And Now, Back to You

B. K. Borison

And Now, Back to You

B. K. Borison
55 pages1-hour read
Fiction
Novel
Adult
Published in 2026

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Chapters 17-24Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of emotional abuse, gender discrimination, mental illness, and cursing.

Chapter 17 Summary: “Delilah”

Delilah wakes up to find that she has been cuddling with Jackson, who’s attempting to sneak out of bed. She receives a call from her colleague Gianna, who reports that the cancellation of Delilah’s hotel reservation was sent from Delilah’s own work email after she had already left for Deep Creek. Because Delilah couldn’t have sent the email from the station while she was on the road, the source remains unidentified. Gianna also hints that she has found other damaging information that she’s not yet ready to share. While on the phone, Jackson overhears Delilah describe him as nice, which makes him smile.


Later, while preparing for a broadcast in a blizzard, Jackson pulls Delilah into a small alcove to shield her from the wind. He confesses that his on-air anxiety is getting to him and asks Delilah for help getting out of his head. At his direct request to kiss him as a distraction, she obliges. The kiss turns passionate, eliciting involuntary sounds from both of them. Mark interrupts to inform them that Delilah’s microphone is live. The anchor in Baltimore, Simone Leeds, cuts the feed, telling viewers that they’re experiencing “technical difficulties.”

Chapter 18 Summary: “Delilah”

Mark confirms that the live broadcast captured Jackson asking Delilah to kiss him and everything that followed. Jackson calms a panicking Delilah, insisting that they did nothing wrong. He says that they will simply tell the truth, that she was helping him manage his on-air anxiety. Afterward, Delilah calls Keith, who’s surprisingly calm, saying that he doesn’t care what she does. He dismisses her as constantly unprofessional, calling her their “good-time girl” and a “puff piece, at best” (207-08). He says that the expectations for the series were already “pretty low across the board” and that it’s “no skin off his back” if she fails (208). Feeling humiliated by Keith’s indifference, Delilah pushes through and completes the evening broadcast with Jackson, reporting on the worsening storm conditions.

Chapter 19 Summary: “Delilah”

At two o’clock in the morning, Delilah attempts to sneak out of the room, only to find Jackson already awake by the fireplace—dressed, reading, with a mug at his elbow—unable to sleep. She confesses her plan to go sledding on her doughnut-shaped inner tube, worried that the snow will be too deep by morning. Jackson initially calls the idea “silly,” which upsets Delilah. She explains that such comments reinforce the unprofessional image she’s trying to overcome. Jackson quickly clarifies that he doesn’t think she’s stupid and agrees to join her. They both suit up in their snow gear to head out into the intensifying storm.

Chapter 20 Summary: “Delilah”

After three solo runs, Delilah finally coaxes Jackson onto the sled. As she prepares to push him down the hill, she falls forward onto him, and the combined weight sends them rocketing down the hill together. At the bottom of the hill, they’re thrown from the sled, and Jackson bursts into laughter. The playful moment becomes intimate, and Jackson asks Delilah if she feels the connection between them, which she confirms. He asks her to kiss him, but she refuses, insisting that he must be the brave one and initiate. He kisses her immediately, without hesitation.


Back in the hotel room, Delilah voices her fear that she’s merely a temporary distraction for him. Jackson respects her need for space and helps her out of her snow gear without protest. Before they fall asleep on opposite sides of the bed, he reassures her, “It was a good kiss” (232). A text exchange reveals that Jackson’s sisters have learned about the on-air incident and a fan-created portmanteau for their relationship: “Deckson.”

Chapter 21 Summary: “Jackson”

The next morning, Jackson finds Delilah dressed in her hot-pink snow pants and teases her. He takes a call from Maggie, who tells him that their ratings have skyrocketed since the on-air kiss. Maggie warns that Keith is becoming a major problem and seems to be plotting against them. He puts Maggie on speakerphone so that Delilah can also hear the warning about Keith, and he vows that they will not let their boss undermine her credibility.

Chapter 22 Summary: “Jackson”

Mark arrives to inform Delilah and Jackson that Keith has canceled their morning broadcast. He has replaced their segment with a report from Baltimore by another anchor, Leon, whom he deems “more professional.” Delilah is devastated, thinking of her grandfather, who never misses her broadcasts. In response, Jackson asks her, “How do you feel about a hostile takeover?” (246). Mark confirms that Gary in production and others back at the station—including Gianna and Leon—are willing to go against Keith’s plans. Together, they successfully interrupt the scheduled program, and Delilah delivers their storm report from Deep Creek, defying Keith’s orders.

Chapter 23 Summary: “Delilah”

Exhilarated by their successful broadcast, Delilah and Jackson share a charged moment in their room, where he admits to fantasizing about her. Delilah agrees to explore a physical relationship but sets a clear boundary: It’s only for the duration of the trip, with no expectations afterward. Their moment is interrupted when Mark arrives to tell them that Keith has been incessantly calling for Delilah. With Jackson and Mark listening on speaker, Keith accuses Delilah of batting her eyelashes and “flipping open her empty little head” to convince the others to help her (261). Jackson furiously intervenes, telling Keith not to speak to her that way. Immediately after the call ends, Jackson receives a call from his sister Adeline and abruptly leaves the room to take it in private, leaving Delilah feeling hurt and shut out.

