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Content Warning: This section of the guide includes discussion of cursing, substance use, child sexual abuse, pregnancy termination, suicidal ideation, death by suicide, and death.
Olivia’s parents are gone for the day, so she and her friend Becca take Mira to see Kenny’s bedroom. Contrary to Mira’s expectations of chaos, the room is immaculate, with books on European history and Renaissance art neatly shelved. On the walls are posters for Jaws, Elton John, and the Bee Gees. Becca mentions that Kenny had a girlfriend in Miami and was a skilled disco dancer who practiced in secret. She shows Mira his old polyester leisure suits and other clothes he stopped wearing after moving north, in order to fit in.
While they look through his record collection, which includes disco artists like Donna Summer, Olivia tells Mira that Kenny had a crush on her and had hoped they would become friends. The realization that she never truly knew him overwhelms Mira, and she begins to weep.
Downstairs in the kitchen, Mira spots Theo’s home phone number on a chalkboard. Olivia explains that her mother and Theo’s ex-wife Eleanor have started working with a local priest and a social worker to create an organization that helps girls who have been “used” by older men. Devastated by these revelations, Mira leaves the Fosters’ house and cries in her car.
Later, Mira packs to leave for Smith, and Marie keeps her company. They talk about Kenny and the target, and when Marie asks, Mira again says she didn’t cut it down. Marie supports her, saying that she is glad, for Mira’s sake, that she is getting out of Tallmadge.
Now a student at Smith College, Mira lives with her new roommate, Tina Hawthorne, to whom she has not revealed the full extent of her past. She is enjoying being in a place where she can have a fresh start, as no one from Tallmadge is there. She frequently smokes marijuana and has found campus sources for cocaine and LSD, which she has dropped only once that autumn at Smith. At a dorm mixer, Tina introduces Mira to Ethan Pomerleau, a 29-year-old Vietnam veteran and friend of Tina’s brother who is a freshman at nearby Amherst College. After Mira asks Ethan if he ever killed anyone, he turns the question back on her, and she admits that she has.
Mira learns that the Foster family is suing her, the country club, and the net manufacturer for $3 million. The civil lawsuit alleges “joint and several liability” for their “loss of consortium” (206)—a figure so large because of the grave misfortune to two parents and two siblings; the plaintiffs also expect defendants to pay their legal fees. Mira recalls her father’s callous observation that the Fosters would not receive that much because Kenny, as a teenager, had no established earning power.
Later, needing to confide in someone, Mira explains the details of the accident, the civil lawsuit, and the fact that the criminal trial, if there is one, will come first—since a guilty verdict could increase civil liability—to Tina. However, she omits any mention of her relationships with Theo and Dennis.
Mira and her parents meet with Kathleen O’Brien, an engineer hired as a defense expert. O’Brien theorizes that whoever cut the target from the practice net did so carelessly, likely damaging the nylon threading and compromising the net’s structural integrity. She warns that a jury will find it more plausible that an “impulsive” teenager like Mira would be careless than an adult professional like Harry Fallows. Barker explains their defense strategy: attacking the club’s placement of the net, the net manufacturer’s design, and arguing that Harry removed the target and framed Mira by planting it in her golf bag to deflect blame. For the first time, Mira’s father says he believes she is telling the truth and that Harry is lying, giving Mira a rare feeling of paternal support.
That night, she stays at her parents’ house in Tallmadge. Lately, Mira has been writing suicide notes, and she writes another one and then destroys it. She has an epiphany that if she were to kill herself, she should stage it as an accident to spare her family additional pain.
Mira goes on her first date with Ethan. Having used cocaine beforehand, she is agitated and energetic. At a bar, Ethan talks about his experiences in Vietnam and the reception when he got home. He tells her he doesn’t use drugs. He doesn’t judge her, but Mira gets flustered and falls off her barstool.
When they return to her dorm, they are confronted by Tina and Mira’s other housemates. A former Tallmadge student, Annie Bainbridge, who Mira doesn’t really know but now attends Smith, has spread gossip about Mira’s past. They also know about Mira’s relationship with Dennis; Marie had told Annie about it. Mira is shocked at Marie’s betrayal.
The girls attack her, accusing her of wrecking the Catton family. One of them claims Theo’s older daughter tried to kill herself because of Mira—a charge Mira internally disputes, knowing it is untrue. The girls also accuse Mira of committing arson and having a secret baby or an abortion. Having already spoken to the dean and arranged a new room, Tina announces she is moving out that night, citing the marijuana smell, Mira’s lying, and finding cocaine on her Fleetwood Mac album. Ethan tries to defend Mira, but eventually, he leaves, and Mira goes to her room.
Feeling vilified and completely alone, Mira decides to act on her suicidal thoughts. She takes Tina’s X-Acto knife into the communal bathroom, fills a tub with warm water, and slits her wrists, cutting upward along her forearms. As she loses consciousness, she is mesmerized by the sight of her blood blooming in the water, thinking it is the most beautiful thing she has ever seen.
Ethan, feeling uneasy after leaving Mira, returns to find her. Tina tells him she is taking a bath, and when he finds the bathroom door locked, he kicks the door in. Using his training from the military, he applies pressure to her wounds, saving her life. Mira awakens in the hospital, and her parents and Spencer soon arrive. A psychiatrist evaluates her and determines the suicide attempt was impulsive, likely exacerbated by drug use, and does not recommend she be committed to a psychiatric hospital. Mira acknowledges she gamed the evaluation by not telling the psychiatrist about her many suicide notes. The family decides Mira will withdraw from Smith College for the semester and return to her parents’ home in Tallmadge.
