Laurel Bourg
In Donna Tartt’s The Secret History, we follow Richard as he infiltrates the ranks of an exclusive group: the Hampden pupils of ancient Greek. This testament to dark academia throws the reader straight into the action as Tartt reveals Richard’s transition from a poor boy from California to complicit in the murder of a fellow classmate. In this mystery, the question is not “who?”, but “why?”. The first lecture Richard attends formally introduces the reader to the strange dynamic between the class and Julian, as well as how a desire for prestige can come with unforeseen consequences. The indoctrination of Richard into, fundamentally, the cult of Julian’s creation furthers his unreliability as a narrator and makes the story always feel like there is clouded glass over the actual events.
As their sole source of information, Julian plays a vital role in the molding of his pupils. Thus, when his perspective is skewed against what is considered the norm, it makes sense that those under him walk with an air of abnormality about them. During Richard’s first class, Julian describes love as “a cruel and terrible master” in contrast to “the joy of battle, in fighting for a glorious cause” (Tartt 37). Julian incites a fascination within the group through talk of military tactics and the prospect of “Apollo and Athena Nike [coming] down to fight at [their] side” (37). Julian pokes and prods in dark corners of his pupils’ brains to make them tick. One could easily form the connection between Julian’s intriguing monologues and his role as their dynamic leader. He isolates the group from external influences such as other professors and academic advisors so that the only knowledge they gain matches that of his agenda. Any regular person “would’ve been on the phone to Psychological Counseling” (40) if they sat in on this class; yet, no one bats an eye at Julian’s monologue – not even Richard. This seemingly all-powerful influence makes it hard for the reader to differentiate what ideas are the characters’ and which are planted in their minds by someone practically running their own psychological experiment. It is impossible to say how different Richard may have been if he never met Julian and if any of his motivations are really his own or something manufactured.
A strange professor is not the only thing contributing to Richard’s descent down the rabbit hole. Bunny Corcoran has the most personal charm out of anyone in the ancient Greek class; yet, he is the one hated the most by the internal group. As one continues through the book, the ‘dazzle’ in Bunny’s eyes at this mention of a Greek monster makes sense. Similar to these creatures, Bunny “[turns] up the volume of the inner monologue” (37). Suddenly, Richard is stealing money from a professor he works with for more lavish clothes and drinks in extravagant restaurants for extravagant amounts to impress Bunny, who made it all seem like Richard’s idea. When he ridicules the people around him, his charisma conceals the attack on their insecurities. It takes a long time in the book for Richard to finally catch on that these jabs were not playful jokes but something darker. Since Richard is the narrator, the reader does not question this at first either, but his actions are out of manufactured desperation. Bunny says, “You cannot jump” and Richard says “Watch how high!” without a second thought as to why he is jumping at all.
Henry works in tandem with Julian and Bunny as a lure for Richard by inciting intrigue. Up until this point, Henry has been characterized as isolated and reserved in comparison to the rest of the group. The prospect of taking over Hampden stirred something within Henry. Henry launches into exactly what would need to happen in order for their class to successfully complete such a feat. In contrast to the subject, Henry says it without malice or violent intent, as if completely detached from the egregious description. Henry describes the battle the same way one might describe lunch plans. This thought process has been cultivated by the environment Henry has spent the last few years in, and now Richard sits in a similar position. To have the ability to talk freely about the darker shadows of thoughts entices him. In fact, Richard finds himself “unexpected[ly] thrilled at the coldness of [Henry’s] voice” (37). This hesitant reception indicates Richard’s descent… He does not think badly about Henry or anyone else in the class for the way they act. Furthermore, he spends the rest of the book trying harder to put more of this darkness in his academia. It seems hard to believe that within one class period Richard undergoes such change, but since his narration is a retelling of his memories, there is no way to confidently say he has himself convinced he was receptive from the start. Once suffocatingly surrounded by such ideas, it is hard to ever see any light in your life again.
Donna Tartt draws in the reader with a tale of how one can go from an average life to an accessory to murder. This twisted call to adventure commences in Richard’s full immersion into a new, dark life of academics under Julian’s guide. The class dynamic, especially that of Julian, Bunny, and Henry, draws Richard in until he has gone too far to turn back. It is impossible to untangle Richard’s true thoughts and motivations from the thorned vines of influence surrounding him.
Visual Representation of Prominent Themes and Imagery