56 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of illness and death.
In Out of the Woods, Sarah’s relationship with her mother Marcie is significant to the present-day timeline, establishing that parent-child relationships endure beyond death. Both her profound love and her terminal illness define Sarah’s adolescence, shaping her identity and her relationship with Caleb. After Marcie’s death, Sarah centers her grief in her life and, through it, becomes mired in self-recrimination that stops her from moving forward. Through the Reignite retreat, Sarah learns to let go of her grief and guilt, loving herself the way her mother would. Because of this, Sarah and Caleb can confront how grief has also shaped their relationship and commit to reshaping their dynamic, continuing to carry Marcie’s memory with them, but in new and more fruitful ways.
When the novel opens, Sarah is hosting a fundraiser for ALS research in Marcie’s memory and sees the low turnout as reflective of her larger sense of purposelessness and lack of accomplishment. She frames this feeling of failure in the context of her mother’s expectations, thinking, “I am the closest thing to her left living, and I don’t think she’d be proud of me” (10). Sarah’s sense of failure intensifies when she asks Caleb to assuage her fears of having accomplished so little, and he remains silent. At the same time, she remains furious that he wrote the check to salvage the fundraiser, certain that “the roles of rescuer and rescued need to be put to rest” (70). Sarah is tired of her own passivity and ready for a more dynamic life, signaling her need to move forward, both personally and in their marriage.
Hannah Bonam-Young uses the past timeline in the narrative to establish the origins of Sarah and Caleb’s relationship dynamic, which began with the roles they adopted during Marcie’s illness. Sarah admits to herself, and later to Helen and Yvonne, that grief made her see Caleb as her strength, rather than learning to stand on her own. Yvonne tells her to stop blaming herself for this, commenting, “[Y]ou didn’t know any better than to rely on him and he didn’t know any better than to stand by you” (168). Sarah gradually stops blaming herself for her grieving process, and Caleb moves forward as well, admitting that he is “guilty of telling white lies just to avoid any sort of conflict” (175), afraid to unbalance their dynamic. The narrative establishes that facing their past trauma is key to the renewal of Sarah and Caleb’s marriage. After they become more open about their grief and fear, they can plan for a future that includes both their dreams, including Caleb’s new business strategy and Sarah’s educational ambitions.
However, this new balance is tested after Caleb’s accident, which brings Sarah back to the pain of her mother’s illness and her history with hospitals. With Win’s assurances that Caleb’s situation is different, Sarah finds herself able to offer support to Caleb’s mother, Michelle, and realizes she is ready to “stand on her own two feet” (281). In the Epilogue, Sarah gives a speech in Marcie’s honor without hesitation, in contrast to her struggle to do so at the fundraiser in the novel’s opening. With this juxtaposition, Bonam-Young illustrates how Sarah hasn’t left the memory of her mother behind, but she is now able to incorporate it into her present life. In addition, Caleb’s steadfast support is illustrated by his willingness to give Sarah the spotlight, showing how their marriage has evolved as a result of letting go of grief.
Much of Sarah and Caleb’s relationship tension comes from her emerging sense that she has grown too stagnant and settled. She openly doubts whether the longevity of her marriage is still a source of strength, even if her love for Caleb is not in question. Caleb, in contrast, is threatened by Sarah’s need to question the status quo of their marriage. Through the wilderness retreat, both characters refashion their relationship into a source of security that will support their growth and evolution.
The disruption in Sarah and Caleb’s marriage first comes to light during their argument at the fundraiser, which puts their fundamental disagreement on full display. Sarah declares that she no longer feels the same youthful adoration of Caleb as when they married and she had “the confidence to promise forever to a safe-house boy with a kind heart and the naivete to believe that would be enough” (23). As an adult, Sarah chafes against the dynamic that was established early on, in which Caleb was Sarah’s shelter. She castigates her youthful self for trusting in love, suggesting that love alone is not enough to sustain their relationship. As she tells Win, “Something has to give, and maybe that thing is Caleb” (36). In her anger, Sarah sees Caleb as an obstacle instead of an ally or partner. However, she later admits to Helen that even when she imagines an alternate future for herself, she envisions marrying Caleb eventually, highlighting the strength of the love she still feels.
