Delilah Green Doesn't Care

“Delilah took a deep breath and eyed the bar. It was a short thirty paces from where she stood, a sea of bodies between her and a drink. She was a New Yorker. An artist. A struggling artist, yes, but an artist nonetheless, goddammit. This town, her family, would absolutely not bring her to her knees. Not anymore.”

Delilah’s tone here treats the bar almost like a conflict zone, as she measures the distance in paces like a combatant might. She catalogues her identity as though tallying weapons in an arsenal. The image of Delilah on her knees could invoke supplication or vulnerability. She rejects it, insisting that her new self is solitary and unaffected by her past, an assertion that she will soon find tested.

“‘Because she loves me and she’s my best friend, two concepts I know are completely foreign to you.’ She spit the words, and they had their desired effect. Delilah’s lungs feeling suddenly airless. She didn’t let on, though, keeping her face perfectly passive as she got herself together inwardly.”

Here, the reader learns how Astrid sees Delilah—as someone incapable of emotional bonds. Their competition prevents them from seeing each other clearly. Astrid sees Delilah as only seeking to insult her rather than feeling any true concern for Claire. Delilah’s changing attitude toward her own loneliness will become a key theme for her pursuit of Claire, proving both Astrid and herself wrong.

“Claire twirled Ruby around once before leading her back into the main room, her daughter leaning against her happily. She looked back over her shoulder, just once. Catching Delilah’s eye, she mouthed thank you at the exact moment Delilah lifted her camera and snapped a photo.”

The image in this scene shows Claire as a devoted parent by embracing Ruby’s uniqueness. Delilah captures what she has never experienced: a maternal bond. Delilah demonstrates both her gratitude and her love for Ruby, the first of many moments in the text where photography allows Delilah to pursue authentic relationships.

“She had a flash right then, one of Isabel lingering in her doorway with clenched fists while a thirteen-year-old Delilah sat on her bed, ripping up the dress her stepmother had wanted her to wear to a charity event for which she was on the board. ‘You couldn’t do this one thing for me? Isabel had asked. After everything I’ve done for you?’”

Delilah’s childhood memory exposes Isabel’s emotional neglect and temper, insisting that a child meet her needs. Even here, anger is Delilah’s only refuge. This episode establishes that Delilah’s interest in Ruby sparks a reckoning with her own childhood, forcing her to face emotions she otherwise avoids.

“It was dark, and Claire couldn’t be sure, but she thought the woman winked. And not only winked, but winked at her. Claire felt a laugh bubble up in her chest but managed to push it down. ‘Damn,’ Iris said as they started toward the house too. ‘Not that I want our precious BFF to be all pissed off, but that was—’ ‘Brilliant?’ Claire said. ‘Yes. Yes, it fucking was.’”

This scene sets up Delilah’s penchant for daring rebellion at the expense of those she dislikes. Claire is clearly both flattered and amused, revealing that she admires Delilah’s personality and is intrigued by her. This moment establishes that Claire and Iris, unlike their childhood selves, can appreciate Delilah and even admire her, foreshadowing an inevitable conflict with Astrid.

“Claire had turned back, brown eyes wide open and honest, and she’d waited for Delilah. She’d walked her through what could’ve been the worst moment of her trip back to Bright Falls, and turned it into a simple stride down a hall. And for the first time since her father died, Delilah hadn’t felt alone in Wisteria House.”

In this scene, Delilah is awed, left almost reverent, by Claire’s quiet kindness. Her wording imbues Claire with a kind of magic power, the ability to banish the worst of her past and make it bearable. This shift in Delilah’s mood shows that her approach to Claire quickly becomes serious and emotional, despite her protestations that it is only about revenge.

“Delilah had completely cleared her plate and drained her third glass of wine before she realized it. She’d been laughing. A lot. With Claire and Iris. Like they were actually friends and not a tangle of complicated histories simply tolerating each other for the night.”

This moment emphasizes that outside Bright Falls, and without Astrid, Delilah is able to relax. The short sentences help create the effect of gradual surprise, as though Delilah has forgotten her usual reservations and resentment. Delilah is now more than “tolerated” and has begun to find peace in the present.

“‘All the more reason you deserve good things.’ Her voice was so soft, so intense, it was like the world stopped spinning for a second. Claire could only stare at Delilah, her simple words swelling Claire’s throat. She’d never been great at putting herself first, at going after the things she wanted.”

Delilah’s fierce support of Claire as a parent and person demonstrates the depth of her growing feelings, as well as Claire’s equal interest. Claire can hardly speak, as if she is out of the habit of taking compliments or overcome by Delilah’s regard. Delilah helps Claire see herself as a person worthy of admiration, illustrating why she is a suitable partner for her.

“And it was from these images, Claire, beautiful and in pain in the river, that Delilah got the idea for a series that would define her style, her whole career. Queer women, turmoil, and water. She watched Claire take all of this in, looking for subtle shifts in her expression—shock, disgust, horror—but in the silver light, all she saw was…awe.”

