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Content Warning: This section of the guide includes discussion of emotional abuse, addiction, and substance use.
In the aftermath of her story’s publication, Caroline is briefly elated before anxiety sets in as she realizes that her Greenhead friends will recognize themselves in the characters. The story gains traction with two literary agents and a film scout, but online reception sours quickly, with readers accusing her of outing people and dismissing her work. The real-world damage becomes visible: Fran gives her a look of “cold disgust” at the train station, and when Augusta spots her at a farmstand, she steers her children away with a pointed instruction not to speak to strangers.
Caroline signs with a literary agent, secures a $200,000 advance for a novel expanding on the story, and acquires a first edition of Tarbox by Palmer Preston. Despite the professional momentum, her isolation deepens. One night, she accidentally initiates an Instagram call to Van at three o’clock in the morning; he tells her that the story stirred “big feelings” among the group but that he could never hate her.
While kayaking to see the Preston film set, Caroline misjudges the tide and becomes stranded, under attack from greenhead flies. Ned Clark, who’s also producing the film, rescues her and drives her home. During the ride, Ned tells her that Preston’s novel destroyed friendships and marriages, and he advises her not to “blow up” her life for a single story. He also frankly admits that he wanted to have sex with her but wanted to represent her mother more. The encounter forces Caroline to confront the full cost of what she has written: She concludes that outing Colin as bisexual was “a million times more evil” than her other caricatures and that she would hurt the group again with every subsequent publication (280). She calls her mother and says she needs to come home.
Two months after the story’s fallout fractured the friend group, Augusta and Fran run into each other at the beach and reconcile. Fran discloses that her father lost $60,000 gambling on top of $40,000 in existing debt, with the bank threatening foreclosure, and that she and her brothers have already paid down $25,000 to keep him afloat. She also confesses that while on a work conference trip to Hawaii, she met a man named Cal; she has kept hidden photos of them that she can’t bring herself to delete. Fran apologizes for having told Caroline about Colin and Eben’s past history, and Augusta forgives her.
At home, Augusta’s babysitter, Zoey, mentions that her own parents rebuilt their marriage after infidelity, which nudges Augusta toward a more open approach with Colin. Wanting to understand him better, Augusta suggests that they watch pornography together; the experiment is uncomfortable, and they agree instead to simply talk honestly about what they each want.
Shortly afterward, the family discovers that the children brought home lice from summer camp. When Colin arrives to pick up the kids and finds Augusta in the middle of the ordeal, he stays to help and rubs his head against hers, telling her, “If my family has lice, I want it too” (296). The unglamorous act of picking through each other’s hair strikes Augusta as a kind of intimacy that leaves no room for secrets, and she feels that they have finally moved past what divided them.
Bailey goes on a date with Mac and sleeps with him, having told Van that she was meeting old sorority sisters for drinks. Mac informs her afterward that he has a girlfriend and that they have an open arrangement, though this doesn’t faze Bailey.
Back at Budweiser Manor, tensions between Bailey and Van increase until a sustained argument over her eating Swedish Fish on an exercise bike escalates into a fight. Bailey lists specific incompatibilities, including his attitude toward her lifestyle, family, and choices, and tells him plainly that she doesn’t believe he actually likes her. A brief flashback to their first kiss in high school reveals that immediately after it happened, Bailey told Van not to tell anyone. After the argument, Van moves out of Budweiser Manor, and the two agree to amicably co-parent Dylan.
The friend group reconvenes to help Eben and Max set up their new house for their recently adopted baby. During a game of “Truth or Dare,” everyone agrees to reveal the hidden photo folders on their phones. Van’s secret album turns out to contain only photographs of his moles, which he monitors for a dermatologist. When Fran declines to participate, RJ takes her phone himself and finds pictures of her with an unidentified man.
On the drive home, Fran tells RJ the truth about her emotional connection with Cal in Hawaii. The confession sparks a major argument about their relationship, with Fran confronting RJ about his drinking, immaturity, and lack of financial partnership. Back home, they play a game of “H-O-R-S-E” in the driveway, making bets on their shots to renegotiate the terms of their partnership. RJ agrees to stop drinking and take over the children’s appointments. For the final shot, RJ makes an easy layup and tells Fran that if she misses the same shot, she has to marry him. She deliberately drops the ball rather than shooting, accepting his proposal.
Fran then holds a family meeting where she informs her parents and brothers that RJ will lend them $75,000 to clear their debts. The loan is conditional: Her father and brothers must delete their betting apps, and her parents must curb their lavish spending. Her father shows Fran a Zen garden and meditation labyrinth he built in the yard to help control his impulses. Fran’s son London then returns from a Pokémon-card convention, where a dealer offered $4,000 for one of his rare cards.
With her marriage stabilized, Augusta decides that her new approach to Colin will involve asking him direct questions, rather than anxious inferring his actions. She and Eben finally have an honest conversation. Both apologize for the years of distance between them. Eben explains that he had stayed quiet out of respect for Colin’s privacy and also admits to struggling with jealousy over how easily Augusta had children while he and Max faced challenges with surrogacy and adoption. He reassures her that he hasn’t had romantic feelings for Colin since they were 17.
Eben and Max have now adopted a baby girl named Issa. The whole friend group gathers for a Halloween event at Russell Orchards. Bailey tells Augusta and Fran that she and Van are managing co-parenthood smoothly and that she thinks Van misses Caroline. Fran acknowledges that Caroline’s story, though hurtful, ultimately forced them all to address their issues. Bailey also mentions that she has been on two dates with a movie producer she recently met, Ned Clark, though Augusta’s advice is to let him down easy. While watching her family and friends together, Augusta feels a deep sense of gratitude and joy.
