61 pages 2-hour read

All's Well

Fiction | Novel | Adult | Published in 2021

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Part 1, Chapter 7-Part 1, Chapter 14Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of illness, substance use, physical abuse, emotional abuse, gender discrimination, sexual content, and suicidal ideation.

Part 1, Chapter 7 Summary

Immediately following her encounter with Hugo, Miranda is summoned to the dean’s office for a meeting with the dean, the college president, and the vice president. The dean has told Miranda in the past of his love for theater and Shakespeare, claiming that he played Caliban in a community theater production of The Tempest. However, Miranda remains suspicious of him, understanding that his true loyalty lies to money, specifically the college donors. The administrators question her choice to direct All’s Well That Ends Well for the annual production. They inform her they have received complaints from students and donors, who wish for the play to be changed to Macbeth. Miranda understands that Briana and her parents are behind this.


Miranda defends her artistic decision, briefly recalling her job interview with the dean five years ago in which she managed to thoroughly impress him. She thinks of this as one of her most successful moments as an actor. Since then, however, the dean has witnessed her physical deterioration and growing hopelessness, and he is no longer impressed by her. The administrators, unified by the golden rings on their fingers, pressure her to consider changing the play. As she leaves, the president tells her to break a leg, and the dean laughs that she might have already done so, referring to her limp.

Part 1, Chapter 8 Summary

That evening, Miranda seeks treatment from John, an unaccredited physical therapist, in his garage. John observes that Miranda’s body is misaligned and that her chronic pain has significantly worsened. Miranda does not tell him about other treatments she has pursued, not wanting to offend him. As John massages her, she realizes she cannot feel his touch on her back but pretends the treatment is working. From upstairs, John’s wife complains about Miranda’s late appointment.

Part 1, Chapter 9 Summary

Later that night, Miranda drives home from the appointment with John in worsening pain. She imagines her students staging Macbeth under Fauve’s direction, with Briana playing Lady Macbeth. Miranda imagines that her own blood will be on Briana’s hands and considers suicide. Instead, she drives to The Canny Man, in pursuit of the golden drink that took her pain away.


Inside, she finds the three men at the bar, and they greet her by name. They seem to know all her troubles: the dean, the change of play, Briana’s poor acting. They serve her the glowing, golden-green drink that provides instant relief from her pain. Miranda thinks its shade is like Briana’s green eyes and Hugo’s golden hair. After she drinks it, they clap for her, and Miranda feels strangely moved, even explaining how she contemplated suicide earlier.


The men, who call themselves the Weird Brethren, reveal that they know about her professional and physiological troubles. They explain that pain can be transferred from one person to another. They ask her if they can show her the “trick,” and Miranda says yes, though she suspects this is a mistake. To demonstrate the transfer of pain, the fat man grabs Miranda’s wrist, and she is overcome with paralyzing pain. It is more than she has ever experienced, and she thinks she is dying. As she lies immobilized, she has a vision of the now-healthy fat man performing the song “Get Happy” on a stage. His skin is clear, he moves easily, and his gray hair has turned golden. He then lies beside her, touches her face, and whispers: “All’s well.”

Part 1, Chapter 10 Summary

The following afternoon, Miranda awakens in her bed with no memory of how she got home. Her own pain has returned to a manageable level, especially compared to the intensity of the pain she experienced the previous night. She receives a text from Grace asking her where she is and if she approved Macbeth since the students are rehearsing it. Miranda rushes to campus and bursts into the theater, where she finds Briana leading the rehearsal from the new script, with Fauve’s encouragement.


Miranda calmly confronts the group and asks to see the play. Briana hugs the script to her chest instead of handing it over, and Miranda tries to grab it, tightening her grip around Briana’s wrist as she does so. Briana’s eyes widen, and she drops the Macbeth script pages. Miranda is concerned about whether she hurt the girl, but she calmly tells Trevor to pick up the pages. The other students go over to ask Briana if she is in pain.


