54 pages 1-hour read

Summer in the City

Fiction | Novel | Adult | Published in 2025

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Chapters 11-16Chapter Summaries & Analyses

Chapter 11 Summary

Cali is at a hotel on the Amalfi coast with her husband, Pierre. They’re on the latest of a long string of vacations, as they are wealthy and don’t work. Elle is looking after Cali’s home renovations mainly because Cali is pregnant and insists the stress of the renovations is not good for the baby. Elle is indifferent toward Pierre because she associates him with Cali making the same mistakes their mother warned them about; after meeting Pierre, Cali gave up her aspirations of getting a master’s degree in art history. Elle blames herself for Cali going down the “wrong” path, losing sight of her ambitions. Their phone conversation reveals Cali knows nothing about Elle’s anonymous screenwriting career; she believes that Elle is a movie critic. Elle has done nothing to dissuade this assumption because Cali regularly speaks with their father, and Elle doesn’t want him to know anything about her life.


Elle goes to her favorite coffee shop and buys her usual blueberry scone. Parker startles her when he arrives, almost causing her to drop the scone, which she tells him are only made on weekends and sell out quickly. Parker enlists Elle’s help as his fake girlfriend, asking her to attend a monthly basketball game he has with his friends and their girlfriends. He suspects one of his friends is selling stories about him to the press.

Chapter 12 Summary

Elle shows up to the address given to her by Parker, dressed in casual attire fit for playing basketball. When Parker’s friends seem amused and the girlfriends seem confused, she realizes that the girlfriends aren’t meant to participate but rather watch as the men play. Parker asks if Elle wants to play, but his friend, Charles, insists she can’t because she’ll make the teams uneven. When another girlfriend, Taryn, says she’ll play to even out the teams, Parker ensures it happens. Despite the fact that Elle doesn’t exercise, she played basketball in school and outshines everyone during the game. Her team wins, and Parker is proud of Elle. They put on a convincing performance of dating, which is emotionally confusing for Elle. Elle suspects Charles is the friend selling stories about Parker, which he agrees with. Parker admits it is hard for him to make friends because there’s always the suspicion that they only want to be affiliated with his success. They make plans to visit the third location on Elle’s list tomorrow morning at nine o’clock.

Chapter 13 Summary

Elle and Parker visit Summit One Vanderbilt, where there is a floor of glass and mirrors that reflect the city below. Parker, who is afraid of heights, is terrified but manages to endure the experience with Elle’s support. Something changes between them after this experience—their relationship gains vulnerability and trust. They visit a diner for milkshakes, and Parker receives a business call. He says that he is needed back in San Francisco but return soon. Elle realizes she will miss him.

Chapter 14 Summary

After picking paint colors with Luke, the contractor, Elle plots her script on the living room floor. Penelope interrupts with a call, informing Elle that Parker is on the news. Elle watches news break that the Atomic Acquisition is in trouble, and Virion stock has dropped. While Elle worries the sale isn’t happening, Penelope believes it’s just a leak from competitors, but neither company has confirmed the news to be true. Elle is surprised at how defensive she feels about Parker.


A week later, Elle is angrily typing on her laptop in her favorite coffee shop when Parker returns from San Francisco. When she asks about the news, Parker reveals that Virion wants to sell Atomic’s data, but Parker refused because he prioritizes his customers’ privacy. Parker notices Elle is upset and asks what’s wrong. She states the coffee shop has stopped making her favorite blueberry scone. Elle receives a text from Emily, Taryn, and Gwen—the girlfriends of Parker’s friends. They invite Elle to dinner, but her immediate impulse is to use an excuse to decline, as she always does with social outings. Parker convinces her to accept the invitation.


Elle meets the girls at the Golden Unicorn in Chinatown. Emily reveals she broke up with Charles a few days ago, and the girls support this decision; she reveals that Charles was selling stories about Parker to the press. When they broke up, Emily threatened to tell the media negative things about Charles if he leaked anything about Elle and Parker’s relationship. Elle appreciates this act of friendship from Emily, even if the whole point of her fake relationship with Parker is to have it leaked to the press to distract from his acquisition. After dinner, the girls go to a karaoke bar in K-Town. Elle has the most fun she’s had in a long time and returns home at two o’clock in the morning. The apartment’s door lock is digital and requires her phone, which died sometime throughout the night. Rather than knock on Parker’s door and ask to stay there, she collapses on an uncomfortable bench in the hall outside their apartments and falls asleep.


Elle is woken by Parker at three o’clock. He has just returned from a middle-of-the-night workout because he couldn’t sleep. Though she insists on staying in the hallway until Luke arrives to let her in the apartment, Parker convinces her to stay at his place. He gives her clothes to change into, and she raids his kitchen for snacks. She accidentally knocks over a vase, which shatters on the floor. Parker lifts her away from the wreckage until he can clean it all up. Elle watches him as he does. Her drunkenness prompts her to admit aloud that she missed him while he was gone. They become close, and though she wants to kiss him, he doesn’t want to take advantage of the situation and instead sends her to bed.


