60 pages 2-hour read

J. T. Geissinger

Blackthorn

Fiction | Novel | Adult | Published in 2025

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Part 1, Chapters 18-25Chapter Summaries & Analyses

Content Warning: This section of the guide contains depictions of graphic violence, sexual content, cursing, bullying, and illness or death.

Part 1: “Home Sweet Home”

Part 1, Chapter 18 Summary: “Maven”

Maven stops at the Blackthorn family cemetery. She picks wildflowers, lays them on her mother’s grave, and apologizes for not visiting sooner. As she leaves, she sees a red-and-black fox lying beside the empty grave dug for her grandmother. The fox seems to recognize her, and Maven feels invisible eyes and an otherworldly presence watching her. A raven caws, the fox disappears, and a voice behind her hisses her name. She whirls around, but the graveyard is empty.


For three nights, Ronan stands outside the front gate of Blackthorn Manor, smoking and watching the house. Maven goes out to confront him, but when she insists she wants nothing to do with him, he grabs her coat through the gate and kisses her. Maven kisses him back before pushing away, returning to the house. In bed, there is total silence until a whispering begins.

Part 1, Chapter 19 Summary: “Maven”

Maven hears an indistinct whispering through the walls, which stops when she exits her room In the bathroom mirror, she sees her nose is bleeding, cleans herself, and decides to leave the house.


Though she intended to walk in the forest, Maven finds herself at Ronan’s door. He opens it wearing only a towel, and she asks if his apologies were sincere. She proposes a single “hate fuck,” insisting that they will be enemies tomorrow. She clarifies that she was not engaged, but she had ended a relationship before arriving in Solstice. Ronan pulls her inside, kisses her, and removes his towel. Ronan carries Maven to his bedroom.

Part 1, Chapter 20 Summary: “Maven”

In his bedroom, Ronan tosses Maven onto the bed. She praises his body, noting new tattoos on his wrists and ankles. They kissed passionately, and Ronan performs oral sex on her, saying he has dreamed about them having sex for years. She climaxes as a thunderstorm begins outside.


Maven’s old feelings resurface, recalling the excitement of their teenage relationship. They have sex, and Ronan commands her to take her hair out of its braid. He whispers that she is beautiful, and her chest tightens. Maven reflects that they were never truly enemies. They both orgasm, and she tells him this cannot happen again. He suggests they leave issues for tomorrow, but, Maven gets dressed and leaves.

Part 1, Chapter 21 Summary: “Maven”

On Friday, with no news about her grandmother, Maven extends her time off and arranges to get lesson plans from Bea’s teacher. She theorizes that her family has been targeted by townsfolk, possibly with Croft involvement.


Saturday morning, Maven notices her red roots showing and brings Bea to the store. Maven tries to avoid Ronan, who is also shopping, but he intercepts and introduces himself to Bea. Ronan demands that Maven unblock his phone number. Maven complies, and he directs her to the back of the store.


In an employee lounge, Ronan reveals that he called Dr. Lattman, claiming to be Bea’s principal, and Lattman denied having any children. Maven says she had never told him about the pregnancy and brings up how Ronan was negligent during their teenage relationship. Ronan suddenly realizes that she was in love with him, and he thinks she could love him again. Maven denies her feelings, he calls her a bad liar, and he kisses her.

Part 1, Chapter 22 Summary: “Maven”

Maven kisses Ronan back and says this is the last time they will have sex. They have sex, but Ronan threatens to take her to court if she does not let him into Bea’s life. Disappointed, Maven pushes him away and leaves. Ronan texts her saying she and Bea belong to him.


Maven calls a private investigation firm in Burlington and speaks to Cole Walker. She tells him everything involving her grandmother’s body going missing and their family history of accidental deaths. Walker hesitates when Maven mentions Solstice, noting the Croft family’s bad reputation. He agrees to take the case, suggests she exhume relatives for postmortem examinations, and advises Maven to be careful with the Crofts. Maven tries to dye her hair, but the color does not take.

Part 1, Chapter 23 Summary: “Maven”

Maven finds Esme smoking cannabis, and she tells Maven her aura is dark. Maven sees Bea and Quentin in the greenhouse and feels that Bea needs a father. She suggests exhuming ancestors to investigate their suspicious deaths, but the aunts dismiss her theory.


Ezra calls and asks for another chance, but Maven reaffirms the end of their relationship. She asks the odds of a family having only female children for over 300 years, and he tells her the odds are astronomically low.


Maven signs the PI contract and researches exhumation, finding it would cost around $20,000. She calls Ronan and asks why he was attracted to her as teenagers. Ronan admits he lied about taking her to court and says he wanted to be Bea’s father. Maven says Ronan’s wealth cannot make him or Bea happy. Ronan agrees and tells her he is sick. He refuses to elaborate unless she admits Bea is his daughter. Ronan asks if Maven wants to come over and have sex, so Maven hangs up, reflecting that she will leave Solstice soon, which now makes her sad.

