I picked this up at a library book sale a few years back because I remembered enjoying Nineteen Minutes. I’m not sure how much I can say that I felt the same way about The Pact. At no point did I seriously consider leaving it unfinished, but I didn’t engage with the plot or the characters on an emotional level at all. My key motivation in reading through to the end was finding out what truly happened on the night that Emily died.
It’s definitely easy to read, and the 451 pages of my edition didn’t feel as lengthy as I had feared. Picoult keeps the reader guessing right up until the novel’s conclusion, and does so through the use of multiple point-of-view character. Most of these characters have no idea what really happened, so there’s always the awareness of truth being constructed by the individual according to their own biases—emphasised by the defending lawyer, Jordan’s, refusal to even engage with an objective truth any more. This would have been a more effective tactic, I think, if Chris had not been one of the characters giving their point of view. Chris, after all, knows what happens on the night in question, so the reader is always aware that it’s the author that’s keeping his truth away from them.
I think that the choice to have so many perspectives also limits the emotional connection that the reader can feel with the various characters. I felt very distant from the novel at all times. There isn’t a great deal of emotion in its pages, which is something I can actually very much appreciate, but I didn’t read any real emotion between the lines either. The Pact is a novel that deals with grief, suicide and trauma, but all of these things feel like mere pieces of evidence to be raised in the ultimate trial. This was particularly grating to me with regard to Emily’s childhood trauma and the ongoing effect it has on her, and it made me think a lot about how the traumatic experiences of women and girls are so commonly employed as inciting events in fiction, with inadequate space and sensitivity given to the subject. Here, at least, the trauma is inserted as motivation for Emily, not a male character connected to her, but I think we need to think deeply about the implications of creatively co-opting pain not personally experienced.
Does any of this mean that The Pact is a bad book? Of course not. It’s an engaging read that holds its mystery ever at the forefront, keeping the reader interested and curious right up until the very end. The lack of emotion I felt while reading the story means that it likely won’t stay with me for long, but I don’t at all feel that the time spent reading it was wasted.