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Nearly all characters in All Good People Here harbor secrets. The novel concerns itself with the reasons people choose to keep those secrets, the effects of those secrets becoming known, and how far people will go to protect them.
Krissy and Billy Jacobs are the characters with the biggest secrets to keep, although their reasons for doing so are different. For years, Krissy believes her son, Jace, killed her daughter, January. After January’s death, Krissy cannot view Jace the same way, and she keeps him at arm’s length for much of her life. Nonetheless, her instinct the night of the murder is to protect her son. She covers up the crime, spray-painting a hateful message on their kitchen walls and making it look like an intruder killed January. She explains her feelings to Jace in a letter: “[E]verything I did that night [...] I did for you? To protect you. [...] It was the worst thing I’ve ever done, and I would do it again. For you” (200). In some ways, this is a testament to the love a mother has for her child. However, Krissy’s world shatters when she learns that Jace did not kill January, and that she pushed her son away and muddled the crime scene for no reason.
Krissy keeps another secret, one that costs her her life: Her old friend Luke (Dave) Davies is the father of her children, not her husband Billy. Krissy confesses this to her partner, Jodie—her relationship with whom is yet another secret Krissy keeps throughout her life. When she tells Jodie about the twins’ parentage, Krissy notes that “it felt as if a band had been wrapped tightly around her chest since 1994, and now, for the first time, it [is] beginning to loosen” (231). Krissy resolves to come clean to Luke and Jace so that they can have a relationship and so she can carry on with her life with a clear conscience. Krissy’s instincts are noble, but when her resolve to come clean crashes up against Billy’s desire to keep his own secrets hidden, Krissy pays with her life without ever having the closure she desired.
Billy reveals in the Epilogue that he learned the truth of the twins’ parentage the night January died. In his rage, he planned to scare Krissy by flinging open the basement door as she came up the stairs. Instead, it is January whom he first accidentally injures, and then murders in a fit of rage. As soon as January dies, Billy “[prepares] himself for the performance of a lifetime” (309), keeping the truth of what he did a secret and allowing the case to go cold. Billy even kills Krissy to keep his secret when he learns that she knows the truth and plans to tell Jace. Billy illustrates the lengths to which a person will go to protect their secrets from becoming known. He is also an example of how The Veneer of Civility and the societal mistrust of mothers enable deadly secrets to lurk beneath supposedly lawful and righteous communities.
The novel offers Luke and his secrets as an alternative to the above examples, showing how secrets are sometimes employed to avoid revealing truths that would cause further harm. Flowers utilizes secrets as red herrings, directing the reader’s suspicions to Luke by initially implying that he, like everyone else in Wakarusa, has dark secrets. Through her investigation, Margot learns that her uncle Luke fathered January and Jace Jacobs. When she finds January’s dance programs in a secret compartment of his desk, Margot worries that Luke may have been responsible for January’s death. However, she later learns that Luke lied about not knowing the Jacobses to protect his wife, Rebecca, who experienced infertility, and Margot, who has always viewed Luke as a father figure. Margot forgives her uncle for the lies he told: “Although he’d told lies and kept secrets [...] she now understood why he had” (288). With these revelations, Margot realizes that sometimes secrets are meant to prevent unnecessary harm.
As the title of the text suggests, the residents of Wakarusa, Indiana will be the first to say that they are “all good people here.” The text explores the dichotomy of the veneer of civility the residents of Wakarusa present with their insatiable need for gossip. When a town is so obsessed with rumors and gossip that the truth becomes “misshapen and unrecognizable, warped into the Story” (3), the consequences of obscuring the truth are dire.
As Margot begins her investigation into the connections between January’s murder and Natalie’s disappearance, she asks her uncle Luke if he thinks people will talk to her about the cases. He guffaws, responding, “[T]his town crucified the Jacobs family all those years ago and they may not exactly like the way that looks now. So, people will talk, sure, but you won’t be able to believe a word they say” (38). This quote points to the insincerity of Wakarusa’s residents as they claim sympathy for the Jacobses, especially now that the overriding belief is that Krissy and Jace may be innocent. The townspeople change their minds at will, chasing whatever the most interesting story is and never getting too concerned about what the actual truth might be.
