In Volume VIII, Clarissa makes necessary arrangements for her death. Our discussions focused on Clarissa’s narrative as it draws to a close. Rachel reminded us of Terry Eagleton’s (1982) comment in The Rape of Clarissa: letters are fetishes, and “now that one of our primary authors is unable to put pen to paper, we realize how much we rely on the letters as narrative artifacts” (p. 59-60).

A part of Clarissa’s arrangements involves allowing Belford and Anna to control her story. In response to Letter 405, Keri remarked that this transfer of power might be liberating for Clarissa, given that she trusts Belford and Anna to ensure that her story, rather than Lovelace’s, will be the authoritative one. Rachel pointed out that Clarissa does not have to be writing in order to narrate her story: orchestrating what happens after her death also constitutes narrative power. Clarissa is aware of her impending death, what Debra reminded us is Frank Kermode’s (2000) notion of a “sense of an ending.” This knowledge is a force for her to carry out the remainder of her narrative.

In response to Letter 413 where Belford narrates Clarissa’s story as a tragedy, our discussions centered on whether our interpretations of Clarissa’s narrative aligned with Belford’s. At this point in the novel, characters reflect back over the past several months and build their own narratives about the events represented in hundreds of letters. Keri pointed out that the narrative Belford writes is intended to persuade Lovelace not to hurt Clarissa; consequently, we cannot know whether Belford’s sincere interpretation is reflected in the one he constructs for Lovelace. Others had varying readings of the letter. Tony shared some of his early reading notes: “Because they encounter each other, Clarissa and Lovelace must struggle against—and to assert—their natures. Both lose. The source of the deepest tragedy.” In Tony’s reading, Clarissa is not the only victim. Similarly, Debra and Megan reminded us that Clarissa’s character resists the role of passive victim. Regardless of Belford’s intentions in the letter, there are implications for representing Clarissa only as a victim of Lovelace’s actions: we are prevented from recognizing that Clarissa was initially uncertain about Lovelace. She briefly entertained the notion that her influence could change him. We all agreed that a representation of Clarissa as solely a victim would have prevented us from engaging with her as an active character in the novel.