Harriet "Hal" Westaway is broke. Not just "low on cash" broke, but the kind of soul-crushing, debt-collector-at-the-door poverty that makes a person desperate enough to do something stupid. When she receives a letter claiming she’s inherited a substantial estate from a grandmother she never knew, she knows it’s a mistake. Her real grandparents died years ago. But Hal is a tarot reader on the Brighton pier. She knows how to read people, how to cold-read a situation, and how to spin a story. She decides to use her skills to claim the money.
It’s a classic setup. The Death of Mrs. Westaway by Ruth Ware isn’t just another psychological thriller; it’s a calculated, atmospheric homage to the Gothic greats like Daphne du Maurier’s Rebecca.
Most readers coming to this book expect a fast-paced "whodunnit." What they actually get is a slow-burn character study wrapped in a cold, damp shroud of English winter. It’s bleak. It’s eerie. Honestly, it’s one of the few modern books that actually understands how to use a house as a primary antagonist. Treathen Hall isn't just a setting; it's a cage with rotting floorboards and secrets tucked behind the wallpaper.
The Reality of the "Long Con" in The Death of Mrs. Westaway
We’ve all seen the trope where a character assumes a false identity. Usually, they’re some suave mastermind. Hal isn’t that. She’s a terrified girl in her early twenties who is hungry and cold.
When she arrives at the funeral of Hester Westaway, she’s immediately thrust into a family dynamic that is toxic, to say the least. The Westaway children—Ezra, Harding, and Edward—are a mess of resentment and upper-class repression. Ware does something brilliant here. She doesn’t make them caricatures. They feel like real people who have been warped by a cold, domineering mother.
The tarot element is where the book gains its unique edge.
Hal’s trade is built on the "Cold Read." This isn't magic. It's observation. She notices the scuff on a shoe, the tan line where a wedding ring used to be, the slight hitch in a person's breath when a certain topic comes up. This skill set is exactly what allows her to survive at Treathen Hall, but it’s also what makes her feel like a fraud every second she’s there. You’ve probably felt that imposter syndrome before—now imagine it with a massive inheritance and a potential murderer on the line.
Why Treathen Hall is the Star of the Show
If you’re looking for a sunny vacation read, this isn’t it.
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The house is located in Cornwall, and Ware paints it with a palette of grey, brown, and "moldy green." There are magpies everywhere. "One for sorrow, two for mirth..." the rhyme echoes through the narrative, acting as a grim heartbeat for the story. The attic room where Hal is stayed is literally barred from the outside.
It’s claustrophobic.
The windows are crusted with salt and dirt. The housekeeper, Mrs. Warren, is a classic Gothic trope—the silent, judgmental observer who knows where all the bodies are buried (metaphorically, and perhaps literally). Ware uses the physical decay of the house to mirror the decay of the Westaway family tree. Every time Hal discovers a new piece of the puzzle, like a hidden diary or an old photograph, the house seems to tighten its grip on her.
Some critics argued the pacing in the middle of The Death of Mrs. Westaway is too slow. They’re wrong.
That slow pace is intentional. It builds the dread. It makes you feel as trapped as Hal is. You’re waiting for the other shoe to drop, and when it finally does, it doesn’t just drop—it crashes through the floor.
Decoding the Twist (Without Giving It All Away)
Without spoiling the massive reveal for those who haven't finished, the brilliance of the plot lies in its layers.
It’s not just about "who gets the money." It’s about identity. Hal’s mother, Maggie, is the key to everything. Maggie ran away from Treathen Hall years ago, and the mystery of why she left and who Hal’s father really is forms the emotional core of the book.
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A lot of people think they’ve guessed the ending by page 100. You might think you know the lineage, but Ware throws a curveball regarding the timeline of Hester Westaway’s own life that changes the context of the inheritance entirely. It’s a bit of a "Matryoshka doll" mystery—you open one shell only to find another smaller, stranger one inside.
