Drawn to the Deep: Reading Theodore Finch’s Death Drive Through Freudian Psychoanalysis in All the Bright Places

Abstract

Jennifer Niven’s All the Bright Places (2015) introduces Theodore Finch as one of contemporary YA fiction’s most psychologically complex characters, an adolescent who simultaneously seeks to live but also approaches death with unfailing commitment. Whereas scholarship on Niven’s novel has so far been predominantly concerned with the narrative’s treatment of mental illness and promoting greater awareness of YA suicidal ideation, this paper offers the first Freudian psychoanalytic reading of Finch’s psychological disintegration, contending that his narrative journey can be most productively interpreted within the structure of Sigmund Freud’s theory of Thanatos - the death drive. Based on Freud, the basic premise of the human psyche is the agential struggle, between its two unlike but interconnected drives: the life instinct of Eros, which is pulsating with love attraction union, and life, and Thanatos, which urges the mind on the road to self-destruction and dissolution. In Finch this paradoxical dialectic is rendered with striking literary force. From the early bells that symbolise Finch’s largely anticipated spiralling death, to his scenic withdrawal from open Indiana fields into his bed, his wardrobe, and ultimately the river, the novel’s architecture depicts a history of thanatosic dominance to which family, school and society turn a blind eye. This paper considers the significance of Finch’s fragmented self-aspect-two selves, asleep and awake-as a signifier of the mind’s failure to battle thanatos, and interprets his compulsive fascination with high places and water as its unthinking self-revelation. Using Freud’s Beyond the Pleasure Principle and Mourning and Melancholia, this paper argues that All the Bright Places is not just a novel about mental illness: it is an epic dramatising of the death drive that society cannot see.