once again question the veracity of her internal narrative and her motivation. Isa throws Thea under the bus for leaving the gate open, and she washes Kate’s coat as an excuse to find the note she saw Kate conceal. Isa distrusts Kate, whom she thinks lies to her about the sheep. Yet Isa allows this lie; preferring ignorance to knowing Kate’s motivation. Rather than telling Fatima about the note, “instinct” makes Isa stay silent (88). Isa also destroys evidence: both the picture, and the note. Self-preservation trumps truth.

Kate paraphrases Lady Macbeth, when she refers, ruefully, to the sheep having so much blood in it. The allusion to Macbeth is significant. Lady Macbeth urges her husband, Macbeth, to murder King Duncan, but becomes tormented by feelings of guilt that manifest in sleepwalking. In one of her most famous scenes, Lady Macbeth tries to wash the blood from her hand, exclaiming, “Out, damned spot, out, I say!” (Macbeth 5. 1. 36), and later, “What, will these hands ne’er be clean?” (Macbeth 5. 1. 45). Isa literally washes the bloody note down the drain and tries to rinse the last vestiges of blood out of the sink. Yet, as Lady Macbeth discovers, water cannot erase the internal stain of Isa’s guilt. In The Lying Game, water becomes an ongoing symbol of concealing and cleansing.

Ware uses the hot, sticky weather and the claustrophobic setting of Salten to heighten Isa’s feeling of being isolated and trapped. The fishing nets that festoon Salten represent Isa’s lies, imprisoning her for the “mistake” she made years ago (93). Webs and nets will remain a symbol of entrapment throughout the novel.

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