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Layne Fargo is an American author known for psychological thrillers featuring assertive female characters. Her first novel, the thriller Temper, was published in 2019, followed by They Never Learn in 2020. She also collaborated on Young Rich Widows, which was released in 2022. Fargo has master’s degrees in theatre and library science, and she worked as a librarian before becoming a novelist. Her background is evident in her writing: Her novels depict campus life and professional theatre, and include characters with a strong interest in literature. Fargo is also the co-host of the Unlikeable Female Characters podcast, which focuses on women writers—especially those who create “unlikeable” female characters who do not conform to societal standards of behavior and morality. The hosts aim to help listeners understand the complexity of such characters, and see them as worthy of interest and even empathy. Fargo’s dedication to “unlikeable” women is evident in They Never Learn, as her characters refuse to accommodate toxic behavior and twisted morals for the sake of being “likeable.”
They Never Learn depicts a university campus where male professors disrespect their female colleagues and prey on female students, male students victimize their female classmates, and administrators ignore reports of on-campus sexual assault. This representation reflects reality in many ways and is especially relevant to the 2017 #metoo campaign. #metoo was a survivor-led publicity campaign to raise awareness surrounding the prevalence of sexual harassment and assault, an attempt to let survivors heal through open discussion of gender-based violence. Although not exclusive to academic settings, #metoo illuminated the oft-unacknowledged culture of gender-based violence on many college campuses. Though #metoo sought to draw attention to academic perpetrators of gender-based crimes, it also challenged administrative complicity in ignoring crime-related reports to preserve a school’s image. One of the most visible symbols of #metoo on campuses was “Carry that Weight,” a performance project by sexual assault survivor Emma Sulkowicz, a student at Columbia University: Sulkowicz carried the 50-pound mattress on which she had been assaulted around campus during her senior year to raise awareness about administrative complicity in student sexual assault—as her rapist walked free. They Never Learn is set during the years before #metoo, and seeks to illuminate the very culture of gender-based violence and administrative complicity that led to the creation of the movement. It is this climate of complicity which compels Carly/Scarlett to seek vigilante justice: Doctors, professors, and school officials all ignore sexual assault on campus, blame survivors instead of perpetrators, and suggest accountability will hinder male rapists’ future careers—rather than considering the lasting trauma of female survivors.
Psychological thrillers combine psychological fiction’s focus on characters’ thoughts, emotions, and motives with the plot-driven mysteries of thrillers. They Never Learn is an exemplar of this genre because, although murder, pursuit, and investigation drive the plot, so, too, does the inner world of its protagonist. Carly/Scarlett is driven to murder by a combination of her own past experiences and a deep interest in vigilante justice. Additionally, They Never Learn seeks to place itself within a tradition of psychological thrillers that engage with gender issues and feminism. Noteworthy examples from this canon are Daphne Du Maurier’s Rebecca (1938), Donna Tartt’s The Secret History (1992), Gillian Flynn’s Gone Girl (2012), and much of Tana French’s work. The very premise of They Never Learn—the complicity of university staff, faculty, and administration in on-campus sexual harassment and assault—has emerged as one of the feminist movement’s most important issues within the last decade. #metoo and other movements which focused on gender-based crimes shifted feminist discourse away from issues such as the politics of representation and toward violence against women—the result of which has been a global reorientation of feminism within both academia and popular culture.
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