The Reappearance of Rachel Price

Jackson’s novel capitalizes on the contemporary fascination with true crime stories. By framing the novel in the context of a documentary-in-progress, the author explores the ways in which real-life stories are repackaged and sensationalized for public consumption. When Rachel Price’s sudden reappearance upends the original context of the documentary, the resulting search for answers drives the plot forward. As Bel and Ash uncover new answers, the production of the documentary reflects the public’s fascination with true crime stories, particularly those that feature unsolved murder cases. Both Charlie and Rachel consider the venture to be a legitimate way to make money, and although the events of the novel are purely fictional, this attitude reveals the market that exists for this type of content.

Because the characters are impacted by the mysterious disappearance of Rachel Price, they live in a cultural milieu that is preoccupied with true crime stories, and this dynamic is illustrated by Ramsay’s introduction to his documentary, which labels the case “one of the most discussed and studied” examples featured on “true-crime podcasts and social media” (12). Ramsay’s dramatic introduction illustrates the modern phenomenon of murder cases being converted into fodder for public entertainment, discussion, and debate.

Within this context, Bel, the story’s protagonist and narrator, reflects on the public’s fascination with the case, and her reflections are designed to mimic the lived experiences of those whose lives have been impacted by mysterious tragedies. Thus, the public views Bel through the lens of her mother’s mysterious disappearance, rather than being known as an individual. As a result, Bel struggles with the unpleasant notoriety of being known as the daughter of Rachel Price, who is initially assumed to have been murdered. Because Bel’s experience is most prominently displayed in the narration Jackson emphasizes Bel’s discomfort and disapproval with the sensationalized proceedings, and her long-suffering reactions contain Jackson’s implicit critique that the widespread fascination with true crime is ghoulish at best. Nevertheless, Jackson also peddles this same cultural phenomenon as the very premise of her novels, thereby indirectly benefiting from the popularity of the true crime genre with both The Reappearance of Rachel Price and her previous bestseller, A Good Girl’s Guide to Murder. Both novels make it clear that Jackson targets readers with an interest in unsolved murder cases.