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After her marriage breakup, Hatmaker sought privacy for her family and stopped posting on social media. However, a journalist discovered that she had filed for divorce and broke the story, casting doubt on the credibility of her Christian leadership. Christian fundamentalists responded by condemning and discrediting Hatmaker.
Hatmaker analyzes her journey from a celebrated Christian advocate to an individual who felt alienated from her church. She admits that she always liked having a clear set of rules to follow, and organized religion provided this. However, doubts crept in due to the Church’s stance on social injustice. Whenever she publicly addressed issues such as the ingrained racism in US society, she experienced backlash from the predominantly white evangelical community.
Hatmaker reveals that she increasingly questioned other tenets of her religion, such as the patriarchal structures that encouraged the subordination of women and intolerance toward the LGBTQIA+ community.
Hatmaker describes her dilemma as many of the people she loved continued to embrace the religious beliefs she came to reject.
Hatmaker’s therapist told her that fear was a natural response that must be confronted rather than resisted. The author learned how to breathe through her fears without suppressing them.
In 2016, the online Christian expressed hostility toward Hatmaker after she shared “anti-systemic racism and anti-Trump” views (151). Before the presidential election, she spoke about these issues in an interview with Religion News Service, also confirming her support of gay marriage.
Immediately afterward, Hatmaker’s publisher cut ties with her, and her books were pulled from store shelves. Her speaking events were canceled, and she lost half her followers on social media. The sales of her husband’s book on church leadership were also severely affected.
Three months after Brandon left, Hatmaker realized that the house felt peaceful without her husband’s explosive moods. Determined to infuse joy into the household, she and her children celebrated Christmas in October.
After the divorce, Hatmaker at times felt that she was healed, only to experience another wave of grief and despair. A friend stated that she was “still on the gurney” (159) and her recovery would take time.
On the date that would have marked her 27th wedding anniversary, Hatmaker refused to feel regret. Instead, she reminded herself of her many blessings, including her children, her relationship with her in-laws, her happy memories of their marriage, and her own life. She took her daughters, Sydney and Remy, to New York to create new memories.
While in New York, the author met Shauna, an old friend, for the first time since her divorce. She was surprised and delighted when Shauna observed that Hatmaker was still completely herself.
One day, while she was still married, Hatmaker read an article listing the factors most likely to lead to divorce. Noting that the red flags were “criticism,” “defensiveness,” “stonewalling,” and “contempt,” she experienced “a twinge.”
In 2011, Hatmaker and Brandon adopted two Ethiopian children, Ben and Remy. The author befriended another mother, Susan, who had adopted children of a similar age. In the aftermath of Brandon’s departure in 2020, Hatmaker grieved the loss of the stable family she wanted to provide for her adopted children. Every Monday for six months, Susan sent Hatmaker and her children a $25 Starbucks gift card.
Like the rest of her junior high school class, 16-year-old Hatmaker struggled to engage with poetry. One day, her English teacher, Mrs. Palmer, read Dylan Thomas’s “Do Not Go Gentle into That Good Night“ aloud, revealing that she had recited the poem to her beloved father when he was dying. The class was transfixed, and Hatmaker began crying. At the end of class, Hatmaker hugged Mrs. Palmer, who urged the author to use her “gift” for words.
This chapter reproduces “Bride” by Maggie Smith. The poem charts a woman’s realization that she can love herself and be her own “bride.”
This chapter reproduces the poem “I Am Not Your Cup of Tea” by David Gate. The speaker compares themself to a drink too hot and strong for a partner’s bland palate to appreciate.
In January 2021, as Hatmaker struggled with schooling her children during the pandemic, her friends and sisters took her and the children to Mexico.
Hatmaker realized that, in the aftermath of her marriage, her relationships with her girlfriends had bloomed.
The author nurtured the hanging plants on her porch. After six months, she reflected on the miracle that both she and the plants had survived.
Hatmaker feared that her children would forget Mother’s Day without their father to remind them. However, they bought her pampering gifts and completed the chores on her to-do list.
Ten months after her marriage ended, Hatmaker had control of her finances and every other aspect of household management. Nevertheless, she began experiencing physical symptoms such as chest pain. Her youngest child, Remy, was also experiencing a crisis. One day, while she was at the doctor’s with Remy, Hatmaker felt faint, her blood pressure soared, and she experienced a panic attack. Her physician, Dr. Amadi (sympathetically explaining that Hatmaker’s body was exhausted from running on adrenaline and needed help to recover), prescribed blood pressure medication, Zoloft, and anti-anxiety pills.
