54 pages • 1-hour read
A 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 death, sexual content, child sexual abuse, gender discrimination, child abuse, emotional abuse, and graphic violence.
Gianna moves into a new Manhattan high-security building chosen by Ace. She bakes tiramisu to meet her neighbors. One elderly woman takes it while shutting the door in her face. Across the hall, she finds Christian Allister, who seems displeased to see her but accepts the dessert. Gianna speculates that Ace has arranged for Christian to be her “babysitter.”
Christian and Gianna arrange to avoid one another at the gym and pool, but after roughly a week, Gianna runs into Christian while wearing a revealing bikini. Christian carries her back to her apartment and tells her to change into something with more coverage. She does, and they continue to antagonize each other on the way back down to the pool.
Christian demands that Nico move Gianna out of the building. Nico taunts him about his interest in her and threatens to marry her off to someone else. Christian admits he erased club surveillance footage that showed Gianna in her rain-soaked dress and then punches Ace. Throughout the conversation, Christian reflects on his ongoing negotiations with a Russian politician; he is considering an arranged marriage to the man’s daughter, Aleksandra Popova, who he thinks would be the kind of spouse he needs.
Later, in the lobby, Christian sees Gianna playing cards with the pool attendant and jealously intervenes when the man reaches for her hair. In response, Gianna flips Christian off.
Gianna studiously attempts to avoid thinking about Christian or their sexual encounter. However, she knows that he is involved with Aleksandra, and the thought upsets her.
One day, a thunderstorm and power outage trigger a panic attack in Gianna. She runs to Christian’s apartment, and he pulls her inside, talking her through it. She confides in him about a friend of her father who sexually abused her, beginning when she was eight and lasting until she was 12. She is unsure whether her father knew of the abuse but says that he frequently called her a “whore” and also weaponized her fear of the dark to punish her. He tells her a Russian saying about facing fear and, when she asks what kissing her is like, responds “kak moya.” When the power returns, Gianna kisses him, but as things escalate, he abruptly breaks it off, saying sex was not his intention. She leaves, humiliated by the rejection.
Days later, Gianna attends her deceased husband’s funeral and visits the grave of her former friend Sydney Brown, apologizing for having gotten her entangled in Mafia affairs. Christian is there and tells her he would have stopped her marriage if he could have, confirming that he was in Moscow at the time. He tries to provoke her into asking him about his feelings. She is too afraid to do so, which he tells her to “remember” when she’s next tempted to seek him out for sex: “I’ll take [your body] […] I won’t care if you cry the whole way through it” (195). Nevertheless, he drives her home.
For the 50th anniversary of Ace’s club, Valentina sets Gianna up on a blind date. Christian arrives at the same party with Aleksandra, causing Gianna to feel physically ill. In the bathroom, Aleksandra corners Gianna, states that she and Christian plan to marry, and explains (when Gianna asks) that kak moya means “like mine.”
That night, Christian appears at Gianna’s apartment, angry that she ignored him. She notes that he “likes” her and admits that this makes her anxious; she also raises the topic of Aleksandra, but Christian denies that they are dating. Ultimately, Christian and Gianna have a rough, unprotected sexual encounter. Afterward, he calls her “moya zvezdochka” (meaning “my little star”).
The phrase triggers a flashback to eight years prior. On Gianna’s wedding night, she found her new husband cheating and got very drunk. However, a stranger—whom she now recognizes as Christian—found her, comforted her with the same Russian endearment, and carried her to a bed.
The next day, Gianna goes to the store, reflecting on her newfound realization about Christian. While there, she sees a young girl interacting with her mother and feels a pang of “longing.” Back at Gianna’s apartment, Elena accidentally starts a small kitchen fire as the two women cook and talk about Nico and Christian. Nico drops by to warn Gianna not to be a bad influence on Elena; his protectiveness of his wife again makes Gianna want something she feels she can’t have.
That night, Gianna goes to Christian’s apartment to return a cufflink and initiates another sexual encounter, which she assumes will be their last (as it will mark the third time they have slept together). Christian stops the encounter before they have intercourse, asserting control and demanding to know why Gianna got high at the recent dinner party. When she reveals that her father had called her, he tells her that he will accompany her to the family wedding in Chicago.
Christian dislikes the modest dress Gianna initially chooses for the family wedding and has her change into a revealing red one after she admits she was trying to look like “a woman [he] could love” (221). On the private jet, he vows to stop her father, Saul, from arranging another marriage for her. During the flight, Christian receives a text from Aleksandra and reflects on his reasons for interacting with her father: to appease his brother, who has a criminal empire in Russia. Christian himself does not care about Russian politics, having come to the US at age 19 after serving a sentence in a Russian prison.
At the church, Saul’s familiar greeting makes it clear he and Christian know each other, leaving Gianna feeling betrayed. Afterward, at Saul’s house, Christian overhears him berating Gianna. She confronts her father for failing to protect her from childhood abuse and refuses to accept the man her father chooses for her, though she admits that she doesn’t think Christian will marry her. She also taunts her father about his “obsession” with her mother, who she says only wanted to escape from him. As the argument becomes more heated, Christian intervenes. After ordering Gianna out, he stakes his own claim to her and shoots Saul’s underboss in the arm as a warning.