The use of the tarot cards—specifically the Three of Swords and the Nine of Swords—foreshadows the ending perfectly. The Three of Swords is about heartbreak and betrayal. The Nine of Swords is about nightmares and anxiety. If you pay attention to the cards Hal pulls throughout the book, the ending is actually hidden in plain sight.
How Ruth Ware Subverts the "Girl in Danger" Trope
In many thrillers, the female lead is a passive victim of circumstances. Hal is different.
She’s proactive.
Even when she’s terrified, she’s calculating. She uses her skills as a con artist to manipulate the brothers when she needs information. There’s a specific scene involving a dinner party where she has to navigate the treacherous waters of family history while being interrogated by Harding. It’s high-stakes poker played with words instead of chips.
The nuance here is that Hal isn't "likable" in the traditional sense. She’s doing something illegal. She’s lying to a grieving family. Yet, you root for her because the Westaways are so much worse. It’s a study in moral shades of grey. Is it wrong to steal from people who are fundamentally cruel? Ware leaves that for the reader to decide.
Real-World Influence: The Legacy of English Gothic
You can't talk about this book without mentioning Jane Eyre.
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The parallels are everywhere. The isolated estate. The mysterious master of the house. The "madwoman" in the attic (though Ware updates this for the 21st century). Even the weather plays the same role—the freezing cold acting as a physical barrier to escape.
But The Death of Mrs. Westaway also taps into something very modern: the death of the middle class and the desperation of the "gig economy." Hal isn't a governess; she's a freelance worker who can't pay her rent. That makes her struggle feel incredibly grounded and relatable, despite the grand, old-fashioned setting. It’s why the book resonated so deeply with a wide audience. It’s a Victorian ghost story told through the lens of a Millennial’s bank account.
Common Misconceptions About the Book
- "It’s a supernatural ghost story." No. While there are eerie moments, everything has a rational (and often dark) explanation. It’s a psychological thriller, not a paranormal one.
- "The tarot parts are just filler." Absolutely not. The tarot readings provide the structure for the entire plot. If you skip those sections, you miss the foreshadowing.
- "It’s a sequel to The Woman in Cabin 10." Nope. Ruth Ware’s books are all standalone novels, though they often share themes of isolation and female trauma.
Key Takeaways for Aspiring Mystery Readers
If you want to get the most out of reading or re-reading this book, look at the dates.
The timeline of when characters were born and when they disappeared is the most important clue. Keep a mental note of the "M" names. They matter. Also, pay attention to the descriptions of the food—or the lack thereof. In a Ruth Ware novel, what people eat (or don't eat) often tells you exactly where they sit in the power hierarchy of the house.
The ending is divisive for some because it leans heavily into the "sins of the father" motif. But in terms of narrative symmetry, it’s almost perfect. It closes the loop on Hal’s identity in a way that feels earned, not cheap.
Actionable Insights for Thriller Fans
- Read the classics first: If you haven't read Rebecca by Daphne du Maurier, do it before starting this. You’ll catch so many more "Easter eggs" and nods to the genre.
- Watch the magpies: Seriously. Count them as they appear in the text. Ware uses the "One for Sorrow" rhyme to signal the tone of the upcoming chapters.
- Check the publication dates: If you're looking for similar vibes, check out The It Girl or The Turn of the Key. Ware is consistent with her atmospheric dread, but Mrs. Westaway remains her most structurally complex work.
- Analyze the "Cold Read": Try to apply Hal’s logic to the other characters. Look at their clothes, their speech patterns, and their reactions to her. You’ll find the killer much faster if you think like a tarot reader instead of a detective.
This book stays with you. It’s the kind of story that makes you want to lock your doors and turn on all the lights, not because of ghosts, but because of what people are capable of when there's a lot of money on the table. It’s a masterclass in atmosphere. It’s a reminder that the past is never really dead; it’s just waiting for someone to dig it up.