Claire’s role in Delilah’s artistic journey helps explain the pull between them—it has roots not in rivalry or competition but in Delilah’s creativity. Delilah is just as vulnerable in this moment as Claire is, fearing rejection or revulsion. Instead, Claire clearly admires the story, as though Delilah has shown her a new side of herself.

“Claire grabbed the pillow Delilah had been using and threw it across the room. Then she got out of bed and turned the air-conditioning all the way down, hoping the cold would distract her from remembering the look in Delilah’s eyes as she’d told her about Jax, about photographing Claire on the shores of the river. A look that seemed like the exact opposite of not caring.”

The imagery and sequence of actions here emphasize Claire’s frustration and turmoil as she tries to resist the pull she feels toward Delilah. The concluding images emphasize that the woman Claire is coming to know is emotional, creative, and vulnerable. Herring Blake thus establishes that the attraction between Delilah and Claire is not superficial and will require Claire to reckon further with the difference between her old assumptions and current experiences with Delilah.

“‘You should put that one on your Instagram,’ she said. ‘People would really love it.’ ‘My…wait, you know about my Instagram?’ Astrid’s mouth twitched, and when she spoke, her voice was soft, tentative. ‘How do you think I knew I would love your wedding photos?’ Surprise shot through Delilah’s veins.”

This scene is a rare moment of authentic conversation between Astrid and Delilah, reinforcing the role of art in facilitating connection. Astrid is usually brusque and voluble; here, she clearly feels vulnerable in expressing her appreciation for Delilah’s art. Delilah is stunned, unprepared for a reality where Astrid not only notices but also admires her, emphasizing the remaining gulf between them.

“Literally, for a few seconds as Ruby rested her head against Delilah’s chest, arms tight around her waist, she couldn’t find enough air, her eyes stinging with a swell of sudden tears. But then she moved her arms around Ruby, pressed her cheek to the top of her hair. She exhaled what felt like a decade’s worth of anxiety, and accepted the girl’s love.”

Delilah’s growing bond with Ruby underlines that it is her art, more than her words, that allows her to access her emotions and vulnerability. Her tears and the reference to “a decade’s worth of anxiety” establish that her relationship with Ruby is healing for her inner child. The moment showcases Delilah’s worth as a partner for Claire because she appreciates her daughter rather than regarding her as an inconvenience.

“They pulled chickens and Sylvia Plath, teacups and gloves and Octavia Butler. They made wild and unlikely interpretations—as well as a few that felt soft and gentle, like a whisper. They’d barely touched their most recent glasses of wine, but Claire’s head was still perfectly fuzzy. She wasn’t drunk, but she was definitely something. It took her a few minutes to come up with the right word. Happy. She was happy.”

The juxtaposition of tarot images and feminist authors, followed by inner revelations, sets up that Delilah and Claire are sharing an outlook on the world and its potential for supernatural wonder. Claire’s tone is almost surprised, implying that her bond with Delilah helps her uncover a more relaxed part of her personality. Delilah is indirectly compared to an intoxicant, taking Claire away from her usual worries and relaxing her.

“Delilah waited for the awkwardness of it all to push them finally apart, for Claire to sigh and admit that maybe this was all a big mistake. She even waited to feel some of that old anger flare up, the resentment that had fueled her relationship with anyone in Bright Falls for over two decades. Instead, she just felt sad, desperate to not feel that way anymore. Claire reached out and slid a finger down Delilah’s cheek to her mouth before sliding her palm around the back of her neck. Instead of pushing her away, she pulled Delilah closer and pressed her forehead against hers.”

Herring Blake’s repetition of “waited” underlines the vulnerability of this moment for Delilah, in a scene where she expects the past to have so much power that it ends her connection to Claire. Delilah anticipates rejection and rage as her only armor against it but instead feels the weight of her loss. Claire’s gentle gestures are an offer of refuge, indicating the emotional depth between them.

“‘Give him some sugar water for the bugs?’ ‘You know how he hates bugs.’ They laughed, but nothing they’d mentioned felt feasible or, well, mature. But Claire didn’t care about maturity right now. She cared about this. Delilah and her under the trees, plotting like teenagers to help their friend. It felt like something more than just planning a prank—it felt like getting something back, something fun and light and meaningful that they never got to have as girls.”

The easy banter in this scene and Claire’s rejection of maturity in favor of planning pranks reveal how Delilah brings out her playful side. Claire recognizes this moment as a kind of reclamation, an ease between them that belies the pain of Delilah’s past. Claire’s eagerness for this demonstrates her own belief in the power of emotional attachment to heal and create new bonds, a belief she ultimately uses to help Delilah trust in their shared future.

“Skating was so simple, even silly, but as Claire squeezed Delilah’s fingers, laughed when Delilah tried to skate backward and landed on her butt again, kissed her quickly after helping her up, Delilah couldn’t think of a time she’d ever felt like this. Not with Jax. Not with anyone.”