Her father informs her that her criminal trial for involuntary manslaughter could begin as early as that winter. He again asks if she was the one who cut the target from the net, and she insists she was not. Before Mira is discharged, Ethan visits. He tells her that he investigated the rumor about Theo Catton’s daughter and confirmed that it was false; the girl never attempted to die by suicide.
Ethan drives from Amherst to visit Mira at her home in Tallmadge, encouraging her to stop punishing herself and to view Kenny’s death as a “freak accident.” Mira reflects that she has not tried to kill herself again because she now understands that people, including her family and Ethan, still care for her. She begins to release the “magical thinking” that linked her affair with Theo to Kenny’s death. Since returning home, she has stopped using drugs, and she notices that her parents are drinking less. Her former roommate Tina sends an apology letter, and her friend Marie visits, prompting Mira to forgive Marie for gossiping about her.
Her lawyer informs the family that the criminal trial date is set for March 3, 1980. The public narrative remains hostile to Mira, and a New York Post reporter photographs her while she is Christmas shopping outside Saks Fifth Avenue after a meeting with Barker, captioning it to portray her as a “spoiled bitch” who wrecked a driving range net because she didn’t approve of its design. Mira reflects that her childhood ended with Theo and her adolescence ended with Kenny’s death.
Mira’s visit to Kenny Foster’s bedroom shatters her assumptions about the boy she killed, complicating her grief and deepening her sense of culpability. Expecting the chaos of a typical teenage room, she instead finds an “immaculate” space filled with impeccably shelved books on history and art, revealing an intellectual curiosity she never knew he possessed. This discovery forces a confrontation with The Dangerous Gap Between Perception and Reality by revealing how little she knew about him; Kenny was a complex individual with a secret life that included an ex-girlfriend in Miami and a hidden passion for disco. His meticulously kept leisure suits and his sister’s revelation that he “wanted to fit in” humanize him beyond the abstract figure of her guilt (193). The moment Mira learns that Kenny had hoped they “were going to be friends” exposes the social distance she and her friends maintained (194), a subtle manifestation of class difference that prevented a genuine connection. This new, more complete image of Kenny transforms her guilt from a burden over a death to a deep regret over a life she never bothered to know.
The confrontation with her housemates at Smith College demonstrates how public narrative and social judgment can become a form of punishment more immediate and brutal than any legal sentence. The girls, armed with rumors spread by a former schoolmate, function as a moral tribunal, accusing Mira of everything from having an abortion to driving Theo Catton’s daughter to attempt to die by suicide. This attack reveals the mechanics of The Intersection of Gender, Class, and Power, where Theo Catton’s abuse and exploitation of Mira is reframed as a weapon against her. Her peers condemn her for violating unspoken social codes, framing her as a destructive force who “ruin[s] everything [she] touch[es]” (228). Tina’s disgust that Mira was “screwing a married man” (225) carries more weight than any concern for her (225), and they wholly blame her for the destruction of Theo’s family and Kenny’s death. This social ostracization is later solidified by a New York Post photo that portrays her as a “spoiled bitch,” cementing a public identity that flattens her into a one-dimensional villain and directly fuels the self-loathing that culminates in her attempt to die by suicide.
As Mira is drawn deeper into the legal proceedings, the narrative continues to critique how the justice system prioritizes liability and strategy over truth, further developing the theme of The Failures of the Justice System. In the meeting with defense expert Kathleen O’Brien, the focus is not on what happened but on what a jury will believe. O’Brien’s conclusion that a jury is “more likely to believe you did it, Mira, than a grown man like Harry Fallows” exposes the gender and age biases embedded within the legal process (211). This assessment highlights the novel’s portrayal of the justice system as rooted in its reliance on plausible narratives rather than objective fact. The system’s cold calculus is further emphasized by the chapter title “THE FISCAL VALUE OF A HUMAN LIFE” and Mira’s recollection of her father’s comment on Kenny’s limited “earning power” (208), which would determine how much his family would be paid for his death. This language reduces a boy’s life to a line item in a lawsuit, stripping the tragedy of its human cost. Mira’s feeling of being completely isolated within this adversarial process crystallizes when she asks her lawyer, “[I]s anyone on my side?” (212), reinforcing her powerlessness in a system where she is less a person than a legal problem to be managed.
Mira’s attempt to die by suicide is portrayed as both a horrifying nadir and an important turning point, and in its wake, the narrative shifts away from self-destruction and toward a fragile form of recovery, bolstered by Ethan’s understanding and support. The attempt is not impulsive, as the psychiatrist concludes, but the result of extensive ideation, a fact Mira conceals to avoid being placed in a psychiatric hospital. Her detached, almost aestheticized perception of her own death, viewing her blood in the water as “beautiful as anything I’d ever seen in the natural world” (231), illustrates her alienation and distance. Her survival, thanks to Ethan’s intervention, provides the catalyst for change. Ethan’s insistence that Kenny’s death was a “freak accident” offers her an alternative to the magical thinking with which she has linked her affair with Theo to the accident as a form of cosmic punishment. Ethan’s external validation, coming from a veteran and trauma survivor, allows her to begin disentangling her actions from their perceived consequences, a critical step in reclaiming her own narrative. Her subsequent sobriety, coupled with her parents’ reduced drinking, suggests that her near-death has shocked the entire family into reevaluating their lives and choices, creating the possibility of healing from a trauma that had threatened to destroy them all.



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By Chris Bohjalian