45 pages • 1-hour read
Alison EspachA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of child death, suicidal ideation and/or self-harm, mental illness, substance use, and sexual content.
At age 28, Sally looks back on the events following Kathy’s death. She recalls police telling her parents that Kathy’s death in the car accident was instantaneous.
In a flashback to the crash scene on Main Street, Billy leans over Kathy’s body and shouts her name. Sally asks if Kathy is dead, but Billy, bleeding himself, tells her not to look and to get help. Sally runs to a nearby house where a woman has already called 911. When Sally returns, police and EMTs are at the scene, trying to pull Billy away from Kathy’s body. An EMT checks Sally in an ambulance and confirms she is physically uninjured just as she sees her parents running toward her. A police officer, whom Sally recognizes as her former soccer coach “Jelly Roll,” questions her. Sally worries that the police think the accident was Billy’s fault. Sally believes it was her fault for making Billy drive her to school. The family is then taken to the police station and finally to the town morgue. Sally’s mother demands to see Kathy, but a doctor refuses. Instead, he presents two gold hoop earrings for identification. Richard fails to recognize them, but Sally confirms they belong to her sister. Susan screams and collapses, and the doctor gives the earrings to Sally. The drive home is silent until Richard, enraged at a red light, runs it and angrily threatens to kill Billy if he survives his injuries. At home, Sally places Kathy’s earrings in her jewelry box.
In another flashback, Sally remembers her First Communion. During confession, she admitted to dipping her hand in her grandfather’s urn to keep a part of him with her. Her Grandmother had caught her doing it and slapped her. Later, in the car on the way to the church, Sally told her family that she disliked her grandmother.
Sally refuses to speak at Kathy’s funeral, where others describe her sister as an angel. During the reception at their house, guests blame Billy for the crash. Sally interjects, claiming that Kathy begged Billy to speed. Her father yells at her and sends her to her room, where she stares at the glow-in-the-dark stars on their shared ceiling. Sally learns that Billy, a former star basketball player, could not attend the funeral due to his extensive injuries; he sends the family an apologetic letter from the ICU. Sally logs onto Kathy’s account and begins a secret online correspondence with Billy. Her parents argue over whether to sue Billy—Richard wants to press charges, but Susan is hesitant. Sally and Billy bond over their shared grief, finding the clichés spoken about Kathy at the funeral uncomfortable. Billy tells Sally he has nightmares about the deer he swerved to avoid.
Three weeks later, Sally returns to school. Classmates treat her with unusual kindness. Peter Heart, her fifth-grade boyfriend, gives her his history notes, and her teacher, Mr. Klein, assigns her a report on the guillotine. Another classmate, Valerie, gives her notes from health class. Sally has an angry outburst at Rick Stevenson at the bus stop. Online, Billy reveals that steel rods have been placed in his leg, ending his basketball career, and that he has undergone facial reconstructive surgery. One day, Susan finds Sally wearing one of Kathy’s shirts and suggests she buy new clothes. Soon after, Sally has Valerie pierce her ears.
Billy abruptly stops coming online, and Sally worries for weeks. On what would have been Kathy’s 17th birthday, her friend Priscilla visits and tells Sally that Billy attempted suicide by overdosing on painkillers. Billy reappears online a week later. He apologizes for scaring her and tells her he has started reading classic literature. Sally tells her parents, and they invite Billy and his parents to their house. The new white couch, which Susan ordered before the accident, is delivered just before they arrive. Billy and his family sit on the white couch in the Holts’ living room. Billy’s jaw is wired shut, and he communicates with a whiteboard that reads, “I’M SO SORRY.” Richard agrees not to press charges but forbids the Barnes family from ever contacting them again. As he leaves, Billy gives Sally a final, meaningful look.
That summer, Sally’s parents send her to a therapist named Lydia. Sally messages Billy, and they begin having secret, nightly phone conversations once his jaw is unwired. One night, Richard catches Sally on the phone with Billy. He takes the phone, threatens legal action, and then yells at Sally, telling her that Kathy no longer has a boyfriend. At a gas station mini-mart, Sally sees Billy with a new girl, Karen, and becomes so sick with jealousy that she vomits. At home, Richard becomes withdrawn and angry, buying a red leather “Man Chair” and beginning to sleep in it. Sally starts writing short stories as an outlet.
On the way to a dentist appointment, Sally and Susan pass the accident site, and Susan grieves openly. At the dentist’s office, Susan reveals to Sally that she gave up an art school scholarship in Paris because she was pregnant with Kathy. As summer ends, Priscilla invites Sally to the Aldan Day Carnival, and Sally brings Valerie along. At Valerie’s house, Sally borrows a pair of bone earrings.
