Sage considers that maybe blue—instead of red—“is the color of love” (132). She notes that it is full of strong emotion, coming in all sorts of shades both in the sky and the heart.

Aunt Ini visits Sage, and her serious demeanor while doing chores signals an important conversation. She reveals she has spoken with Sage’s father and confronts Sage about being disrespectful at school. Sage admits she has not yet apologized but resolves to do so on Monday.

After telling Sage that everyone’s pain is valid even if it looks different, Aunt Ini gives her a broom to sweep the floor. She then advises Sage that it is okay to feel sad and angry about the horrible thing that happened to her, but she must not let those feelings blind her to new blessings. Aunt Ini points out that Sage’s new friends are not a replacement for her lost best friend, but rather proof that she is still capable of giving and receiving love. She concludes by telling Sage that love never runs out unless people “let [their] hearts dry out” (134).

Sage and Aunt Ini go for a walk through Harlem to Central Park. By the lake, Aunt Ini expresses disappointment that the tulips have not yet arrived. When asked why she likes them so much, she explains that tulips are special because they mean that “new beginnings” are coming and that it is “time for renewal” (87). She states that this renewal will bring new possibilities.

Sage practices an apology with Kofi in Morningside Park, telling him she needs to fix things after how rude she was. The conversation turns to loss, and she asks if anyone he knows has ever died. Kofi admits that his uncle died, but he didn’t know him, and that he has attended many funerals at his grandfather’s church but without a personal connection to the deceased.

Inspired by the Sage’s decision to apologize, Kofi stops her on the path and confesses that he has been waiting for the right moment to tell her his feelings. He says that he likes her and asks her to be his girlfriend. Sage accepts by kissing him on the cheek.

When Kofi kisses Sage back, she admits to herself that she now sees how both happiness and sadness can coexist simultaneously.

Sage describes the experience of a first kiss with Kofi. Initially, her thoughts are a cascade of self-consciousness and worry, focusing on technique, public perception, and the fear of her family finding out and disapproving. Her perspective then shifts from the mechanics of the kiss to Kofi himself, reflecting on all the reasons she likes him. She concludes that when feelings are mutual, a kiss is a “sacred,” cherished moment—not an accomplishment to flaunt. After the kiss ends, Kofi smiles and takes Sage’s hand. They begin walking, leaving Sage thinking only about the next time they’ll kiss.

Sage returns to her grief group. Before the session begins, Ms. Carver meets with her privately, welcoming her back and giving her two items to help manage her emotions: a rubber ball to squeeze when angry and a smooth stone to rub for calm.

When the other members arrive, Sage reads a prepared apology to the group. She expresses remorse for her previous disrespect and dismissiveness, acknowledging that comparing pain is not helpful and that what matters is healing together. The other members—Ebony, DD, Ana, and Zay—all accept her apology with softened and proud expressions. Sage reflects internally that she is finally releasing some of her anger and unanswered questions, making room for kindness, forgiveness, and new positive experiences.

After taking responsibility for their words, Sage feels like a weight has been lifted off her, especially after Ms. Barbara teaches the aviation class about Bessie Coleman. That night, she is free from the usual nightmares and flashbacks of a car crash. Instead, she has a positive dream of soaring through the sky and performing aerial stunts like Bessie Coleman. In this dream, which takes place in France, the voices of Sage’s parents, Aunt Ini, and teachers form a “chorus,” cheering her on and telling her to “Fly, Black girl. Fly” (145).

Sage opens her front door to find Brielle, her deceased best friend’s older sister. She has not seen Brielle since the funeral. Brielle gives her an envelope that was found at the scene of the fatal accident. The envelope is addressed to Sage in their best friend’s handwriting. Brielle explains that she believes the letter, along with some now-destroyed flowers, was intended to be Sage’s birthday gift. Sage takes the envelope, opens the letter, and begins to read, imagining her best friend’s voice speaking the words.

This chapter is a personal list written for Sage on her 13th birthday by her best friend. Her friend outlines 13 things she loves about Sage, describing her as a fun, generous, trustworthy, and dependable person who brings comfort like a rainbow. Her friend also describes her as “forgiving,” noting how Sage has forgiven her recently when she said and did unkind things. The list concludes with Sage’s friend affirming that Sage is her best and favorite friend, whom she will never stop loving, comparing her to a “sunrise” that “bring[s] hope and beauty to every / new day” (150).

As Sage finishes the letter, she cries, noting that it brings her “relief” and serves as a sort of “letting go” (151).

Brielle invites Sage to go back home to see her friend’s parents and bedroom, telling her that their mother saved all her friend’s belongings. Sage agrees to go despite her anxiety about returning there.

Sage’s best friend’s mother greets her warmly when she arrives. She invites Sage up to the bedroom, telling her that her best friend saved all the notes Sage wrote her over the years. She urges Sage to take them as well as some of her belongings. Despite her thin and frail look, Sage notes how “kind and welcoming” her best friend’s mother is (152). When the mother goes downstairs, Sage looks over the belongings and reflects on how life is simultaneously frozen and moving forward without her best friend.

