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Content Warning: This section of the guide includes discussion of sexual content, self-harm, gender discrimination, illness, child death, graphic violence, mental illness, and suicidal ideation.
On a bus, Bekija is overcome by the memory of what really happened in the village dairy. In the flashback, Dhana arrives late at night, singing a song. Bekija tells Dhana that her father is forcing her to marry a man named Nemanja in two days, an arrangement she does not want.
As Dhana moves closer, Bekija feels trapped. Dhana continues toward her; the two share a passionate encounter that knocks over buckets of milk. Afterward, Dhana tells Bekija she is leaving the dairy. As they part, Bekija discovers blood on her fingers.
Back in the present, Bekija reflects that that night was the moment she decided she had to kill and bury her former self.
This chapter reveals the text of the last letter Sále wrote for Bekija. No longer believing that Bekija will ever respond to him, he confesses that 16 years ago, he secretly witnessed Bekija’s intimate encounter with Dhana in the dairy. He understood that this meant she was no longer “pure” and would be killed by her fiancé, Nemanja, after their wedding.
Sále recounts that Bekija chose to become a sworn virgin and placed the black band on his arm. That same day, Dhana gave him a letter to urgently pass on to Bekija. As an act of revenge against Bekija, Sále fled, taking Dhana’s letter with him. He encloses the long-hidden letter and reveals he recently saw Dhana in Sofia. He urges Bekija to come to Sofia immediately, as Dhana is leaving for London in a few weeks.
While already on the bus to Sofia, Bekija thinks back to the letter Dhana wrote for her, which the journalist read back in her house.
In the letter, Dhana writes that she had encountered Murash, who claimed Bekija was happily in love with Nemanja. Confused by this, Dhana asks Bekija to meet her at the dairy that same night so they can run away to Bulgaria together. The letter ends with an ultimatum: If Bekija does not come, Dhana will leave and never return.
Mentally responding to the letter, Bekija thinks, “I’m coming, my love” (118).
At a bus station in Sofia, Sále waits anxiously for his sister, holding a sign with her name. Bekija arrives, appearing as an “effeminate man” with short hair wearing a dress and heeled shoes. As she walks through the station’s revolving door, she stumbles and falls to the ground. Sále rushes to her side, and the two siblings kneel on the floor, embracing tightly and sobbing after 16 years of separation. A white dove flies into the bus station.
At Sále’s apartment, Bekija showers and chooses to wear her brother’s clothes, instead of the women’s garments he has offered her. Sále isn’t surprised and reveals he knew she had adopted the male name “Matija” after becoming a sworn virgin.
As they talk, Bekija expresses fear and uncertainty about her future. Sále acknowledges that Bekija came to Sofia for Dhana, but just as he offers to call her, Bekija collapses while experiencing severe abdominal pain. Sále immediately calls for an ambulance and also phones Dhana.
Bekija awakens in a hospital to find Dhana at her bedside. Dhana reads her a newspaper article explaining that surgeons removed a partially formed parasitic twin from a 33-year-old woman’s abdomen. The article describes the rare condition, known as fetus in fetu, but does not name the patient; Bekija herself draws the personal connection, realizing she had carried her twin brother inside her body for 33 years.
Devastated and believing she is a murderer, Bekija experiences a mental health crisis. Dhana comforts her, insisting she is not to blame for how she was born, and holds her as they fall asleep together.
During Dhana’s daily hospital visits, Bekija finally reveals the full truth of the past 16 years. She explains that after their night in the dairy, she was no longer a virgin and would have been killed by Nemanja. To survive, she became a sworn virgin, which triggered a blood feud that required the death of a man from her family. Forced to choose, she designated Sále, who then fled after taking Dhana’s letter as revenge. Consequently, their father, Murash, had to take Sále’s place and was killed. Bekija explains that she is illiterate and could not read Sále’s letters herself; the journalist’s visit prompted her to retrieve them, and Dhana’s letter was enclosed in the last one, which Bekija only learned when the journalist opened it.
Overcome by the revelations, Dhana and Bekija reaffirm their lasting love and spend the night together.
Bekija wakes up alone in her hospital bed with a farewell letter from Dhana. Unable to read, she has Sále, who has just arrived, read it aloud.
In the letter, Dhana explains she left for a writer’s residency in England that morning. She writes that she feels overwhelmed with guilt for the tragedies that befell Bekija’s family and believes she doesn’t deserve happiness. Convinced they are fated to be apart, she chose to leave without a painful goodbye, reaffirming her eternal love for Bekija but accepting their separation.
Devastated by Dhana’s departure, Bekija boards a bus and returns to her home village. She feels she has no place in the world and has given up on a new life.
