Summary
Background
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Book Club Questions
Tools
Content Warning: This section of the guide includes discussion of illness, sexual content, physical abuse, and emotional abuse.
On a Saturday afternoon, Miranda waits in the dean’s office after he called her in for an emergency meeting in response to a complaint filed by Briana and her parents. Miranda feels physically radiant and happy, and she sits calmly in the dean’s office as they wait for Briana to arrive, projecting calm and reason. The dean appears to be treating the matter lightly, hinting that the accusation seems to be baseless. Also present is Fauve, who claims to be a witness. As they wait, Miranda recalls the previous night: She drove an incapacitated Grace home and helped her into bed. Miranda tended to her and sat by her bedside, mirroring the way Grace once cared for her during her illness. After leaving Grace, she met Hugo for a sexual encounter.
Back in the dean’s office, Briana arrives late with her parents. She appears frail and wears a hospital bracelet from a visit to the emergency room that morning. Briana then accuses Miranda of “witchcraft,” claiming Miranda touched her wrist and transferred her own illness to Briana. The dean grows increasingly skeptical as Briana fails to provide a coherent explanation, while Miranda pretends to be forgiving and understanding and suggests that stress and anxiety might be at the root of Briana’s breakdown. Her parents and the dean latch onto this explanation, and her father mentions that they have seen seven doctors who have been unable to find a medical cause for Briana’s condition. They all conclude that Briana’s condition is psychosomatic rather than supernatural, as she claims. Fauve tries to escalate the situation by implying Miranda’s sudden wellness is connected to Briana’s decline. However, she can’t provide any evidence, and this goes nowhere.
Ultimately, Miranda gains the upper hand. She graciously offers Briana the part of the ailing King, which Briana accepts. Her parents and the dean are impressed by Miranda’s kindness and understanding. After Briana and her parents depart, Fauve presents a red silk thong she found in the theater, claiming it is Miranda’s and using it as proof of an illicit sexual relationship between Miranda and Hugo, but the dean dismisses it. However, this attempt to undermine Miranda backfires, as the dean is embarrassed and dismissive while Miranda remains composed as she denies Fauve’s allegations.
Immediately after the meeting, Miranda goes to a campus bathroom and admires her healthy reflection. She feels euphoric and giddy with health—as if she were “literally levitating.” For a moment, the three men seem to appear behind her, with their grinning mouths smeared in blood, echoing her own red lips as she reapplies her lipstick.
Fauve enters, pretending friendliness, as if the morning’s meeting never took place. She inquires about Grace’s absence, triggering panic in Miranda. However, Miranda remains calm and says Grace is sick and resting. She also makes a veiled threat that whatever is affecting Grace might be contagious, which unnerves Fauve. She then tells Fauve to “enjoy” the underwear, and Fauve quickly exits.
Once alone, Miranda texts and calls Grace, but she doesn’t respond. Growing worried, she arranges for deliveries of groceries, flowers, alcohol, and balloons to be sent to Grace’s house. She then receives two texts. The first is from Hugo, who wants to see her on campus. The second is from Paul, who is checking in on her. Feeling powerful, Miranda replies “All’s well” to Paul and makes plans to meet Hugo.
Miranda spends the night in Hugo’s basement apartment after they have sex, but she is unable to sleep. In the early morning light, she watches Hugo sleep and begins to confuse him with Paul. She drifts into a surreal reverie, imagining what her life would be like if she and Paul were still together. The vivid fantasy collapses when Hugo shakes her, saying she has been screaming in an unfamiliar language. Miranda brushes it off as typical anxiety before opening night.
Hugo invites her out to dinner to decompress, and they go to a sushi restaurant Miranda used to go to with Paul, even though it is a long drive away. Miranda continues to confuse Hugo with Paul, remarking on their physical similarities under certain lighting and even calling Hugo “Goldfish,” which was her nickname for Paul. She keeps trying to remind herself that Hugo is not Paul, and she recalls that she checked his ID earlier to prove it. She also looked up the reason for Hugo’s previous incarceration and discovers that he was convicted for aggravated assault, which she finds disturbing.
At dinner, Hugo expresses concern over Briana’s accusations, but Miranda laughs it off. He then gently confronts Miranda about the intensity and strangeness of their sexual encounter the previous night, specifically her request to be hit and her tendency to turn her face away from him. He admits it felt as if she wasn’t fully present or like she wanted someone else. Miranda dismisses his concerns, claiming to be extremely happy with him.
During the show’s tech week, Miranda sits in her car outside Grace’s house and watches as a delivery boy makes another delivery she ordered for Grace. However, Grace doesn’t answer the door and leaves it unclaimed. Though worried, Miranda insists to herself that Grace is just resting deeply.
