Girls Like Girls

Hayley Kiyoko

Girls Like Girls

Hayley Kiyoko
54 pages1-hour read
Fiction
Novel
YA
Published in 2023

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Chapters 21-31Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death by suicide, bullying, pregnancy termination, antigay bias, substance use, and cursing.

Chapter 21 Summary

Sonya invites Coley over to swim. At her house, they flirt in the pool until Trenton and Alex arrive unexpectedly. Trenton has a severe poison-oak rash, which he continues to blame on Coley. He lies to Sonya, claiming that he treated it, so she tends to his arm with calamine lotion. Trenton then tries to exclude Coley from plans to go to Alex’s house, but Sonya intervenes, saying she and Coley have other plans. 


After the boys leave, Sonya steals a bottle of vodka from a bar cart and leads Coley to their spot on the train tracks. Tipsy and speaking in a grandiose, performative way, Sonya talks about how her mother always pressured her to be “ladylike” and stifled her spirit. She then challenges Coley to a race and runs down the tracks just as they hear the whistle of an approaching train.

Chapter 22 Summary

Coley tackles Sonya off the tracks just as the train speeds past, saving her life. As they lie in the grass, Sonya apologizes for not paying attention. The near-death experience prompts Coley to confide in Sonya about her mother’s death by suicide. She tearfully admits to feeling guilty, believing that she might have saved her mother if she had taken her usual bus instead of missing it and taking the next one, which made her arrive too late. 


Sonya comforts her, and they cry together. Sonya then whispers, “Olive juice,” a phrase that Coley understands to mean, “I love you” (154). Coley whispers it back, and they share a passionate first kiss.

Chapter 23 Summary

After kissing by the tracks, Sonya falls asleep in Coley’s arms. She’s awakened by her buzzing phone and abruptly leaves, telling Coley that she has to go. 


Back home, Coley sees on AIM that Sonya has an “away” message on. The next morning, Coley reads a series of messages from Sonya apologizing for being “weird” the night before and blaming her behavior on the vodka. Coley then finds Sonya’s public LiveJournal entry detailing plans for a “girls’ night” and a kickback with Brooke and SJ, which makes her feel erased and excluded. Hurt and angry, Coley responds to Sonya’s AIM message by pretending that she has no idea what Sonya is apologizing for.

Chapter 24 Summary

Coley decides to go to the kickback at Sonya’s house, determined to speak with her face-to-face. When she arrives, she finds that Sonya is already heavily intoxicated. 


During a conversation, Coley learns for the first time that Sonya goes away to a dance camp for half of every summer. When Brooke teases Sonya about Coley, Sonya snaps at her to “shut up.” Later, Coley confronts Sonya in the bathroom, but Sonya is dismissive, saying that Coley is “a lot of drama” and that she feels overwhelmed (170). Moments later in the hallway, Sonya apologizes, says “olive juice,” and leads Coley to her bedroom. They drink and dance intimately, but Sonya suddenly becomes distraught, crying, “I’m not like this” (177). She runs out of the room and into Trenton and Brooke. Seeing her tears, Trenton glares at Coley. Brooke tells Coley that she should leave, predicting that Sonya and Trenton will get back together.

Chapter 25 Summary

Coley searches for Sonya and finds her making out with Trenton in the laundry room. Devastated, Coley goes outside to the patio, where Alex finds her. He shares a joint with her and tells her a story from their childhood about how he saved Sonya from a pony that Trenton had agitated, cementing their friendship. Seeking a distraction, Coley kisses Alex but feels nothing and begins to cry. Alex offers to drive her home. 


As they’re leaving, Sonya, Trenton, Brooke, and SJ see them. Trenton yells an antigay slur at both Alex and Coley, mocking Alex for being with her. During the drive home, Alex reveals that Sonya told their friends about Coley’s mother’s death.

Chapter 26 Summary

Back at home, Coley is horrified by Sonya’s betrayal and trying to process it when she realizes that she left her mother’s jacket at Sonya’s. Curtis drives her to retrieve it. She arrives to find Sonya having a “bon voyage” party with her friends, a gathering from which Coley was intentionally excluded. 