At that moment, the dean arrives, looking extremely happy. He announces that the college’s Theater Studies program has received a record-setting donation from some local businessmen who are fans of the theater and Miranda’s acting. The donation is conditional upon the department producing All’s Well That Ends Well. Miranda guesses that the three men from the bar are the donors, and she feels that her authority is restored.

Part 1, Chapter 11 Summary

The next day, Hugo invites Miranda to his workshop. He congratulates her on the donation, saying he is happy she gets to stage the play she wanted, though he also says it is “weird” that the donors think so highly of a college production. They share a celebratory glass of whiskey, and Miranda flirts with him, wondering at her own confidence. He remarks that she seems different, and Miranda fakes confusion, though she does feel different. The previous day, after she grabbed Briana’s hand, she felt a reduction in her own pain. She was able to bend without difficulty, and at home, she was even able to sit on her couch rather than lying on the floor as she usually does. Hugo invites her to get a drink with him after work. He suggests the Canny Man, but Miranda decides they can go somewhere else.


As Miranda walks down the hall with a newly brisk pace, she realizes she is no longer dragging her leg like she used to, though her hip and back still hurt. She spots a student named Jacob Fox, and instead of avoiding her students as she typically does, she engages in conversation with Jacob, who appears intimidated by her newfound confidence.

Part 1, Chapter 12 Summary

On Friday evening, Miranda arrives at rehearsal to find her students sitting in silence, holding their All’s Well That Ends Well scripts. She notices that Briana is absent. Miranda asks Ellie to read the part of Helen, which Ellie performs from memory. After the rehearsal, Grace seems suspicious as she asks Miranda about her improved demeanor. She also questions Briana’s sudden absence, though Miranda dismisses it, guessing it must be an illness like the flu. Grace says the dean’s sudden announcement the previous day was “weird,” and when she invites Miranda for a drink at the Canny Man, Miranda refuses, saying she wants to stay back and work.


Late that night, as Miranda is exiting the building, she finds Ellie waiting for her in the theater foyer. Miranda compliments her performance of Helen, and Ellie reports that Briana is at home, bedridden with severe pain. Ellie then asks if Miranda used the special herbal bath she prepared for her. She admits she “cast a bit of a spell on it” to help Miranda heal (142). Miranda lies and confirms that she did, allowing Ellie to believe that her spell witchcraft is responsible for Miranda’s sudden recovery.

Part 1, Chapter 13 Summary

On a subsequent afternoon, Miranda visits the SpineWorks clinic for an appointment with Mark. She is excited as she demonstrates her dramatic physical improvement, but Mark is dismissive. He attributes her recovery to his prescribed exercises, which Miranda confesses she has not been doing. Angered, Mark straps her to a table and performs an aggressive traction therapy that causes her debilitating pain to return.


Afterward, Miranda is unable to stand and collapses to the floor. As Mark reaches down to help her, Miranda firmly grips his wrist, replicating the action the fat man had performed on her at the bar.

Part 1, Chapter 14 Summary

Immediately after her appointment, Miranda flees the clinic, still wearing her medical gown under her jacket. In a brief flashback, she recalls seeing Mark’s face drain of color just after she gripped his wrist, at which point her own pain vanished. She watched him stumble backward, lose his balance, and hit his head on the wall. She left him sitting on a chair, unable to even speak. Her clothes were under him, so she left them there. Miranda drives to the Canny Man, seeking answers from the three men, but they are not there. However, a new Scottish bartender greets her, and they flirt with one another. In the bar’s mirror, Miranda glimpses her glowing, healthy reflection. She notices the bartender is a wearing a pendant of three silver skulls on a leather cord around his neck, and he has a tattoo on his arm that reads: “The primrose way to the everlasting bonfire” (158).


