This demonstrates the value of confession: by telling (not just thinking about) the truth, Lily takes the crucial first steps in moving past her own guilt and anguish. Even though Lily thinks about her mother’s death constantly, it’s genuinely difficult for her to confess her feelings to another person. In this scene, Lily experiments with a new kind of storytelling: confession. Another poignant example of this principle comes at the end of the novel, when Lily tells August Boatwright the story of her life: how she’s always felt guilty for killing her mother how she hates her father how she’s aspired to get out of Sylvan and explore the world. This idea is exemplified by May Boatwright, who has the practice of writing down any tragic thing she hears or experiences and putting the piece of paper into a stone wall. The crux of Lily’s realization is that there’s a fundamental difference between experiencing something and telling a “story” about it: by telling the truth about her pain, she can move past it. In these chapters, Lily experiences an epiphany that’s familiar to any writer: she realizes that she can come to terms with the truth simply by writing it down. After her friend Zach buys her a notebook and tells her to fill it with stories, Lily writes about her experiences in Tiburon, South Carolina: when there’s a tragedy in her life, she takes control of the tragedy by turning it into a story. In the second half of the book, Lily switches from telling lies to telling true stories, reflecting her greater maturity and wisdom. The experience Lily describes is an important part of her development: although she’s spent her entire life up to this point being yelled at by others (mostly her father), she realizes that she can fight back by crafting her own stories and presenting them as the truth. As she lies to her father, to police officers, and to nurses, Lily has a strange, “out of body” experience-she can’t believe she’s telling these lies so easily. She’s forced to lie quickly and cleverly in order to keep Rosaleen out of jail. In the first half of the book, Lily becomes an adult by telling stories, most of which are lies. There are many several kinds of storytelling in the novel, and by telling different kinds of stories, some fictional and some true, Lily makes sense of her life and matures as a person.
But storytelling in The Secret Life of Bees is more than a plot device or an aspect of the protagonist’s personality. At several points, Lily’s ability to concoct a convincing story saves her from jail (and moves the plot of the novel forward).
Lily enjoys writing stories moreover, she’s good at inventing “stories”-in other words, lies-to get herself out of trouble. One of the first things we learn about Lily Owens, the protagonist of The Secret Life of Bees, is that she’s a gifted storyteller.
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