The next morning, Elle wakes to Parker making breakfast. She is surprised to find an identical vase on the countertop. Parker says his mom gifted him a set; Elle is intrigued because the vases are hideous. Elle asks about his cooking ability, and Parker tells her that his mom taught him when he was a teenager. Elle tells him about Emily and Charles’s breakup and confirms Charles was the friend selling stories about Parker. Upon hearing that Emily threatened Charles not to sell their relationship to the press, Parker and Elle decide to make a public appearance. Parker invites Elle to an upcoming art auction.

Chapter 15 Summary

The art auction is heavily publicized because the largest diamond ever discovered is being auctioned off, and all the heads of jewelry companies are prepared to fight over it. Before the auction, they attend a final viewing of all the jewelry pieces. Elle stops to regard a pair of ruby earrings displayed behind a strange mushroom-resembling bracelet. She smiles while remembering how her mom used to clip fake ruby earrings to their ears and tiptoe around the house pretending they were fancy. At the auction, when the mushroom bracelet fills the screen, Parker bids on it, eventually securing it for $300,000.


During a brief intermission, Parker reveals he got the bracelet because he saw Elle smile at it. She admits that she was smiling at the ruby earrings behind it. Elle sits out the second half of the auction, leaving Parker to attend alone. Elle wanders the gallery looking at art pieces until the auction is over. When Parker returns, he reveals he bought the necklace with the biggest diamond in existence for 50 million dollars. He places it around Elle’s neck before they exit the venue, ensuring that all the cameras will be on them. Though Elle is anxious from the flashes of the photographers and the magnitude of the crowd outside, she clings to Parker for reassurance.


In privacy, Elle panics and asks him to remove the necklace, which is covering her mother’s necklace that she wears every day. Elle wonders what her mother would think if she saw her with Parker, wearing this extravagant necklace; she lashes out. She admits that she can’t be with someone like Parker: Even though she doesn’t write scripts for the money, all her accomplishments feel like nothing in comparison to his success. Parker takes her rudeness in stride and simply leaves her with another gift—the ruby earrings she was admiring at the gallery.


During the car ride back to their apartments, Elle is overcome by memories of her mother, whom she feels she’d have disappointed with her behavior. At a stoplight, Elle exits the car, forcing Parker to run after her. He stays even when it begins to rain on them. Elle states how she hates New York City, and it’s filled with bad memories, to which Parker suggests that she paint over them with new, positive ones. Elle lashes out at Parker when he attempts to comfort her, claiming all he cares about is his money and his company. Parker is angered by her false assumptions. Elle finally admits that they’ve met before and that he made false assumptions about her that night at the club, assuming she was a gold-digger after his money. Parker says he remembers her and apologizes for ever judging her, admitting he was wrong. They share a passionate kiss before Parker leaves.

Chapter 16 Summary

Articles release about Parker’s mystery woman, but the press can’t find anything substantial about her identity, to Elle’s relief. She calls Penelope to tell her friend that Parker remembers who she is. Elle avoids Parker for the next three days but manages to make significant progress in her script.


By the fourth day of writing, Elle has reached a stopping point. She must visit the fourth location before she can keep going. She reluctantly invites Parker to the Cloisters. While there, Elle shares with Parker that the studio wanted a New York-inspired movie, but the final location is Paris. He insists they should go to fulfill their deal, but Elle rejects the idea. Parker also has a lofty goal of walking the length of Manhattan to commemorate their progress with the near-daily runs they’ve been doing all summer, which Elle thinks is ridiculous, if not impossible.


When they visit her favorite coffee shop after their Cloisters visit, Elle is shocked to realize they’re selling the blueberry scones again, and in great quantity. She learns that Parker has bought the entire chain, insisted they keep her favorite latte and scone in stock always, and her favorite table free. Though he did it out of kindness because he loves seeing Elle happy, she reacts defensively. She tells him that he can’t buy her happiness, and if he thinks he can, he never knew her at all.

Chapters 11-16 Analysis

This section offers more exposition through a deeper exploration of Elle’s family life. By further characterizing Cali, Aster reveals aspects of Elle’s past and the guilt she carries over her sister’s choice to live a life of leisure and luxury. Through navigating Elle’s views about her mother and father—specifically her father, who used Money as a Tool of Control against her mother, Elle, and Cali—Elle’s character develops more dimension, and the origin stories behind her internal conflicts and complex beliefs about gift giving as transactional, hollow acts are explicitly confirmed. This elaboration of her character heightens the stakes surrounding her relationship with Parker. Even as they grow closer, Parker stands for everything Elle hates and fears, and these feelings are deep-seated and tied to the legacy of the mother she idolized and lost. Importantly, Elle’s estrangement from her father and her protective distance from Cali reinforce the extent to which Elle equates intimacy with risk. Her refusal to let Parker in emotionally mirrors the walls she has built within her own family, positioning love as something that always threatens self-erasure.