Miranda and the bartender go to her apartment and have sex. She is amazed that her body is lithe enough to enjoy pain-free sex, and she awakens the next morning feeling healed and energetic. The bartender is gone but has left behind his necklace and pendant. Outside her window, Miranda sees three crows.

Part 1, Chapter 7- Part 1, Chapter 14 Analysis

These chapters chronicle Miranda’s acceptance of the Weird Brethren’s bargain. She is repeatedly dismissed, patronized, and silenced, and she is driven to accept the bargain by the institutional and medical invalidation of her suffering. Her powerlessness is established through a series of humiliating encounters, beginning with her meeting with the three college administrators. This scene unfolds as a symbolic trial and is framed by Miranda as a witch hunt. The three administrators methodically strip her of professional agency, reducing her artistic vision to a financial liability. The men’s condescending ignorance of All’s Well That Ends Well and their casual mockery of her pain—culminating in the cruel joke asking her to “break a leg” because she is limping (92)—situate her within a patriarchal power structure that refuses to acknowledge her expertise or her physical reality. This external invalidation parallels her internal state during her subsequent visit to the unaccredited physical therapist, John. When she cannot feel his touch, she feels compelled to pretend that the treatment is working. This lie reflects her desperate need for any semblance of care, since she feels that even fraudulent care is preferable to none. These episodes establish her struggles with The Gendering and Invisibility of Chronic Pain, which is why the Weird Brethren’s supernatural offer seems tempting.


The presence of the Weird Brethren marks the novel’s turn into the supernatural, though Miranda’s sense of reality has already been rendered unstable by medical gaslighting and abuse. The three men function as a demonic, quasi-Shakespearean chorus who echo the three witches in Macbeth. This similarity is underscored by their name, since the witches are called The Weird Sisters. The three men’s uncanny knowledge of Miranda’s chronic pain and her professional dispute signal their otherworldly nature. The bar becomes a liminal space between Miranda’s mundane suffering and a world where rules of logic and physicality are suspended. The “golden remedy” serves as the catalyst for the bargain, offering a magical cure that indebts Miranda to this dark trinity. Their demonstration—the transference of the fat man’s agony into Miranda’s body—is presented as theater, complete with a stage and a spotlight. This performance literalizes the exchange: She experiences his pain so he can be happy. The fat man’s final whisper of “All’s well” directly links this supernatural transaction to the theme of The Blurring Lines Between Performance and Reality.


This turn toward the supernatural functions highlights The Morality of Reclaiming Power Through Vengeance. Having been systematically dismissed by her doctors, colleagues, and students, Miranda’s new power can make her invisible suffering undeniably real to others. When she grips Briana’s wrist, her touch appears to cause Briana’s sudden physical deterioration; soon after, Miranda’s authority is miraculously restored via an anonymous donation from “local businessmen.” Later, her confrontation with Mark brings this theme to its climax. His anger at her self-reported improvement reveals his investment in controlling her narrative of sickness. By performing an aggressive traction maneuver that reinjures her, he physically reasserts his dominance over her. Miranda’s subsequent transfer of her agony to him is a radical act of forcing acknowledgment. She is no longer a passive recipient of disbelief, and she makes her pain real by making it his.


Meanwhile, the boundaries between performance and reality collapse completely. After her pact, Miranda’s demeanor becomes a performance of wellness. Grace observes this shift with suspicion, noting that Miranda seems “a little more…I don’t know. Alive. Peppy” (136). The accusation in Grace’s tone frames Miranda’s newfound health not as a natural recovery but as an unsettling and inauthentic performance. The world of the play ceases to be a metaphor and instead becomes the literal and psychological space in which Miranda’s new reality unfolds.


Finally, these chapters introduce the symbol of Ellie’s bath salts, which represent empathy and communal care in contrast to the Weird Brethren’s vengeful transference of pain. Miranda’s decision to lie and confirm that Ellie’s spell worked exposes Miranda’s growing detachment from ethical reality. She allows this fiction to persist because it provides a cover for her own darker actions.

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