Coley confronts Sonya in her bedroom. Sonya flatly denies having romantic feelings for her, claiming that she’s just “touchy-feely” with all her friends. Coley demands an apology for sharing the secret about her mother; Sonya says nothing, which hurts Coley. Furious, Coley calls Sonya a “terrible person” and leaves in tears.

Chapter 27 Summary

Sonya posts a public LiveJournal entry describing her cheerful arrival at dance camp. However, a private entry reveals her true misery. She reflects on how her going-away party “sucked” because of the confrontation with Coley and admits to feeling some guilt for telling SJ about Coley’s mother. Her distress is compounded by the presence of Faith, who’s at the camp as Madame Rosard’s assistant and is watching her every move. Sonya feels like her sanctuary at the camp has been invaded and wishes that Faith would leave her alone.

Chapter 28 Summary

Curtis tries to connect with Coley by showing her old family photos, but the gesture backfires, making her angry. She confronts him for abandoning her and her mother, revealing that her mother died wearing the tiger’s-eye necklace he had made for her. Upset, Coley flees on her bike and almost rides into traffic. 


Coley stops at a 7-Eleven, where she has a brief, kind interaction with the cashier, Blake. Sensing Coley’s distress, Blake invites her to her house to smoke weed.

Chapter 29 Summary

Blake drives Coley to her home in the country, where they get high. Overwhelmed by feelings of self-hatred, Coley impulsively asks Blake for scissors and cuts her long hair into a short, choppy style


Blake shows Coley that she can make smoke rings with her bong. Afterward, Blake kisses Coley. Coley kisses back but finds herself fantasizing that she’s with Sonya. Disgusted with herself for using Blake as a replacement, especially after Blake tells her that she likes her, Coley pulls away. She makes an excuse about her father expecting her and asks to be taken home.

Chapter 30 Summary

When Blake drops Coley off late, Curtis is waiting. He confronts her about her haircut and for breaking curfew, establishing a new midnight rule. This sparks a major argument, during which Coley accuses him of being a neglectful father who abandoned them, teaching her that she was “disposable.” In a moment of painful honesty, Curtis admits that he was a coward for not fighting to stay in Coley’s life and clarifies that her mother was the one who left him. 


Later, Curtis speaks to Coley through her locked bedroom door, reaffirming that he will always love both her and her mother.

Chapter 31 Summary

Following their argument, Coley and Curtis call an uneasy truce, carefully navigating their interactions with each other. When Blake calls to hang out, Coley accepts and makes a point to tell Curtis where she’s going. 


At Blake’s house, Coley discovers that Blake is preparing to train to become a body piercer. Blake gives Coley a new cartilage piercing. She shares her aspiration to become a tattoo artist and shows Coley her sketchbook, filled with graveyards, zombie hands, a self-portrait, a cat, and an angel drawing. She then reveals that she had an abortion after becoming pregnant by her gay ex-boyfriend. Later, Blake kisses Coley again. Coley reciprocates but feels a growing sense of unease, recognizing that she’s hiding her true feelings and being emotionally dishonest. She realizes that she’s mirroring Sonya’s behavior toward her.

Chapters 21-31 Analysis

Sonya’s use of public and private LiveJournal entries reveals the deep split in her identity, exposing her fear of vulnerability, which manifests as her biggest character flaw. In her public post from dance camp, she performs a cheerful, popular persona. Her private entry from the same day, however, confesses the stark reality: “Fuck my life” (200). Here, she admits her misery, her guilt over hurting Coley, and her intense anxiety about being watched by Faith. Sonya’s impulse to post her thoughts online, compartmentalizing the sanitized thoughts that help her maintain her social status away from her true feelings, points to a unique quality of the millennial experience, considering that millennials grew up during the advent of social-media platforms. The public blog is a carefully curated performance of heteronormative social belonging, a necessary shield in a world where being different invited scrutiny and danger. The private, password-protected entry is part of a confidential diary for grappling with the very feelings and attractions that threaten her social standing. Instead of telling the truth and exposing her vulnerability to Coley, Sonya sees her private LiveJournal as a venue where she can risk being vulnerable and guarantee the absence of any consequences for doing so. This digital compartmentalization mirrors her offline behavior, where she vacillates between intimate connection with Coley and panicked retreat, demonstrating the immense psychological pressure of living a divided life.