Aster continues weaving Money as a Tool of Control through Elle’s evolving tension with Parker, enhancing her suspicion of him each time they are on the brink of romance. The coffee shop scene in Chapter 16—where Elle learns Parker has purchased the entire chain to keep her favorite scone in stock—is a prime example of the tension surrounding this potential conflict between lifestyles and values. Parker tells her, “I bought it because it makes you happy, and that, to me, Elle, is priceless” (149). Yet Elle’s reaction—“You think buying things for me is the way to make me happy?” (150)—reveals her unease with how money can be used not only to manipulate circumstances but as a substitute for genuine emotional intimacy. Though it is genuine intimacy that Parker is attempting to show, Elle’s father made the same elaborate gestures toward her mother but ultimately sought manipulation and control, leaving Elle suspicious and distrustful of these grand acts. This moment also highlights the different emotional languages Elle and Parker speak: Parker uses resources to express care, while Elle, conditioned by trauma, interprets financial gestures as power plays. The deeper conflict lies not in the presence of wealth but in the absence of shared understanding about how love is demonstrated. At this point in the novel, Elle doesn’t understand how Parker communicates love, and Parker does not understand the depth of Elle’s past experiences with financial manipulation.


These grand gestures call back to their first encounter, where Parker’s offer of anything she wants is interpreted by Elle as transactional and objectifying. The repetition of this dynamic illustrates Elle’s fear that any gesture Parker makes will always be inextricable from his wealth and power, rendering herself and her accomplishments invisible or secondary. Her inability to separate love from power reflects a deeper wound shaped by watching her father control her mother and later manipulate Cali, both of whom made sacrifices Elle refuses to repeat. Her choice to live anonymously, to disown visibility despite major success, reveals a potent blend of guilt, shame, and fear that echoes through generations of women in her family. At the same time, Parker is trying to protect himself as well, guarding his inner circle carefully after being burned by people who saw only his status. This irony makes Elle’s projections feel unfair, even if they’re emotionally understandable. Unlike Elle, though, Parker remains fairly static; while he learns to temper his romantic overtures, his internal transformation is subtler, placing more weight on Elle’s arc of growth and trust. Still, Parker must also learn to read Elle more carefully and understand that intimacy, for her, requires patience and emotional safety, not grand gestures.


Elle’s concern with Parker’s grand gestures resurfaces after the art auction when Elle finds herself wearing the fifty-million-dollar diamond necklace over her mother’s. She reflects bitterly, “My mom’s necklace. This one is on top of it. As if it’s nothing, as if it’s meaningless” (132). In moments like these, Aster emphasizes how Parker’s extravagant gestures, however well-intended, can feel more like erasures of her individuality than simply appreciation of it. This symbolic layering—her mother’s necklace literally buried beneath the diamond one—powerfully encapsulates the novel’s thematic core, which questions whether love can coexist with power.


As Elle and Parker begin exploring the city to gain inspiration for her script, the narrative introduces New York City—a romanticized city in movies and fiction—as a city Elle hates. The fact that she must return to it to gain inspiration to write a NYC-based love story introduces what will become a vital theme throughout the novel: Writing Over the Past. In conversation with Parker, Elle admits: “Writing other characters is the closest I can get to expressing my own emotions. I see myself through others. It’s the only way I can bear to look at the ugly parts, without flinching” (74). When she tells Parker of her love-to-hate relationship with the city, he tells her to “paint over [her memories]” with new ones (136). For Elle, writing becomes a way to process and reframe negative or painful memories. The symbol of her unfinished screenplay functions both as a professional obstacle and an emotional one. The blank script represents her blank life; she isn’t inspired to write a story about love and her former home city without confronting the past that has disillusioned her to both. Elle’s healing is intimately tied to narrative itself—her own and the ones she constructs. As she slowly maps out her screenplay, her emotional map begins to resurface too. In this sense, Summer in the City blurs the line between artistic process and self-discovery, aligning Elle’s arc with the creative arc of the script she is trying to write.


False assumptions—both Elle’s and Parker’s—continue to drive the interpersonal conflict. Their confrontation in the rain is the climax of this thread. Elle accuses him of assuming she was a gold-digger, while Parker reminds her that she misjudged him too: “You thought I was a bouncer. You judged me because of my looks, the same way I judged you” (139). Their mutual admissions strip away the personas they’ve hidden behind, allowing for a more honest connection. Parker’s eventual apology—“I’m sorry for judging you. I’m sorry for not knowing just how special you were” (139)—suggests their time together has allowed them to get to know the true versions of themselves. This introduces hope that they might be able to see past their differences and find a path toward a long-term relationship, especially because they fear the same thing: being used and manipulated by those closest to them. This moment also plays with genre expectations: The rain confrontation is a familiar romantic climax, but here it’s infused with emotional realism and mutual accountability. Rather than a sweeping romantic gesture resolving the conflict, the characters must first undo their own distorted narratives, reminding readers that healing love stories require more than chemistry; they demand clarity.

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