She immerses herself in her work, managing the production singlehandedly in Grace’s absence. Briana returns to rehearsals but is still ill. Although her performance as the frail King is compelling, she struggles to perform the scene where the King recovers. Miranda insists that she perform a celebratory dance across the stage, and while demonstrating this to Briana, she sustains a deep, bleeding gash on her leg. However, she feels no pain though she pretends to be concerned about it so she won’t alarm her students.
Later, Ellie confides in Miranda, overwhelmed with guilt. She fears her deep desire for the lead role caused Briana’s illness. Miranda dismisses her fears, and Ellie agrees to stay on in the role. She gives Miranda a new bag of her bath salts, happy that her previous gifts seem to have cured Miranda. Miranda agrees that they have, and keeps the new bag of bath salts in her pocket.
Afterward, Hugo finds Miranda and is disturbed by her bleeding wound and her claim that it is painless. She pushes him to have rough sex, forcing his hands around her throat and goading him to choke her. Horrified, Hugo flees.
While driving home from the theater in the predawn dark, Miranda turns up the music to drown out an ominous droning sound that feels like it is coming from inside her skull. She also feels she is being watched. She drives past her own house, feeling a pull toward the ocean. When she arrives, she walks fully clothed into the freezing water. She feels elation as she sense the coldness of the water and the salt burning the gash on her leg.
In the water, Miranda smells botanical scents and sees brightly colored flowers, twigs, and leaves floating around her. She doesn’t realize it, but these are the contents of Ellie’s herbal mix as it soaks through her pocket. Eventually, she awakens at dawn on the rocky shoreline. She is still wearing the dress with the poppy print that she wore on her first date with Hugo, and it is crusted with salt. Three crows land nearby and watch her. Her phone begins to ring, and she realizes it is opening night. She feels dressed and ready.
These chapters dismantle the conventional narrative of recovery by presenting Miranda’s wellness as a form of moral and psychological corruption, thereby critiquing the societal conditions that precipitate such a transformation. The meeting in the dean’s office functions as a reversal centered of the theme of The Gendering and Invisibility of Chronic Pain. Once disbelieved herself, Miranda now expertly wields the language of psychiatric dismissal that was once used to invalidate her. She frames Briana’s supernaturally inflicted illness as a product of “stress” and “anxiety” (249), effectively gaslighting her accuser with clinical terminology. Her performance as “a creature of reason” (248) is a masterful manipulation of appearances. The male authority figures—the dean and Briana’s father—eagerly accept the psychosomatic explanation, exposing how easily female experience is dismissed.
The novel’s exploration of The Blurring Lines Between Performance and Reality reaches its apex as Miranda’s life becomes a fully curated production under her direction. The theatrical framework is no longer a backdrop but the fundamental logic governing her existence. For instance, she frames the meeting with the dean as her “trial by fire” (239), and she casts herself as the unflappable heroine. Her subsequent interactions are similarly staged; she sends gifts to Grace not out of genuine concern but as props to maintain the illusion of friendship, and her romantic encounters with Hugo become scripts for a life she wishes she had with Paul. This compulsion to direct reality stems from her history of powerlessness, where her own body was an uncontrollable stage. Now, her power allows her to impose narrative order on the world, reducing others to actors in her personal drama. The first-person narration highlights her increasingly theatricalized consciousness, even as it casts suspicion on the authenticity of her emotions.
Miranda’s transformation allows for a sustained examination of The Morality of Reclaiming Power Through Vengeance. Her physical wellness is depicted as a parasitic state, contingent upon the suffering of those who previously held power over her: Briana, her student tormentor; Grace, her skeptical friend; and Mark, her dismissive therapist. The narrative juxtaposes Miranda’s internal feelings of “impossible lightness” with the grim reality of her victims’ decline. This moral calculus is made unambiguous when Miranda, admiring her healthy reflection after her meeting with the dean, sees “[t]hree men in the mirror” beside her own reflection (259). This visual confirmation solidifies that her power is not self-actualization but a debt to a sinister force. By rooting Miranda’s ascent in the metaphysical transference of suffering, the narrative argues that agency reclaimed through vengeance merely replicates the dynamics of power and pain.
The novel’s supernatural horror intensifies as Miranda becomes an increasingly unreliable narrator. Her internal world is punctuated by phenomena that defy rational explanation: a persistent droning sound, the constant feeling of being watched, and moments of literal levitation. Her refusal to question these events mirrors the way her own pain was once dismissed by others. Her denial also signifies her fractured consciousness and her tacit acceptance of the supernatural forces now governing her life. The climactic scene at the ocean, where Miranda is inexplicably drawn to the ocean and walks into the freezing water, functions as a dark baptism. However, she wakes with dried flowers in her hair, which are the residue of Ellie’s bath salts that she unintentionally immersed herself in. While the presence of the three crows suggests the presence of dark forces, the dried flowers signal the emergence of a counterpower rooted in gentleness and empathy. This leaves Miranda poised for either a final reckoning or a possible reclamation.



Unlock all 61 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.