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In Murder Road, Simone St. James forces her audience to reconsider what appearances tell us, or don’t tell us, about the reality of a person. Although she does this in a variety of ways, including through conflicting perceptions of the Lost Girl herself, one of the most consistent ways in which she makes this point is through the character of Eddie Carter. At the beginning of the novel, Eddie, handsome, strong, and quiet, seems to be mostly a supporting character for April, the protagonist and narrator. However, over the course of the novel, all the characters, including April herself, learn not to underestimate Eddie, and not to assume that appearances reflect reality.
At the beginning of the novel, when April and Eddie are questioned by the police, April worries about Eddie’s ability to handle the aftermath of Rhonda Jean’s death, including the police interrogations and investigation. Although she knows that “[e]veryone underestimated [her] husband” (73), she feels that she has a deeper understanding of what he can handle, knowing more about his past trauma than anyone else. She believes that “Everyone underestimated my husband. Everyone but me” (73). When they are in police custody, she reflects, “I hoped Eddie would follow my lead, because I had the feeling I had more experience with the police than he did” (46). April’s difficult upbringing has left her with survival skills and resourcefulness that she imagines no one else in her life could possibly share. Her instinct is to protect and advise Eddie: “Assert your authority, I wanted to tell him. Act like you are already in control. That’s how you dominate someone bigger than you” (21). Because she knows Eddie well enough to understand his vulnerability, she underestimates his inner resources.
However, throughout the novel, April is forced to reconsider what she thought she knew about Eddie. Her first hint is when they are at Hunter Beach. As they approach the kids living there, Eddie asks a question that is met with derision. April begins to get defensive but then realizes that “Eddie didn’t stiffen. His body stayed completely relaxed. The stupid question had been intentional so that he wouldn’t seem like a threat” (73). Later, as he questions the girl at the Dollar Mart about Rhonda Jean, she reflects, “He could’ve been a cop […]. I watched the calm expression on his face, the way his gaze held hers, firm but not intimidating. […] she was instantly doing as he asked. I knew I was good, but I also knew that my husband of two days might just be smarter than me” (96). April is slowly coming to realize, after seeing Eddie under pressure from the police and even a killer for the first time, that she too has underestimated him. April’s realization not only changes her understanding of Eddie, it changes her understanding of herself—April values her ability to instantly size people up, but her underestimation of Eddie causes her to reevaluate that ability. By showing April’s shifting understanding of Eddie’s true capabilities, St. James highlights the importance of knowing the difference between appearances and reality, even in those we think we know well.
Murder Road explores the very unconventional first few days of Eddie and April Carters’ marriage, as their honeymoon unexpectedly becomes a quest to solve a string of murders. Beyond the story of the Atticus Line killings, however, author Simone St. James explores April and Eddie’s personal story: They are in love and determined to build a life together, but they both struggle with past trauma, only some of which they have shared with each other. As the novel unfolds, April in particular faces down her personal trauma to build a lasting relationship with Eddie. Each time their relationship is tested, April considers how previously she would have walked away, but now she instead recommits to making their marriage and their life together a permanent reality. April works to overcome the lessons that a traumatic childhood and manipulative mother have taught her. In her previous life, she learned to be always ready to leave everything behind at a moment’s notice, and that skill kept her alive and out of prison. Now, to build something real and lasting with Eddie, she has to unlearn some of the instincts her childhood taught her.
The first obstacle that April faces in her relationship with Eddie is that she simply doesn’t know what a deep and lasting relationship looks like. She has kept her relationships deliberately light, and because of this, everything that happens with Eddie is completely new to her. She has no idea what to expect, even when they are just dating: “Was that dating? […] under the quiet exterior of our time together, it felt like I was being pulled open, the threads of me unraveling as every part of my life came apart at the seams. I didn’t recognize this life” (174). April feels the vulnerability of an intimate relationship, and at times, it chafes against her experience. When she and Eddie fight, she wonders, “Was this what marriage was going to be like? The two of us in a standoff when we didn’t agree?” (90). This illustrates the first obstacle to April’s new future: her lack of experience with deep relationships.
This lack of experience means that April is constantly faced with unprecedented situations that cause her to instinctively consider her old methods of escape. She reflects, “I could get out of the car and get away from this, from him, from how I was feeling” (90). However, as she does throughout the novel, April shows her commitment to Eddie, her new life, and breaking out of old behaviors: “This was my life now, this car, this man […]. I’d run for survival before, but this wasn’t survival, and I wasn’t a coward” (90). April draws a line between her past and present behavior, citing the differing motivations behind the running as the reason for making a different decision. Throughout the novel, April is courageous in a variety of contexts, and she has shown bravery in her past life as well. With this comment, she shows that she is discovering a new kind of courage—the courage to stay, rather than to run.
Even though April doubts herself, she shows repeatedly that she is committed to the relationship, even to the point of putting herself in danger. She confronts the Lost Girl in the wake of Quentin’s revelations about the full truth of her past, reflecting, “I had to make it right with Eddie, and I would. I would make all of it right. I wouldn’t run or hide. If I wanted this life, life as April Carter, no one was going to give it to me” (229). Even as the stakes get higher and April faces real danger, she stays committed to breaking her old patterns of behavior, showing a determination to transcend her past trauma to create a new life with Eddie.
In Murder Road, Simone St. James introduces the character of Shannon Haller, identified only as “the Lost Girl” until April and Eddie discover her identity. Although Shannon is the original lost girl in the novel, St. James explores the phenomenon of the “lost girl” through April’s interactions with the other characters in the novel, including Rhonda Jean and Rose. She considers how women are often isolated by societal condemnation or disregard, and she discovers that this isolation itself can become a source of community between women.
Many of the women in Murder Road have experienced trauma in the form of physical abuse, psychological manipulation, or neglect. St. James shows how this common experience creates a feeling of recognition between characters; when April first interacts with Rhonda Jean, their eyes meet and April thinks,
Everything became clear and still in my head. I knew now that this was why she had looked at me at first like she recognized me. It was because she did. We’d never seen each other before, but we recognized each other. Women like us recognized each other all the time (8).
April feels an immediate kinship with Rhonda because she recognizes a shared history of abuse. She reflects that, like Rhonda Jean, “I’d been in the passenger seat of a car once before, begging the driver to go faster. Please, faster. A long, long time ago” (11). April recognizes intuitively what she later confirms—Rhonda Jean ran away from home because of her father’s abuse, the same reason that she and her mother ran away so many years ago.
However, Rhonda Jean isn’t the only character in whom April recognizes this shared experience. As events unfold in Murder Road, April is forced to confront her past in her interactions with other women as well. When she meets Rose Jones, she again experiences that connection borne of shared experience, seeing in Rose’s eyes “something […] flickering in the depths. Intelligence, maybe. Anger, perhaps. Or it could have been the determination of a woman who has survived bad things. Who had maybe done bad things. Like me” (61). April has heard the local gossip about Rose killing her husband, a tenuous connection to her mother’s murder of her father. However, the true connection comes not from the possible murder but from the societal condemnation and isolation that Rose faces because of this gossip.
These interactions affect April deeply; as the novel continues, she reflects on her emotional reactions, surprised to feel them even though “these were old scars, healed over” (78). These interactions reveal the shared experiences of trauma that bind women together in a patriarchal society that often overlooks violence against them.
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