The gossip mill of Wakarusa looms especially large over Krissy, even 10 years after her death. In the wake of January’s murder, people in town decide that the family, more specifically Krissy, must be to blame: “Krissy was—well, I’m sorry, but she was just not acting normal, not like a grieving mother” (77). In an example of manipulating the “Truth” to serve the “Story,” the residents of Wakarusa turn Krissy into their perfect criminal. Ironically, they are not totally incorrect—Krissy is hiding something about the murder. But the residents of Wakarusa are more interested in gossiping about her than seeking the truth. The town makes Krissy a convenient scapegoat, guilty of the crimes of being an “unfit mother” (80) who was “undeniably jealous of January” (79). But, to maintain that veneer of civility, they are careful to dress their “Story” in “pearls of sweetness to coat its sharp edges” (3). This enables the town to maintain their identity as “churchgoing, law-abiding, capital-G God-fearing people” without having to sacrifice their desire for gossip (3), and allows them to cast aspersions on those they deem different.
One major ramification of this is that January’s real murderer—Billy—goes undetected for 25 years. In the immediate aftermath of January’s murder, Krissy mistakenly believes that Jace murdered his sister. Knowing that the town is going to shun them regardless, Krissy stages the crime scene, muddling it so thoroughly that Billy’s act goes undetected.
Billy is one character who undoubtedly benefits from the veneer of civility, going back all the way to childhood. Earlier in the text, Krissy recalls her friend Dave (Luke Davies) explaining to Billy why Wakarusa is not an idyllic place. Dave indicts Wakarusa’s judgmental scrutiny: “This place that takes everything unique about you and spins it to make you seem fundamentally f*cked up? [...] [T]his town puts a label on us the day we’re born” (48). Billy, who enjoys the label of belonging to the wealthiest family in town, can skirt much real scrutiny in the wake of January’s death precisely because of his privileged position. In addition, he utilizes the societal mistrust of mothers and allows Wakarusa—and the nation—to cast blame on Krissy’s parenting, never trying to shoulder the burden or shield her. Instead, to safeguard his secrets, he maintains his own veneer of civility up until the moment Margot realizes he is January’s true killer.
When Margot arrives back in her hometown to care for her uncle, she carries with her the baggage of knowing her life is in a precarious position: “She couldn’t tell him that her work had been suffering for six months now because her mind had been in Wakarusa with him instead of in Indianapolis with her paper” (11). Margot soon loses her job as a reporter, and this added stress leaves her feeling unmoored and directionless. To regain a sense of purpose and direction, Margot throws herself into solving the January Jacobs case, believing it to be related to the disappearance and murder of Natalie. Margot does this not only to soothe the survivor’s guilt she has lived with for the past 25 years, but to gain direction in her life.
Margot has been invested in January’s case since the beginning. Growing up across the street from January, Margot was childhood friends with her, and experiences trauma because of January’s murder. After learning of January’s murder, she becomes convinced that a strange attacker picked January over Margot by pure chance. Over the years, Margot’s sense that she is alive only because of a random decision of fate intensifies into survivor’s guilt: “Had she been afforded that life because some man had picked January’s window instead of hers? Did she have all those years because January had not?” (143). Margot feels both gratitude and shame, and these feelings inspire her to use her life to bring about justice for January.
Though her editor dismisses her for being overinvested in January’s case, Margot uncovers connections between January and Natalie Clark that police have overlooked throughout her investigation. She looks past The Veneer of Civility and Wakarusa’s mistrust of mothers to uncover The Secrets of Small Towns. As she gets closer to solving the case, her direction in life comes into focus as well. Margot is no longer only pursuing January’s case as a way to remedy her guilt, but as a way to bring forth justice: “She wanted a story, yes—she wanted to be a real, credentialed journalist again—but this was so much more than that [...] This was about making sure no more little girls got taken, then showed up a day later, their bodies cold with death” (175). Her tenacity and drive eventually yield results as she brings serial killer Wallace to justice, the man who murdered Natalie and at least seven other young girls.
With this solved, Margot reaps the rewards of getting her old job back with the agreement that she will be the one to cover Wallace’s trial. Margot regains the sense of direction and purpose she lost at the beginning of the novel, but with it comes a price. In her final perspective chapter, Margot discovers that January’s assumed father, Billy, is the one who murdered her. This lands Margot in a dire and dangerous situation, which ends on a cliffhanger. However, even as the final lines of Margot’s story feature Billy dragging her to the basement toward an uncertain fate, Margot’s sense of purpose and direction remains. She thinks to herself that she has come too far to end up another “nameless, faceless, [number] on a sad and growing list” of missing and murdered girls (298).
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