Part 1, Chapter 24 Summary: “Maven”

Maven spends the weekend obsessing over Ronan’s illness. Bea mentions that the man from the grocery store had pale blue eyes like her real eye color, just like the old man in the wheelchair at the viewing, Elijah Croft. Bea asks if she could stop wearing her contact lenses, and Maven struggles to deflect from Bea’s questions about her father.


Cole Walker calls and reports that Anderson’s Funeral Home has a history of citations, including improper body storage without refrigeration, neglecting to embalm bodies, and even burying a casket filled with sandbags, the body never found. Maven speculates about black-market sales of body parts.


Maven asks Ronan to fund the exhumation of some deceased Blackthorns. She implies his father, Elijah, was involved in Elspeth’s death but does not reveal why. Ronan says Elijah is capable of murder. Maven sees Bea walk outside and sit beside the fox, which sleeps next to her. Ronan agrees to pay for the exhumations, telling her to come to his house at midnight.

Part 1, Chapter 25 Summary: “Ronan”

Ronan immediately calls Elijah and asks if he was involved in Elspeth Blackthorn’s death. Elijah attempts to deflect, but Ronan persists. Elijah demands to know why Ronan suspects him of wrongdoing.


Elijah denies involvement, stating he would never have harmed Elspeth because she was different. The tenderness in his voice makes Ronan suspicious that his father and Elspeth had an affair, which would make him and Maven half-siblings. Ronan asks if his father had been sleeping with Elspeth, but Elijah tells him to never speak of this again.

Part 1, Chapters 18-25 Analysis

Because Ronan and Maven’s encounters are explicitly defined by conflict, these chapters develop The Inextricable Link Between Desire and Past Trauma by framing their sexual relationship as a reenactment of their fraught history. Ronan even goes so far as to propose a “hate fuck” (141), using a term that fuses aggression with intimacy and paradoxically suggests that his own sense of desire is rooted in his unresolved grievances. This dynamic repositions sex as a physical negotiation of past wrongs, tainting the purity of passion by rendering it a conduit for long-suppressed emotions of anger, betrayal, and vulnerability. Ronan’s admission that he has “been dreaming about [this scenario] for years” (146) confirms that he is fixated on their shared past. Furthermore, when Maven privately reflects, “Our fate was written in the stars long before we were ever born” (148), her thoughts reveal a fatalistic acceptance of this dynamic. She understands their connection as an inescapable inheritance, a predestined attraction that is stronger than their family histories or individual choices. Her decision to seek out Ronan immediately after being terrorized by the whispering in Blackthorn Manor further cements this link, and their physical intimacy becomes a desperate, dysfunctional response to the encroaching trauma of her lineage.


While the pair’s interactions are fraught with the unresolved tension and toxic emotion of too-vivid memories, their separate investigations illustrate the challenges involved in The Unreliability of Memory and History. As they each study their families’ respective pasts, their discoveries add an ominous sense of inevitability to the tumultuous events that currently haunt their lives. In particular, Maven’s decision to hire a private investigator and her research into her ancestors’ deaths represents her formal attempts to impose order on her family’s chaotic and suspicious history. Betraying her scientific habits, she rejects the accepted narrative of “accidents” and instead seeks out an empirical truth to replace the folklore of the family tragedies. Notably, Ronan’s confrontation with his father marks his own attempt to find a similar degree of clarity. However, his effort culminates in misinterpretation. Based on Elijah’s enraged, evasive denials, Ronan constructs a false history and mistakenly assumes that he and Maven are half-siblings. His erroneous conclusion demonstrates that even in an earnest search, the truth can be corrupted by personal bias and emotional reasoning, leading to damaging misinterpretations.


Yet despite the methodical, logical approach that the two characters take, their efforts are continuously dogged by supernatural occurrences that accentuate the Gothic atmosphere of the text and examine the psychological weight of both families’ suppressed history. The recurring appearance of the red fox, particularly in the liminal space of the cemetery, symbolizes the family’s essential wildness. Even so, Bea’s immediate, fearless connection to the animal contrasts sharply with Maven’s unease, highlighting mother and daughter’s differing reactions to their family’s intrinsic otherness. Similarly, as Maven continues to struggle with the echoes of her past, the manor itself becomes an active antagonist, and its whispering walls and Maven’s nosebleeds act as physical manifestations of a history that refuses to remain buried. These phenomena upset Maven’s controlled rationality and push her to act on instinct and desperation. As she compulsively leaves the house and seeks out Ronan, the novel’s supernatural elements function as a narrative engine, forcing a confrontation with the very past that Maven has tried so hard to escape.


The shift in narrative perspective to Ronan in Chapter 25 dramatically alters the portrayal of the central conflict. By revealing Ronan’s mistaken belief that he and Maven are half-siblings, the narrative recasts his possessive pursuit of her. What previously appeared as obsessive desire is now complicated by a misguided sense of familial responsibility and horror. This revelation heightens the tension of the pair’s subsequent interactions and transforms their transgressive romance into a potential Gothic tragedy. This structural choice raises the narrative stakes, delving into yet another way in which Maven and Ronan’s romance can become a taboo.

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