Chapter 24 Summary: “Jackson”

Unable to sleep, Jackson is caught in an anxiety spiral driven by two separate stressors: unanswered texts from his mother asking to visit his sisters and an earlier call from Adeline, who was upset about being the only girl to attend her school’s leadership brunch without her mother. Delilah wakes and finds him restless, inviting him to her side of the bed to watch a movie. She comforts him, observing that he isn’t difficult, he’s just never had anyone take care of him. As they watch Casablanca, they debate the value of “bright things” like love stories versus darker films. Delilah argues for the importance of joy, and Jackson agrees, telling her that he has learned to appreciate color. He holds her hand, and his anxiety finally subsides as she falls asleep with her head on his shoulder.

Chapters 17-24 Analysis

Delilah’s confrontation with Keith following the “hot-mic” incident highlights his abusive behavior, foregrounding The Struggle to Combat Workplace Sexism as a central theme in the narrative. His insults are personal and gendered, referring to her as a “good-time girl” (207), a term traditionally used to describe sex workers, and “a puff piece, at best” (208). As Delilah notes, Keith’s abuse diminishes her “confidence to the size of a thimble” (207). He frames traditionally feminine expressions of warmth and positivity as evidence of professional incompetence, evidencing ingrained sexism. Borison positions Delilah’s response to this tirade—a late-night sledding expedition—as an act of defiance. When Jackson initially calls her plan “silly,” it touches the same raw nerve, triggering Delilah’s fear that her personality intrinsically undermines her credibility. Her impassioned defense of the sledding trip repositions her playful sense of fun as a necessary form of self-preservation in a hostile professional environment. The doughnut sled, a key symbol in the narrative, evolves into an emblem of her resistance, a tool for claiming a moment of happiness that her boss seeks to weaponize against her.


When Delilah finds Jackson experiencing an acute episode of anxiety, her response models the importance of Pursuing Authentic Connection Through Vulnerability. Instead of offering easy platitudes, Delilah provides practical care, inviting him to her side of the bed to watch a movie. When he tries to apologize, Delilah says, “You’re not difficult […] You just haven’t had anyone take care of you” (271). This simple statement of fact re-contextualizes his rigid and often abrasive behavior as a defense mechanism born from a lack of emotional support. Jackson’s pain stems from his chaotic childhood in which he needed to take on the role of caretaker for his parent. In the present, the unanswered texts from Camille and Adeline’s distress over their mother’s absence trigger his deep-seated anxiety. Delilah’s gentle, unassuming care allows him to feel seen and tended to in a way he has never experienced.


Jackson and Delilah’s debate over the merits of romantic movies versus films considered more serious becomes a metaphor for their competing worldviews. Jackson’s initial dismissal of the classic love story Casablanca as “a stupid movie” and “the worst love story of all time” reflects his preference for quantifiable, predictable systems (271), much like his reliance on weather models. Delilah’s defense articulates her core philosophy: that joy and emotional connection hold as much value as hardship and conflict. As she tells Jackson, 


Love stories aren’t stupid […] War movies aren’t automatically better and more serious just because people are…losing limbs on a beach […] Why do important things have to be things that hurt us? […] Why can't we keep the bright things? The lovely things? Why can’t those things be special too? (273). 


Her argument is a direct rebuttal to the worldview espoused by men like Keith, who see her warmth and whimsy as a professional liability. When Jackson concedes the point, admitting that he has “learned to appreciate a little color” (273), it signals a deep internal shift. This moment of authentic connection, where he accepts her “soft things” as important, allows his anxiety to finally subside as he holds her hand and drifts toward sleep.


The evolution of Delilah and Jackson’s kisses tracks the shift in their relationship’s power dynamics. In the alcove, Jackson’s plea, “Kiss me, Delilah” (198), frames the act as a service she performs to soothe his anxiety—a “distraction” to help him manage his stage fright. After their sledding crash, however, Delilah refuses to repeat this dynamic. By insisting that he “need[s] to be the brave one” (224), she reclaims her agency, demanding that he initiate the kiss as an active participant expressing his own desire. When Jackson kisses Delilah, “It’s an exclamation point at the end of a sentence” (224). As they grow closer and more emotionally vulnerable with each other, Delilah reflects that Jackson’s kiss is “a different from the rest of them. It’s not a distraction and it’s not impulsive. It’s a choice. A decision made” (284). As their intimacy progresses, Jackson learns to own his needs and desires, evidencing his personal growth. 


Delilah’s friends and colleagues’ “hostile takeover” of the morning broadcast demonstrates The Strength of Non-Traditional Family Bonds as her community rallies to support her in the face of Keith’s misconduct. Her network of allies including Mark, Gianna, the production team, and even her on-air replacement, Leon, work together to subvert Keith’s authority and restore Delilah’s professional standing, acting as a surrogate family that values her talent and protects her from abuse: “Delilah had been surprised when Mark offered to help […] But then [he] turned his phone around to show her the string of text messages from the station—the production team, Gianna, the anchors, and Leon—all variations on the same theme. Let’s fucking do it” (248). Their support shores up Delilah’s confidence, healing the damage done by Keith.

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