Gianna hears the gunshot and panics, worrying that Christian has been shot. When he emerges unharmed, she confronts him, accusing him of colluding with her father. He denies it and helps her calm down. Before leaving, she collects her late mother’s cookbooks.
On the jet home, she initially declines his sexual advances, telling him to remove his shirt on the assumption that he will refuse. In response, he challenges her to remove it; she does, revealing a torso covered in Russian prison tattoos. He largely refuses to explain their meaning, though he says one mark corresponds to a five-year sentence, which he implies he began at 14. She then notices her own hair tie on his wrist. Overwhelmed, she yields to him, and they have an emotional sexual encounter. He asks for permission to finish inside her, and she agrees.
The narrative’s shift to a shared domestic space in these chapters intensifies the novel’s central exploration of The Interplay of Control and Chaos. By placing Gianna and Christian as neighbors, the author moves their conflict from public arenas to the intimate sphere of the home, forcing their opposing natures into direct collision. Gianna’s chaotic energy immediately disrupts the sterile order of the building, symbolized by her decision to bake for neighbors—an act of community-building that Christian’s insular nature cannot comprehend. His attempt to regulate her choice of swimwear reflects his need to impose order on his environment as well as his jealousy, while her response—a mix of defiance and physical antagonism—demonstrates her refusal to be governed. Such altercations become physical manifestations of their psychological power struggle, establishing that any potential harmony between them must arise from a volatile equilibrium where his control provides a container for her wildness. Meanwhile, Gianna and Christian’s public interactions are a performance of jealousy and strategic indifference. Christian’s calculated appearance with Aleksandra Popova and Gianna’s feigned interest in her blind date are tactical moves in a game of emotional leverage.
The introduction and subsequent translation of Russian phrases represent a key element of this power play. When Christian first tells Gianna she tastes kak moya, the phrase is an intimate secret; the fact that she cannot understand it highlights the limits of Christian’s vulnerability (as he knows that she does not speak Russian) and, symbolically, of Gianna’s recognition of his character. Aleksandra’s translation of the phrase is thus a turning point. It retroactively reframes Christian’s earlier actions, demonstrating the depth of his investment in Gianna. His possessiveness is further reinforced when he tells Gianna, “I’ve thought about you so much you’re mine now” (204). This verbal assertion of ownership reinforces the central theme of Love as a Form of Obsession.
While there is ample evidence of Gianna’s own obsessive preoccupation with Christian (for instance, her jealousy of Aleksandra), she responds to his obsession with a mixture of interest and fear. Her argument with her father contextualizes the latter, revealing that he had a similarly possessive attitude toward Gianna’s beloved mother: “You were obsessed with Mamma, and she hated you. She hated you so much, she risked running from you again, and again, and again—” (228). Her words recall Christian’s warnings that he will “find” Gianna if she “runs,” pointing to the potential abusive nature of their dynamic. However, the same parallels allow the novel to frame Christian and Gianna’s relationship as a healthier reworking of their childhood traumas. The motif of darkness is central to this, with Gianna responding to Christian’s admission that he is “worse than the dark” by noting, “Maybe that was why I felt safe from it now” (187).
The darkness motif thus catalyzes an evolution in the characters’ relationship, moving it beyond antagonism toward shared vulnerability. The thunderstorm and power outage in Chapter 19 strip away Gianna’s external defenses, in particular, triggering a panic attack that renders her powerless. Her flight to Christian’s apartment is an act of survival. Meanwhile, Christian’s calm demeanor demonstrates his own familiarity with darkness. His decision to teach her a Russian saying, “to live with wolves, you have to howl like a wolf” (189), offers her a coping mechanism forged from his own brutal experiences. This moment marks their first true emotional exchange, one predicated on similar past wounds that solidifies the thematic argument of The Enduring Impact of Trauma.
In using the body as a text upon which personal history is inscribed, the novel also treats physical intimacy as a conduit for memory and character revelation, deepening Gianna and Christian’s connection. The unprotected sexual encounters are depicted as raw acts of possession that break down the characters’ defenses. This physical vulnerability leads directly to psychological exposure. Christian’s murmur of moya zvezdochka functions as a narrative key, unlocking a suppressed memory for Gianna and recontextualizing their entire history. The revelation that Christian was the stranger who comforted her on her wedding night transforms his obsession from a recent fixation into a long-standing connection, but it also shows him to be capable of a tenderness at odds with his demeanor; their banter in the flashback is friendlier in tone than their defensive bickering in the present. Their intimacy deepens further when Gianna physically uncovers Christian’s past by removing his shirt. The reveal of his Russian prison tattoos is a climactic moment of nonverbal confession. His body is a literal narrative of his trauma, with marks symbolizing a history he cannot yet speak. Her acceptance of this visual record of his past, coupled with the discovery of her hair tie on his wrist—a tangible symbol of his fixation—marks a fundamental shift in their dynamic toward a relationship grounded in mutual recognition.



Unlock all 54 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.