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 bullying, sexual violence, rape, mental illness, child abuse, child sexual abuse, child death, suicidal ideation, self-harm, sexual content, and death.
Several characters in Releasing 10 experience severe emotional and physical trauma as children, facing difficult and often extreme situations far beyond what a child would typically deal with. Compounding their challenges is the fact that they largely lack traditional family support. Lizzie’s father, who is embarrassed by and resentful of her bipolar diagnosis, mostly ignores her. Hugh and Claire’s father becomes emotionally absent from their lives after the death of his best friend—Gibsie’s father. Gibsie, whose mother marries the father of Gibsie’s abuser after Gibsie’s father dies, refuses to have a relationship with his stepfather and distances himself from his mother. In contrast, Lizzie, Hugh, Claire, Gibsie, and Feely form a seemingly unbreakable bond at six years old. After throwing eggs at their neighbor’s house, Hugh initiates Lizzie into the circle where they “keep each other’s secrets and stick together, no matter what” (89).
Hugh is key to Lizzie’s attempts to cope with her bipolar disorder. Lizzie often self-harms and contemplates suicide, wondering if she needs or even wants to recover from her severe episodes of depression. Unlike her family, Hugh exudes safety and protection from the moment they meet on the bus as elementary school children: He calms her moods, researches her diagnosis and urges her to seek medical treatment, stands up to Mark, and provides a safe space with his presence. Hugh spends weeks being with Lizzie during the extremes of her symptoms, holding her, ensuring that she eats, and encouraging her to leave the house for swimming or taking walks. Even after Lizzie and Hugh break up, Hugh allows Lizzie to sleep at his home, encourages his mother to continue to serve as a parental figure to Lizzie, and rushes to the hospital when Lizzie’s mother has a heart attack. Hugh’s intense dedication to Lizzie, as well as his warm and caring nature, is a vital component to Lizzie’s health improvement.
Hugh and his other friends also experience friendship as a bond that helps them cope. When Gibsie loses his father and sister, it is his friendships with Hugh and Claire that help him cope and begin to heal. Additionally, when Hugh goes to Feely’s house and is shocked at the way that Feely’s father treats him, Hugh stands up for Feely. Hugh insists that his friend is a good person—even if he is not interested in the things that Feely’s father wants him to be interested in. Moments like these make it clear that friendships are these characters’ most reliable anchors.
In the novel, trauma is depicted as long-lasting and complicated. After characters experience extreme events like rape, death, and depression, coping is never straightforward. Instead, narrative’s structure reflects the idea that healing is an ongoing process, with cyclical rising and falling actions—and no clear resolutions. Responses to the various traumas that characters face show grief as complicated and difficult. Even the most victimized characters, particularly Lizzie, alternate between feeling fine and episodes of severe depression. Recovery is portrayed as a cyclical, ongoing journey that includes frequent setbacks.
The novel’s first climactic plot element is the drowning deaths of Gibsie’s father, Joe, and little sister, Bethany. In the aftermath, several characters succumb to grief. Gibsie and Hugh are deeply impacted by their loss, grieving and withdrawing from friends. In Taming 7, which takes place years after the events of Releasing 10, Gibsie still struggles with adapting to life after his father’s death. Even minor characters are shown to be affected by trauma. In Releasing 10, Joe is the best friend of Hugh’s father, Peter; after Joe’s drowning, Peter withdraws from his family as he is consumed by his sorrow. Peter spends much of his time reading or writing in the attic, ignoring his fatherly responsibilities toward Hugh and Claire—an abandonment that leads Hugh to further distance himself from his dad. Peter’s inability to emerge from grief is a trauma response that is not treated or otherwise addressed; moreover, the novel ends without Peter and Hugh reconciling.
Another traumatic upheaval happens when Lizzie’s sister, Caoimhe, dies under suspicious circumstances. The death has many ripple effects. Because Lizzie accuses Mark of killing Caoimhe and does not accept the police’s conclusion that Caoimhe died by suicide, the friend group is ripped apart as Mark’s family defends him. The resulting isolation compounds Lizzie’s already complex mental state and tenuously managed treatment. Caoimhe’s death forces Lizzie to acknowledge Mark’s abuse as real rather than imaginary, as she learns that Mark also raped Caoimhe and Gibsie. However, due to the trauma of sexual assault, neither Lizzie nor Gibsie can articulate what Mark did to them. Gibsie internalizes the event, fearing what disclosing it might mean. Conversely, these multilayered traumas exacerbate Lizzie’s bipolar disorder, leading to manic and depressive episodes and hypersexuality. As readers see how deeply Mark has infiltrated her mind through the way his voice permeates her thoughts, it is clear that there is no easy fix for her situation. Lizzie and Gibsie end the novel on an upswing, once again supported by friends—and in Lizzie’s case, more appropriate medical care—but the novel has shown that the impact of trauma is cyclical and reverberating.
The love story between Lizzie and Hugh borrows many elements from the romance genre. For example, the moment that they meet on the bus and instantly fall in love with each other plays out the trope of love at first sight, while their evolution from best friends to romantic partners in adolescence is an example of the friends-to-lovers structure. However, the novel also subverts romance expectations. In particular, it overturns the idea that love conquers all—and that all seemingly destined couples get a happily-ever-after ending. Instead, Walsh underscores that love is often not enough to overcome trenchant problems like illness and trauma, and that one person’s intense support of another often comes at the expense of all other life experiences.
Hugh and Lizzie are incredible sources of support for one another. When they struggle, they offer each other unconditional care, intuiting exactly what the other needs—often just lying with each other and being present without needing to discuss what’s wrong. However, it soon becomes clear that Lizzie needs much more of Hugh’s help than vice versa. When Hugh learns about Lizzie’s bipolar disorder, he helps manage her treatment, giving her medication and insisting that she needs to speak with her therapists. The burden he takes on is clearly unbalanced, as Lizzie’s problems are atypical. Lizzie is there for Hugh’s grief after the death of Gibsie’s father and always encourages him academically and in rugby—but Hugh, in preadolescence, takes on the burden of caring for a friend with severe mental illness. Nevertheless, at first, their mutual support emphasizes the value of unconditional love.
However, their relationship soon tests the extents of commitment. As Hugh spends more and more time stabilizing Lizzie’s mood swings and seeing to her care, he questions what it is doing to other areas of his life. He loses focus on rugby, abandoning his teammates and his training, while also distancing himself from his mother and his friendships with Feely and Gibsie. Moreover, while Hugh’s presence offers Lizzie’s short-term relief, her condition needs professional intervention for long-term solutions. Hugh wonders whether his relationship with Lizzie does “more harm than good” (404). Hugh gives up an entire summer to nurse Lizzie through another episode of depression, but this does not cure Lizzie’s illness. Instead, fully reliant on Hugh, Lizzie distances herself from her mother, and from Claire and Shannon. She also refuses to speak with therapists and even stops taking her medication, insisting that Hugh is enough to support her and help her through her mental health episodes. This leads to uncontrolled mood cycling, promiscuous sex, and dissociative episodes.
The novel ends with Hugh’s realization that love, however totalizing, is not enough—it cannot conquer Lizzie’s condition and is instead harming Hugh by making him withdraw from other parts of his life. In the end, their love story ends with their breakup, with both characters agreeing that they will always love each other—but that the relationship is not viable.



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