After getting off at her stop, she takes off the patent leather shoes from her trip and throws them into a field. She walks the rest of the way home barefoot, saying “I’m coming, daddy” (142).
Back at her empty house, Bekija changes into her old men’s trousers and boots. Believing her life is ruined, she takes a rope and stool to the stable, intending to die by suicide.
At the same time, a woman implied to be Dhana arrives at the house. She calls out Bekija’s name, hears the cow bellowing, and follows the sound to the stable. Inside, she is shocked by what she sees, but quickly realizes Bekija is instead helping deliver a newborn calf. She cries out Bekija’s name, and the two women weep and laugh together before embracing. The story ends as they watch the calf nurse, sharing a moment of peace, love, and new life.
The final section of the novel opens with the exposition of the event behind Bekija’s curated memory of the dairy, which simultaneously reveals the elaborate nature of the lie she constructed to protect herself from the patriarchal and antigay social codes of her village. Throughout Bekija’s intimate encounter with Dhana in the dairy, Dhana sings the lines of a song that recurred throughout the novel, but were never made clear until the retelling of the scene in Chapter 35. The image of the path that “twists like a water snake / ever farther from the past and ever closer to it” (107) establishes that for Bekija, moving forward is impossible without also moving back. The encounter with Dhana is depicted as a moment of both deep connection and incipient violence, a fusion of love and death encapsulated in Bekija’s question, “am I being born or am I being murdered in her arms” (111). This scene establishes the central conflict: An act of love that, within her cultural context, is also a death sentence. The spilled milk, which has been a recurring motif throughout the novel, symbolizes Bekija’s lost innocence, a life-giving substance literally drained away by the consequences of their passion. This framing reveals how a single night has rewritten Bekija’s entire existence, a key element of Identity Rewritten by Survival. To protect herself from the violent consequence that she knew her village would enact, she had to metaphorically kill her former self and bury the truth of that night.
Sále reveals himself to be an instrumental participant in the drama surrounding this exposition, as he writes that he was a secret witness to the intimate encounter between Bekija and Dhana. Sále’s role is complicated by the fact that he also took revenge on Bekija for marking him for death. In this way, Sále fulfills his father’s hope for a son capable of ruthless cruelty. Though Sále regrets his actions and comes clean in the fourth letter, he proves himself capable of the type of violence that Murash tried to instill in him for so long. At the same time, Sále’s escape from the village functioned as a mercy for Bekija. By leaving instead of confessing Bekija’s intimate encounter with Dhana, Sále ensured that both of them would survive, albeit at the cost of Bekija’s happiness. He affirms this in the fourth letter, as he confesses his actions to Bekija: “Back then, I thought you didn’t deserve to be happy… I wanted to keep you from the happiness you and Dhana had. I no longer feel this way” (114). The letters function as narrative keys, unlocking the full context of the characters’ suffering and showing how their actions were dictated by a rigid patriarchal code that prioritized honor and personal vindication above life. The letters also reveal how this code directly facilitates The Repression of Queer Desire, positioning Bekija and Dhana’s love as an act with fatal, far-reaching consequences for their entire family.
The revelation of Bekija’s fetus in fetu condition is a biological metaphor for the psychological and social forces that have shaped her identity. The idea that Bekija’s chronic abdominal pain has been caused by the presence of a male twin inside her body literalizes her attempt to oblige Murash’s obsessive desire for a son. It also undermines Murash’s assumption that men are, by default, stronger than women as the article that reports Bekija’s condition indicates that she was, by virtue of surviving, the “stronger twin.” By having to carry both the remains and the expectations of her weaker sibling within her, Bekija embodies The Burden of Family Honor as a theme. Bekija’s identity was never solely her own. Instead, it was co-opted by patriarchal desire even at the cellular level, making her a vessel for a son her father could never have. The surgical removal of Bekija’s twin marks a metaphorical severance from the expectations of her father and the Kanun.
The novel’s final chapters navigate a landscape of utter despair before arriving at a moment of deep, ambiguous hope. After Dhana leaves for England, believing they are “destined always to roam the world alone, as two halves” (139), Bekija returns home, convinced her life is over. However, this trajectory toward suicidal ideation is subverted in the final scene. Dhana’s unexpected return coincides with the birth of a calf, an event in which Bekija is a key participant, using the rope that would have killed her for midwifery. This repurposing of an object of death into an instrument of life signals an important thematic shift. The shared tears and laughter of the two women as they witness the calf nurse suggests a breaking of the cycle of inherited violence. The closing image of shared joy in the presence of new life offers a form of resolution, one rooted in a quiet, shared moment of love and regeneration that exists outside the mandates of the Kanun.



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