74 pages 2-hour read

The Finish Line

Fiction | Novel | Adult | Published in 2021

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Themes

The Labor of Forgiveness and Redemption

In The Finish Line, forgiveness is a continuous and painful process essential for both personal redemption and the rebuilding of broken relationships. The novel argues that true reconciliation involves confronting past traumas and accepting shared responsibility. This difficult journey is central to Tobias and Cecelia’s reunion, suggesting that redemption is earned through a sustained labor of honesty and emotional vulnerability.


The path to forgiveness begins with deep-seated resistance. Upon Tobias’s return after an eight-month absence, Cecelia armors herself in flannel pajamas and maintains physical distance, a clear symbol of her emotional guard. Her initial refusal to accept his explanations underscores the profound hurt his betrayals have caused. Tobias’s own internal barriers make it even harder for Cecelia to forgive him. He is consumed by survivor’s guilt over his brother Dominic’s death, a weight that makes him feel undeserving of happiness. He confesses to Cecelia that he feels guilty every day he lives with her while his brother “rots in the ground” (228). This self-condemnation acts as a form of self-sabotage, as he believes his past sins make him unworthy of the very forgiveness he seeks. Before Cecelia can forgive him, he must forgive himself, not only for hurting her, but for all his perceived failures.


Forgiveness progresses only through direct and often painful confrontation. The couple’s reconciliation is marked by a series of arguments in which they rehash past deceptions and wounds. Cecelia confronts Tobias about his lies and his perceived abandonment, while Tobias defends his actions and points to her own past decisions. These clashes are not setbacks but necessary steps in their negotiation for a new beginning. Tobias recognizes this, stating, “It’s not going to take a day to get over the things I’ve said and done, the lies I’ve told, or the shit we’re going to have to work through.” (24). This process involves revisiting their shared trauma, forcing them to articulate their pain and perspectives. By actively engaging with the sources of their conflict, they dismantle the walls built by years of hurt, demonstrating that forgiveness requires a willingness to face the past head-on. Ultimately, the novel posits that forgiveness, and the redemption it allows, is a conscious choice to rebuild trust despite the scars of the past. Cecelia’s decision to finally lower her defenses and re-engage with Tobias physically and emotionally is not an act of forgetting but of acceptance. This difficult journey suggests that true reconciliation is not achieved by wiping the slate clean but by acknowledging past wrongs and committing to the continuous, arduous work of healing together.

The Corrosive Nature of Secrecy

The Finish Line portrays secrecy as a destructive force that, even when used with good intentions, erodes trust and creates distance in relationships. The novel argues that partnership involves shared vulnerability and complete honesty. Through the conflicts between Tobias and Cecelia, the narrative demonstrates how withholding information, regardless of intent, ultimately undermines the very foundation of intimacy it seeks to preserve.


Tobias’s reliance on secrecy is the primary source of conflict in his relationship with Cecelia. His eight-month absence and his habit of shielding her from the dangers of the Ravenhood are framed as protective measures. He explains his delayed return by stating he had to ensure he could be with her without interruption and that he had to eliminate threats to her safety. However, Cecelia perceives these unilateral decisions as evidence of his lack of faith in her. Her repeated demands for honesty become a central condition for their reconciliation. She tells him, “This right here is the why, Tobias. This is why a majority of our problems exist, because of your fucking secrecy!” (273). His protective instincts, manifested as secrecy, create a barrier that prevents them from functioning as equals, highlighting how even well-intentioned secrets can corrode a relationship. The struggle for trust culminates in a redefinition of their partnership, forcing a shift from protection to collaboration.


This shift is most evident in the novel’s climax, where Cecelia orchestrates a secret plan to lure Tobias’s enemy, Antoine, into a trap. Using the same methods of surveillance and manipulation that Tobias once employed, she demonstrates her competence and turns his protective tactics back on him. She proudly tells him, “I brought the fight here… My blueprint, my plan.” (455). This act is a powerful declaration of her status as an equal, not a liability to be sheltered. By successfully executing a dangerous operation, she proves that their strength lies in partnership, not in his solitary control. Her actions compel Tobias to relinquish his role as the sole protector and accept her as a capable ally. Through this dramatic reversal, the novel illustrates that trust cannot be built on a foundation of secrets. By the end, Tobias’s surrender of control signifies his understanding that a relationship requires mutual vulnerability. The journey from his guarded secrecy to their shared victory underscores the idea that complete honesty and shared responsibility are the only ways to forge a partnership strong enough to withstand external threats.

The Haunting Presence of the Past

The Finish Line explores how unresolved trauma and survivor’s guilt can stall personal growth and sabotage future happiness, suggesting that moving forward requires confronting painful memories rather than suppressing them. The novel illustrates that healing comes from integrating past traumas into present identity, not erasing them.


This theme is most consistently developed through Tobias, whose guilt over his brother’s death becomes a self-destructive force that he must overcome to embrace a future with Cecelia. Tobias’s survivor’s guilt is a paralyzing force that manifests as self-sabotage. He is haunted by the belief that his choices led to his brother Dominic’s death, a feeling that renders him unworthy of happiness. He confesses to Cecelia his fear that every moment of happiness with her is a betrayal of his brother, admitting, “It’s fucking wrong that I get you, while my brother rots in the ground” (228). This internal conflict drove him to push Cecelia away for years and continues to create a barrier between them even after their reunion. His guilt is rooted in a lifetime of acting as Dominic’s protector, a role forged in a traumatic childhood. By feeling he failed this fundamental duty, Tobias traps himself in a cycle of penance, unable to accept love or forgiveness.


For both Tobias and Cecelia, healing from such deep-seated trauma involves direct confrontation rather than suppression. Cecelia, who grapples with her own past through recurring nightmares, must face her painful memories in order to process them. She pushes Tobias to confront the source of his anguish, refusing to let him hide behind his guilt. The turning point comes when she reframes Dominic’s death not as Tobias’s failure but as a conscious sacrifice born of love. She tells him, “He gave his life for yours. You refuse to accept that, and that’s what’s hurting you most” (411). By forcing Tobias to see his brother’s final act as a gift rather than a burden, she helps him begin the process of integrating his past. This painful acknowledgment allows him to see that honoring Dominic’s memory means living fully, not perpetually punishing himself. Through this emotional journey, The Finish Line argues that the past cannot be outrun or erased. Tobias’s struggle demonstrates that true healing is not about forgetting trauma but about finding a way to live with it. By accepting Dominic’s sacrifice and allowing himself to be loved, Tobias learns that the past, while inescapable, does not have to dictate the future. It can be integrated into one’s identity as a source of strength and meaning rather than a perpetual source of pain.

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