Sage finds a box with mementos from their friendship inside. There is a ticket stub, a birthday card, and a note Sage once wrote her, photographs of them, half of their friendship necklace, and more. The collection of these items serves as proof to Sage that their friendship was real and full of love. Most importantly, it provides Sage with the comforting confirmation that her friend was fully aware of how much she was loved.

At the same time, Sage reflects on the fact that the box of mementos confirms that her best friend loved her in return.

Sage feels certain now that she didn’t need a final moment with her friend to confirm their love for each other. Instead, they showed each other how they felt in all the time they spent together.

During a Fly Girl session, Fatoumata asks Ms. Barbara about aviation-related jobs other than being a pilot. Ms. Barbara explains that numerous roles and systems are required for a commercial flight to operate successfully. While listing these requirements, she mentions a passenger manifest. When Fatoumata asks for a definition, Ms. Barbara clarifies that it lists everyone on the plane, stressing its importance in tracking a person’s seat and journey.

After class, Sage goes home to finish the memorial she was making for her best friend. After she died, her mother and Aunt Ini urged her to make something for the crash site, but Sage never worked up the courage to do so. Now, she finishes it, then takes it and puts it alongside all the other items people have left to remember her best friend where she died. It is a sign on which Sage has repeatedly written her best friend’s name.

Sage calls her memorial a “manifest,” noting that it tells the world “[s]he was here, she was here” (159). Her best friend’s name, Angel Rodriguez, is written repeatedly in various styles, designs, sizes, and orientations.

Sage reflects on her friend’s name, Angel, noting how “majestic” it is. She vows to fly high enough in the sky that she can whisper Angel’s name and have Angel hear her and smile down on her. Sage emphasizes the fact that, even in death, Angel continues to teach and guide her.

Mr. Dixon begins a geometry lesson, explaining that when a transversal line cuts across two parallel lines, the angles formed are either congruent or supplementary. He distributes a worksheet to the class that provides formal definitions for these two new terms. The worksheet also includes two diagrams to illustrate these concepts, one showing the parallel lines and transversal, and a second showing the labeled angles created by the intersection.

Sage compares the diagram Mr. Dixon handed out to her own life and those in the support group. She notes that death touched her, Ebony, DD, Ana, and Zay like a transversal line. Although their experiences were not the same, they were similar, bringing them together and connecting them forever.

After school, Sage declines an invitation from her friends because her Aunt Ini is picking her up. Sage immediately senses something is wrong, observing the sadness in her aunt’s eyes despite her smile.

Aunt Ini takes Sage to a favorite spot, the Harlem Meer in Central Park, to have a serious talk. After walking silently around the lake, they sit on a bench. Aunt Ini takes Sage’s hand and, deciding to be direct, delivers the news that she is dying.

Sage repeats the words, “Aunt Ini is / dying” (169), to herself.

Sage reacts to the news from Aunt Ini. She struggles to maintain control of herself as her stomach churns, her palms sweat, and she feels as though she is going to cry. She sees her body as “a house,” trying to remain upright after it is hit by a “tsunami” that came “without warning” (170).

Sage again repeats the words “Aunt Ini is / dying” to herself (171), noting how the simple, direct words remain in the silence that follows them.

Aunt Ini explains that she learned two days ago that she has cancer that cannot be treated. Sage finds that she has no words to say back, so she simply puts her head on Aunt Ini’s shoulder and grabs her hand.

As Sage is overwhelmed by Aunt Ini’s news, her mind reflects on their time together. The memories come quickly, present and past all mixed together. She also thinks of several questions, like when Aunt Ini will die and what it will be like to experience it. She asks herself three times, “How will I live without her?” (173).

Sage clarifies her last question about living without Aunt Ini. She insists that she can do so but wonders what her life will be like. She considers whether she will be overwhelmed by moments that remind her of Aunt Ini, whether she will have a memento to remember her by, whether she is capable of living a life that will make Aunt Ini proud, and more. Sage resolves to carry on her wisdom, hoping to fulfill the life she wished for her and, in turn, ensure Aunt Ini continues to live on within her.

While walking with Aunt Ini around the Meer, Sage reflects on the changing of the seasons, noticing the vivid leaves and bright sun where bare branches had recently been. Sage tries to think of something to say, but before she can speak, Aunt Ini excitedly points to a field at the end of their path, joyfully announcing that the tulips are in bloom.

Sage considers that people are like flowers, with their presence always temporary regardless of how beautiful or how loved they are. She reflects on the fact that the transience of the seasons includes “a promise that always more flowers bloom” (177).

Sage reflects on adults telling children about death. She insists that they fail to talk about how frequently death happens, and how life is full of things that are sad and terrible. She vows that, if she becomes an adult and has children, she will tell them about these losses—but will also emphasize the happiness and love that comes with it. She is adamant that even though all loss is difficult, it is still okay to feel all of life’s emotions, good and bad.