A year later, Caroline appears at the Newburyport Book Festival to promote her debut novel. Ned, who handled the cancellation of her original contract and became her literary agent in the process, is now her friend. Rather than an expansion of her previous short story about Greenhead, the book that Caroline published is a satirical roman à clef about her own life and the publishing world. During the post-reading question-and-answer session, she thinks about the apology letters she sent to the Greenhead group and the Christmas card she received, signed by both Augusta and Colin.
She briefly mistakes someone in the audience for Van but realizes that he isn’t there. After the event, she walks to her car and finds a white paper bag sitting on the roof. Inside is a jelly donut.
Caroline reckons with the reality that her desire for escape upended the lives of the people who were entrenched in the community she was entering. By seeing the impact of her actions, Caroline is forced to reckon with the selfishness of her desires. Consequently, her confrontation with Ned, who represents the fraught urban world that she was trying to escape, makes her aware of her flaws and catalyzes her resolution to grow out of them, explicitly connecting her controversial story to the novel’s central exploration of The Ethics of Fictionalizing Real Life. As Ned drives Caroline home after rescuing her from an attack by greenhead flies, he reveals that Palmer Preston’s scandalous Tarbox, which is framed as a predecessor to Caroline’s story, “ruffled a lot of feathers” and that “[p]eople got divorced because of the book” (277-78). Caroline’s initial identification with Preston, symbolized by her purchase of a first-edition Tarbox, is ultimately inverted. She realizes that Preston’s example isn’t something to aspire after. Rather, it’s a cautionary tale she must avoid. In the Epilogue, she rejects the Greenhead novel and instead writes a satirical book about herself, turning her critical eye inward. This choice shows a significant maturation; she finds an ethical path forward as a writer by assuming accountability for her own privilege and flaws rather than exploiting the lives of others.
The fallout from Caroline’s story forces the characters to abandon unspoken assumptions in favor of explicit, often uncomfortable, negotiations. Fran and RJ’s game of “H-O-R-S-E” in their driveway becomes an emblem of this process; they use the structure of the game to methodically rebuild their partnership, with each made or missed shot representing a new contractual term regarding sobriety, domestic labor, and marriage. This turn toward direct negotiation appears throughout the section’s key moments. Augusta’s attempt to understand Colin by watching pornography is an awkward failure, but it leads to a deeper breakthrough when he suggests a simpler path: “Why don’t we just talk about what we like?” (326). Their decision to replace performance with honest conversation becomes the new foundation for their marriage. Even the disastrous game of “Truth or Dare,” which exposes Fran’s hidden photos of Cal, is a mechanism for forcing secrets into the open. The confrontations and confessions that follow are messy and painful, but they allow the characters to construct new, more durable terms for their relationships.
While Caroline’s story is an act of betrayal, it’s also a necessary, if cruel, catalyst for the difficult work of The Reshaping of Friendships in Adulthood. Fran admits that amid the story’s meanness, there was a “shimmer of truth” that forced her to confront her dissatisfaction with RJ (287). The story shatters the group’s comfortable stasis, compelling them to address the resentments and secrets festering beneath the surface. The resolutions that follow mark the creation of new, more authentic connections. Augusta and Colin’s lice-combing scene provides the most vivid example of this new intimacy. The act is unglamorous and disgusting, but it’s also a moment of deep, shared vulnerability. When Colin chooses to join the family’s infestation, telling Augusta, “If my family has lice, I want it too” (296), he demonstrates a complete commitment to sharing her burdens, erasing the distance that his secrets had created. This re-established trust is what allows Augusta and Eben to finally reconcile, replacing years of guardedness with apologies and honest admissions of jealousy and pain.
These chapters explore The Fragility of Monogamy as an impetus for creative problem-solving and the conscious reinforcement of partnerships. Bailey’s storyline offers the most radical departure from traditional norms. Her casual sexual encounter with Mac and her untroubled reaction to learning that he has a girlfriend in an open relationship highlight a worldview free from her friends’ anxieties about fidelity. Her subsequent breakup with Van is a logical conclusion based on fundamental incompatibility. Their mature transition to amicable co-parenting presents a successful family model based on mutual respect rather than romantic love. Fran and RJ’s marriage proposal is similarly unconventional; it’s the final point in a practical negotiation, an agreement to build a different kind of life together. Augusta, too, moves away from a rigid definition of marriage toward one that can accommodate the full complexity of Colin’s identity. The relationships that survive and thrive are those whose participants are willing to dismantle old structures and consciously build new ones.
The novel concludes by contrasting the group’s communal resolution with Caroline’s solitary, ambiguous ending. At Russell Orchards, the image of the apple press is a metaphor for the group’s journey, as it presents fruit being crushed to produce something sweet and clear. While watching her friends and family, Augusta is flooded with a “pulpy, happy mess of joy” (332), a feeling of hard-won peace achieved after a period of intense pressure and brutal honesty. Their collective story finds a stable, if imperfect, resolution rooted in a rebuilt community. Caroline’s narrative, however, ends with an open question, symbolized by the single jelly donut left on her car. The donut, which initially represented the messiness that Caroline would cause with her intrusion at the beginning of the novel, now represents potential forgiveness and reconnection. Yet its anonymous placement and Caroline’s isolated position underscore her deep separation from the world she documented and disrupted. While her friends have found a shared sense of belonging, Caroline is left alone, contemplating an offering that signifies both what she has lost and what might, uncertainly, still be possible.



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