The escalating tension between the girls culminates in a direct confrontation that reveals The Role of Stigma in Repressive Social Environments as it manifests in their small town. When Coley confronts Sonya at her going-away party, Sonya retreats behind a wall of denial, claiming, “I’m like this with all my friends. Some girls are touchy-feely. It doesn’t mean anything” (196). This dismissal is a cruel defense mechanism, an attempt to erase their shared intimacy and reassert an antigay narrative that she believes is socially acceptable. Sonya’s panicked actions, from publicly making out with Trenton right after an intimate moment with Coley to later betraying Coley’s deepest confidence about her mother’s death, are driven by a deep fear of the social ostracism powerfully embodied by Trenton. His use of antigay slurs reinforces this threat, underlining the dangerous consequences of defying heteronormative expectations. In the oppressive context of her friend group, Sonya sacrifices her own feelings and Coley’s well-being to maintain her social standing, demonstrating how deeply internalized antigay bias can compel individuals to police themselves and others.


As a foil to Sonya, Blake introduces Coley to an alternative model of LGBTQ+ existence, one that’s unapologetically frank and operates outside the confines of mainstream social hierarchies. Whereas Sonya is defined by her secrets and evasions, Blake is shockingly candid, casually recounting her traumatic past involving a “gay ex,” an abortion, and her complex family life. Her art is dark and confrontational, a direct expression of her interior world rather than a performance for others. She offers Coley a vision of survival that doesn’t depend on conformity. This contrast is critical for Coley, who has only known LGBTQ+ identity through the lens of Sonya’s fear and denial. When Coley kisses Blake, she recognizes that she’s dishonestly using her as a substitute for Sonya, but the encounter still pushes her toward a more authentic self-conception. Blake’s world is one where LGBTQ+ identity and hardship are stated facts of life, providing Coley with a glimpse of a life where authenticity, however messy, is possible.


After a destructive series of betrayals by Sonya, Coley’s impulsive decision to cut her hair is a symbolic act of severing her past self and reclaiming her identity. Overwhelmed by self-hatred in Blake’s bathroom, Coley takes scissors to the long hair that Sonya once “twisted […] around her fingers like they were precious jewels” (215). This physical transformation is a violent rejection of the version of herself who sought Sonya’s validation. Each snip of the scissors is an attempt to excise Sonya’s influence and the pain associated with their connection. The act is followed by another permanent change: a new cartilage piercing from Blake. Coley’s choice of a silver hoop is deliberate, as she rejects gold because it “reminds [her] of Sonya and [she] want[s] something that’s [hers]” (229). These acts of bodily modification are attempts at self-creation. By altering the body that Sonya touched and admired, Coley tries to forge a new identity, one that defines itself apart from heartbreak or another’s approval and is guided by Coley’s own agency.


As her relationship with Sonya implodes, Coley is forced to confront her past in an explosive argument with Curtis, which exposes how Grief as an Isolating Force has shaped her core identity. For years, Coley’s unprocessed trauma has led her to believe that she’s fundamentally unwanted. This wound is laid bare when she screams at Curtis, “You were the first person who ever taught me that I’m someone nobody missed […] That I’m disposable” (223). Her rage at him is a projection of the deep abandonment she felt after her mother’s death, a pain now freshly agitated by Sonya’s rejection. The argument, however, becomes a catalyst for a fragile breakthrough. Curtis’s pained admission that he was a “coward” and his important clarification that Coley’s mother left him shatters the simple narrative of abandonment that Coley has clung to for years. This raw, painful exchange is the first step toward dismantling the emotional walls that her grief has built, forcing her to confront a more complex and painful family history than the one she has used as a shield. Inasmuch as Coley is trying to define herself away from her relationship with Sonya, she’s also beginning to redefine herself in light of her revelations about her parents.

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