After her physical collapse, the author’s father sent her a text describing his desire to “fix” things for her and his feelings of powerlessness.
After the divorce, Hatmaker never again attended church.
The author questions why many individuals stop going to church when they experience a life crisis.
After her friend had a dream about a table in her backyard, big enough to seat all her loved ones, Hatmaker began to envision the idea as a reality. She hired her friends Jenny and Shonna to make a 28-seat outdoor table.
The memoir thematically addresses The Politics of Public Persona and Confession as Hatmaker describes how her private crisis became public knowledge. When her divorce became tabloid fodder, she experienced how patriarchal religious systems punish women who break prescribed roles. The author reflects on how her public visibility as a spiritual leader on social media made her particularly vulnerable to attack. Her telling absence on social media first alerted the press to her situation, and much of the online vitriol directed at her was from the evangelical community. Hatmaker was also conscious that, as she often wrote about her family unit, the split undermined her professional and private authenticity. She observes that the “hundreds of paragraphs, chapters, pictures, and posts I’ve written about marriage” (132) were true at the time of publication but appear disingenuous. The author presents the “outing” of her divorce by a Christian journalist as the ultimate act of hypocrisy. A “self-proclaimed watchdog” (134), the journalist critiqued Hatmaker’s credentials as a spiritual leader without considering the distress that the article would cause her family.
Hatmaker’s assessment of the journalist’s “cruelty” leads to a deeper interrogation of evangelical orthodoxy. Describing the backlash she experienced after publicly supporting LGBTQIA+ inclusion and anti-racist activism, the author discusses how her church’s lack of compassion on social justice issues increasingly clashed with her own ideal of Christian behavior. The memoir returns to its thematic exploration of The Deconstruction and Rebuilding of Autonomy as Hatmaker describes undergoing a spiritual awakening that dismantled the ideologies she was raised with. The author describes how the binary thinking of evangelism provided welcome clarity and certainty in her younger years. However, as she matured, these rules felt morally inadequate to address complex questions of social inequality. Citing her church’s subordination of women, unwillingness to acknowledge racism, and exclusion of LGBTQIA+ individuals, Hatmaker argues that faith divorced from justice or compassion is hollow. The author revisits the motif of an unnatural division between the mind and the body when she asks, “Why were we asked to accept such misalignment between our head and heart?” (143). Her heart could no longer accept religious doctrine that she felt in her heart was wrong.
In addition, Hatmaker explores what it means to live when the systems that once gave one’s life structure (marriage, religion, community) no longer feel viable. She articulates a new concept of spirituality grounded in authenticity and human connection. Representing this spiritual recalibration is the motif of the oversized outdoor table she asks her friends to construct to accommodate her own “congregation” of loved ones. The table evokes biblical imagery of communion while subverting the exclusionary nature of institutional religion since Hatmaker values inclusion. In addition, it mirrors earlier domestic symbols, such as the rebuilt porch, underscoring how Hatmaker created a home environment that expressed her emerging autonomy. Nevertheless, the author’s physical collapse in Chapter 59 illustrates the nonlinear nature of the healing process. By the end of Part 2, Hatmaker has neither returned to old certainties nor fully arrived at new ones. Instead, she inhabits an in-between space, still in the process of reconstructing herself and her life.
Poetry emerges as a central theme in this section as the author recounts her first meaningful encounter with this literary form, which occurred when she was 16. Her English teacher’s reading of Dylan Thomas’s “Do Not Go Gentle into That Good Night” “[cracked] [her] heart open” (175) due to both the beauty of Thomas’s words and the context in which she heard them. Moved by the image of Mrs. Palmer reading the poem to her dying father, she realized that poetry can concisely express the most deeply felt human emotions. This moment also became an origin story for Hatmaker’s identity as a writer, as Mrs. Palmer instructed her to use her literary gift. Other poems included in this section continue to expand on the ideas that the memoir explores. “Bride” by Maggie Smith echoes Hatmaker’s realization that she does not need a husband, as she can love and care for herself, while David Gates’s “I Am Not Your Cup of Tea” humorously implies that the author was “too strong/ and frankly, too hot” for Brandon’s “tepid tastes” (180).



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