Here, Delilah and Claire mutually reclaim their childhood enthusiasm as part of their love for each other. Delilah and Claire are willing to be absurd with one another, a lighter kind of vulnerability. Delilah recognizes that her love for Claire is unique in this respect, and, on some level, she knows that she has fallen in love.

“Delilah had left the next morning before Ruby came home, but then she came by the bookstore after lunch, armed with a camera roll of photos for her and Ruby to sift through and edit together, the two of them sitting on the beanbag chairs in the kids’ section while Claire worked. Then Claire made beef stroganoff and the three of them ate dinner together at Claire’s kitchen table, and it all felt so normal and right, Claire had to excuse herself to go the bathroom in the middle of the meal, splashing water on her face and forcing a sudden surge of tears back into her eyes.”

Herring Blake uses setting and description to establish the intensity of Claire’s love and her dread at Delilah’s departure. The motif of homes and their owners adds depth, as Delilah belongs as equally in Claire’s store as she does in her kitchen, unlike her alienation from Isabel’s house. Claire’s tears are a small evocation of water, echoing the focus on water in Delilah’s art and the photograph from years before.

“‘See?’ Iris said. ‘You just said no to me telling you that you could say no. An expert already.’ Astrid laughed again, then flopped back onto the bed, her arms splayed above her head. A very un-Astrid-like motion, and it made Claire smile. She lay back too, followed by Iris, and the three friends hooked their arms together, relieved tears running down all of their cheeks and splashing into the thousand-thread count duvet.”

This scene shows how Herring Blake and her characters have an expansive definition of family. Claire, Iris, and Astrid are bound together by choice and by their history—Iris can make the normally reserved Astrid laugh in the face of disaster. Their shared tears, another instance of water imagery, demonstrate that Astrid’s broken engagement has healed the rift between them, paving the way for the resolution of other tensions.

“‘Bullshit.’ Claire said the word so softly, so sweetly, even though it was a swear, Delilah felt herself crumple. Her mouth twisted and her eyes burned and she didn’t know what to say or how to think about anything anymore, not Astrid, not herself, not her entire childhood.”

In this moment, Claire refuses to allow Delilah her usual bravado, underlining how well they have come to know each other. Delilah’s disorientation in this moment is profound and a kind of second loss, as she recognizes that the memories she relied on to distance herself from Astrid may be unreliable. Delilah’s sense of self is shattered, but she does not hesitate to share this with Claire, implying that she has also fallen in love.

“‘That’s not what happened,’ Delilah said again, but her voice sounded frail, unsure. ‘So you didn’t try to sleep with Claire just to get under my skin?’ Astrid asked. ‘You’re twisting it around,’ Delilah said. ‘Am I?’ ‘Wait,’ Iris said, stepping farther into the room. ‘This can’t be right. What are we missing?’ She frowned at Delilah, hurt furrowing her brow. And still, Delilah said nothing. Nothing in defense. No explanation.”

The dialogue here once again reveals Delilah’s insecurity when confronted with her past. She knows that she is more than her past self but struggles to articulate it. Astrid’s question shows that she still sees the worst in Delilah, her vengeance and bitterness, and offers the same in turn. Iris’s reaction here is equally significant— like Claire, she has come to trust and appreciate Delilah and is baffled by these revelations.

“She knew the answer to Josh’s question, but it was a ridiculous answer. Impossible. Josh sighed. ‘Your whole life, you’ve been putting people first, Claire. Your mom. Astrid and Iris. Me. Ruby. It’s okay to take something for yourself.’”

Josh serves as Claire’s confidant here rather than a source of stress, marking a significant shift in the narrative. Claire hesitates to face her feelings, while Josh urges her to accept them. He offers her support and validation, appreciating her work as a caregiver and family member. He also insists that she can be more and that reconciliation with their past can mean accepting happiness.

“‘Are you in love with my best friend?’ Delilah snapped her head toward Astrid. ‘What?’ Astrid just lifted her brows. ‘I…um…I…’ Delilah blew out a breath, the right word hovering just out of reach. Astrid nodded, as though Delilah had spoken the word anyway, then lifted her glass to the photo of Claire.”

The dialogue here is in sharp contrast to the scene in Astrid’s childhood bedroom and proof that the two stepsisters have reconciled. Astrid asks about Delilah’s feelings for Claire without derision and accepts her struggle to speak. Astrid suggests that her art speaks for itself, indicating that she has finally accepted Delilah’s full self.

“Afterward, Delilah had grabbed her phone and taken photo after photo of the two of them, tickling Claire to get her to laugh, kissing her senseless to get her to be serious. It was the perfect morning. The perfect way to wake up. The perfect everything.”

Here, Herring Blake shows that Claire has changed Delilah by describing a change in her art. Instead of Claire being alone in Delilah’s photos, Delilah shows the two of them together sharing joy and comfort. The repetition of “perfect” stresses that Claire recognizes Delilah as the happy ending she deserves, with the photo as the proof she has long wanted.