At the carnival, Sally is shocked to find Billy, now with a lip ring, operating the Hurricane ride. He invites her into the control booth and lets her help run the ride. Karen arrives and reveals she’s Billy’s new girlfriend. Feeling upset, Sally walks away. Priscilla finds her and takes her to a nearby field to meet some boys, confirming that Billy and Karen have been dating all summer. Priscilla gives Sally rum, and Sally kisses a boy in a Sprite T-shirt but finds the experience underwhelming. Later, at Valerie’s house, the two girls discuss their disappointing kissing experiences, and Sally falls asleep listening to Valerie’s recording of a dishwasher.
Espach’s structural and stylistic choices highlight The Subjectivity of Memory in Reconstructing the Past. Opening with Sally reflecting at age 28, the chapter is structured as a direct address to her deceased sister. This second-person narration is a deliberate act of storytelling, shaped by guilt, love, and the need to impose meaning on tragedy. Sally’s assertion, “I’m not sure what to tell you about your own death” (85), immediately positions her as the arbiter of Kathy’s posthumous understanding. Storytelling becomes Sally’s primary tool for navigating the psychological aftermath of the accident.
The forbidden intimacy between Sally and Billy exemplifies The Intersection of Love, Guilt, and Shared Trauma. Their connection is forged not despite the tragedy but because of it, in a secret space away from family judgment. The public performance of grief, characterized by empty clichés at Kathy’s funeral, fails to provide either Sally or Billy with solace. Instead, they create a private sanctuary through online conversations, where they can deconstruct the sanitized public narrative and speak honestly about their grief and shared nightmares. As the sole witnesses to Kathy’s death, they become the only two people who can truly understand each other’s pain and sense of culpability. The relationship is codified as taboo when Richard discovers their secret conversations and forbids contact, a prohibition that forces their bond into deeper secrecy and intensifies its power. Billy’s subsequent attempt to die by suicide functions as an extreme act of penance, a physical manifestation of the guilt that he can only confess to Sally. Their connection is a profound bond built on the unstable foundations of a shared traumatic experience.
The motif of physical wounds and scars demonstrates how trauma becomes an embodied part of identity. Billy’s transformation is overt; his former self as a star athlete is erased, replaced by a figure marked by visible scars, steel rods in his leg, and a wired-shut jaw. His body becomes a public text telling the story of the crash, a permanent record of his guilt. His comment that surgeons “put [his] ass on [his] face” (108) reveals a dark awareness that his identity is now tied to this physical damage. Sally’s physical changes are more subtle. She begins wearing Kathy’s shirts in an attempt to keep her sister present. Her decision to have her ears pierced just as Kathy did provides her with a secret physical link to her sister, pointing to The Formative Power of Sibling Bonds. It represents a small act of self-inflicted pain, a way of asserting control over a body that feels powerless. Her psychosomatic reactions—vomiting when she sees Billy with another girl—illustrate how her unresolved emotional turmoil manifests physically. Espach portrays trauma not as an abstract psychological state but as a concrete, physiological reality.
Espach uses key objects and settings to illustrate how trauma infects and redefines the domestic space. The white couch, ordered in a hopeful past, arrives in the immediate aftermath of the tragedy, its pristine beauty standing in stark contrast to the family’s new, grief-stricken reality. As the Barnes family sits on the new couch for Billy’s formal apology, it functions as a stage for a fraught social ritual. The couch’s symbolic corruption is completed when Sally’s jealousy and her father’s anger overwhelm her, and she vomits on its white fabric. The stain becomes a physical manifestation of the family’s spoiled innocence. Similarly, Richard’s retreat into a new red leather “Man Chair” signals his emotional withdrawal from the family unit. He creates a separate, isolated domain within the home, abandoning shared spaces. These objects transform the Holt house from a sanctuary into a landscape of grief, where furniture is imbued with the memory of loss.
The chapter juxtaposes the failure of public, spoken language with the potency of secret communication. In official spaces of mourning—the morgue, the funeral, the formal apology—language becomes stilted, clichéd, or breaks down entirely. The doctor’s placations, the funeral-goers’ platitudes, and Billy’s silent communication via a whiteboard all highlight the inadequacy of conventional speech. In contrast, the secret lexicon developed by Sally and Billy in their online and phone conversations is authentic and resonant. They use literary allusions, dark humor, and a shared vocabulary of trauma to build a world of mutual understanding. This private language allows for a genuine processing of grief that is impossible in the performative, public sphere. The narrative suggests that when trauma renders conventional language obsolete, survivors must invent new ways of speaking to forge necessary connections.



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