Over the course of the novel, Caleb shows an increased willingness to reshape their marriage to accommodate Sarah’s needs. At first, as she continues to push for change by signing them up for the retreat, he becomes more defensive, seeing her desire for change as a threat. He admits that he wasn’t aware that anything was wrong with their marriage when he says, “I liked our life. No, I loved our life” (146). Yvonne gently urges Sarah to consider that Caleb is afraid rather than trying to control her, and Sarah eventually apologizes for concealing her feelings for so long. Caleb begins to leave his defensiveness behind and commits to working on their relationship. He shares his emotions via journal entry, telling her, “I hope that if you have to rewrite your life, you won’t erase my part in it” (178). The metaphor signals his commitment to Sarah’s growth and his desire for real connection, showing that not only is Caleb willing to change but he has already begun the process.
By the end of the novel, Sarah’s courage in confronting the limitations of their relationship dynamic has inspired Caleb to confront his own purpose and growth. In a final signal of his commitment to reshaping their life, he shares his hopes for a less demanding career, telling her, “I’ve spent so long trying to impress a man I don’t want to be like” (102). Whereas Sarah’s journey involves learning to move forward from the loss of her mother, Caleb becomes eager to confront the reality that his father’s influence is preventing him from living life on his terms. His realization that he, too, needs to grow signals his new understanding of Sarah’s perspective. He finally answers her question from the fundraiser about her accomplishments, citing her relationships and ability to connect to others as one of her great strengths. He declares that “your heart is mine in the way that our home or our neighborhood and or my favorite movie is mine, mine but not for me alone” (217). Caleb fully embraces that their marriage needs to grow with them and provide them with the stability to seek out their happiness. In the novel’s final act, Bonam-Young establishes that balancing individual flourishing with shared values is key to Sarah and Caleb’s happy ending.
Beyond Sarah and Caleb’s marital crisis in Out of the Woods, they each face struggles with personal fulfillment. Sarah’s hesitation to pursue her literary ambitions points to her deeper emotional wounds, while Caleb, who uses work to avoid conflict, has been busy fulfilling his father’s dreams instead of his own. Through the forced proximity of the camping trip, Sarah examines her relationship with grief and ultimately rediscovers her creative process. Over the course of the novel, Sarah uses creativity to reconnect to her more authentic self, heal old wounds, and develop new plans for growth.
In the novel’s early chapters, Sarah is overwhelmed with doubts about her talents and the artistic direction she wants to take with her life. When she describes being unable to feel proud of herself, Win reminds her of her earlier ambitions to write. Sarah thinks, “Tried that and failed, thank you so much for the reminder” (36). The sarcasm here points to deep emotional pain, but Sarah does not explain her ambivalence. Instead, Bonam-Young uses the novel’s past timeline to describe Sarah’s youthful joy at winning an essay contest, only for a cruel author to disparage her talent and goals. Sarah, who saw the contest as a chance to make up for Marcie’s sacrifices for her, sees the setback as a sign she is “failing [Marcie] when she needed me to succeed the most” (138). Marcie’s prognosis is intimately tied to Sarah’s sense of despair: She is all too aware she is running out of time to give her mother such a tribute. Sarah’s grief and perfectionism collide, resulting in her giving up her writing dreams altogether.
The retreat gives Sarah the space to reexamine her past and contemplate her current needs while subtly reintroducing art and creativity into her life. Caleb begins this shift, subtly encouraging her by bringing her e-reader as a surprise gift, noting, “You’re at what, a thousand days of reading in a row?” (103). Like Win, Caleb understands Sarah’s love of literature as the core of her identity. On a walk with Yvonne, Sarah expresses her desire for a broader purpose in life and a more equitable relationship with Caleb, in contrast to their history of codependence. After this epiphany, she is inspired to respond to Caleb’s gift of flowers with a series of letters in the form of paper planes. She finds a new rhythm, focusing on the pattern of “tear, write, fold” as she pens Caleb truths such as, “I am grateful for you, I promise” (173). The ritual evokes memories of doing the same when they were younger, reconnecting her with her creativity. It also raises another memory, of Marcie reading her a Sylvia Plath story about how fear of failure is not real safety. Through the letters, she can process this connection and tells Caleb, “I miss writing…I miss that version of me” (192). By reconnecting with her past creativity, Sarah is able to leave behind her need for perfection as well as the feeling of having failed her mother, signaling a new period of healing and growth.



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