78 pages • 2-hour read
Chloe WalshA 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 sexual violence, rape, mental illness, child abuse, child sexual abuse, self-harm, sexual content, and cursing.
Music is a recurring motif throughout the novel that serves to create a bond between different characters when they struggle to articulate how they feel. As Lizzie, Hugh, Caoimhe, Gibsie, and others face traumatic events, music conveys how they feel.
Lizzie and Hugh’s relationship is often punctuated by thematically appropriate music. For example, when they begin to explore their romantic feelings, they celebrate the New Year and Lizzie’s first year at Tommen by dancing to “Take ME to the Clouds Above” by LMC and U2. The song’s lyrics are about falling in love, with the speaker willing to follow the object of his desire wherever they go:
There’s a boy I know
He’s the one I dream of
Looked into my eyes
Take me to the clouds above
Lizzie immediately identifies with the song, applying its message to her growing love for Hugh: “Hugh Biggs could take me anywhere and I would go with him gladly” (534).
In another scene, Lizzie and Hugh struggle to talk about Lizzie’s infidelity and their breakup. Instead, they use music to speak for them. In the middle of the night, Lizzie plays Hugh the song “Silver Springs” by Fleetwood Mac. Stevie Nicks, who wrote the song after her breakup with Lindsey Buckingham, described it as “a whole symbolic thing of what [Lindsey] could have been to me” (Spanos, Brittany. “‘Silver Springs’: Inside Fleetwood Mac’s Lost Breakup Anthem.” Rolling Stone, 17 Aug. 2017). The song reflects Lizzie’s devastation at her breakup with Hugh and implies that they could have been happy together. In response, Hugh plays “Go Your Own Way,” also by Fleetwood Mac. The song, written by Buckingham, expresses his feelings about the breakup with Nicks. Lines like “Loving you isn’t the right thing to do / How can I ever change things that I feel?” express Hugh’s feelings: He still loves Lizzie, but knows he should distance himself.
Scars, both physical and emotional, are symbols that illustrate The Complexities of Trauma and Healing. Lizzie grapples with the physical and emotional damage of her sexual abuse at the hands of Mark, which drives dysfunctional behavior. Mark’s predation causes recurring nightmares and intrusive thoughts, and damages Lizzie’s body through a gruesome home abortion. In a maladaptive attempt to cope, she begins to self-harm to relieve the emotional turmoil. All of this creates lasting psychological and actual scars that will remain even after recovery, symbolizing the fact that healing restores wellbeing but does not erase past experiences.
Other references to scars are more metaphorical. Hugh feels the end of his relationship with Lizzie as scarring. Although he breaks up with her and is adamant that he can never trust her again, he continues to love her, battling his own feelings to do what he feels is best for himself—a dynamic that plays into the dichotomy between The Benefits and Burdens of Commitment.
Hugh and Lizzie use the nicknames “knight” and “milady” throughout the novel. The words become a recurring motif that characterizes how they see each other—as a protector and his charge. At first, the idea is mostly a joke: When Hugh helps Lizzie into a tree and she immediately jumps out of it, Hugh laughs that she is “shit at being a lady,” and Lizzie answers that she doesn’t even “want to be a lady” (97).
Later, when Hugh promises to protect Lizzie from Mark, the nicknames pick up a more serious tone. However, Lizzie and Hugh’s story subverts the courtly premise of a knight who rescues his lady to convey The Complexities of Trauma and Healing. Unlike the fairytale knight in shining armor who saves his love from distress, Hugh ultimately cannot extract Lizzie from her extremely harmful environment: Both are very young, Lizzie’s tormentor is less obviously evil than a fairytale monster, and Lizzie’s mental illness means that happily ever after can only come with appropriate medical intervention and care. Instead of living up the impossible ideal of knights and ladies, Lizzie and Hugh realize that they need to let each other go so that they can live their own lives and so that Lizzie can recover from her trauma in a healthy way. Rejecting the trope of knightly love conquering all, Releasing 10 conveys a more nuanced reality, where love alone is not enough to fix everything.



Unlock the meaning behind every key symbol & motif
See how recurring imagery, objects, and ideas shape the narrative.