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62 pages 2 hours read

Nora Roberts

The Mirror

Fiction | Novel | Adult | Published in 2024

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Background

Authorial Context: Nora Roberts

Writing since 1979, Nora Roberts is the prolific author of over 200 novels, including the In Death series written under the pen name J. D. Robb. Roberts is known for her compelling characters and intricate plots that blend romance with elements of mystery and the supernatural. Like the Lost Bride series, Roberts often writes trilogies to get a larger canvas to illustrate her characters’ relationships. Themes of family, community, and self-development are central to Roberts’s novels, with a special focus on found family. This is evident in The Mirror as well, with its emphasis on the growing bonds between the four main characters. Other features of the author’s writing are her attention to setting and the blending of genres. Roberts uses sensory imagery and period details to bring her settings to life, whether it is Maine in the Lost Bride trilogy or Montana in Montana Sky (1996).

Although she is widely known as a romance novelist, Roberts’s works are frequently genre-bending, containing elements of suspense, mystery, and the supernatural. The In Death series, for instance, combines the genres of futuristic fantasy, police procedural, and romance. In The Mirror, the plotlines of the growing romances between Sonya/Trey and Cleo/Owen evolve in tandem with supernatural and gothic occurrences. As in many of Roberts’s works, the natural and the paranormal coexist in The Mirror, symbolizing the continuum between different aspects of life. Roberts also frequently advances her plots using narrative devices from different genres, such as cliffhangers and red herrings from the mystery genre, and dreams and omens from gothic romance.

Genre Context: Gothic Romance

Gothic romance is an enduring genre of fiction that features haunted houses, supernatural happenings, and female leads fighting dark forces. The genre first became popular in the 18th and 19th centuries and includes works such as The Mysteries of Udolpho (1794) by Anne Radcliffe and Charlotte Bronte’s Jane Eyre (1847). Twentieth-century gothic romances include novels such as Rebecca (1938) by Daphne Du Maurier. In a gothic romance, the supernatural can be either real or a manifestation of the protagonist’s troubles. Sometimes, the paranormal elements in a gothic romance are left unexplained, adding to the mystery. Setting is a key feature of the genre, with the large house, manor, or castle representing both the comfort of home as well as the danger within.

The Mirror uses elements of the gothic genre, but Roberts these conventions for a contemporary context. The novel features such gothic elements as a lonely house on the edge of the sea and a young woman as protagonist, as well as objects like the mysterious mirror and the portraits of the brides. Devices like the locked room, ghostly music, and sudden footsteps are also a nod to the gothic romance. In The Mirror, the supernatural is real, but like in most gothic romances, it also represents uncertainty. Accepting or overcoming the supernatural is therefore vital to the protagonist’s self-growth, a way of making peace with the unknown and defeating their fears. While in earlier gothic romance, the hero tends to be an inexperienced, sheltered young woman, The Mirror subverts genre expectations by featuring contemporary, self-aware female leads in the characters of Sonya and Cleo.

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