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Content Warning: This section of the guide includes discussion of death, death by suicide, gender discrimination, and substance use.
On December 31, 1999, sisters Ina, Evelyn, and Anastasia Mikkola attend a New Year’s Eve party at an art space called Mossutställningar in Stockholm, Sweden. To get past the long line, Anastasia claims that she and her sisters are performing as a DJ and dancers.
In the elevator, Ina, the eldest, makes her sisters promise they will stay together, but Evelyn and Anastasia abandon her almost immediately. Feeling lonely and isolated, Ina tries to find them. She meets a bearded, freckle-faced man named Hector, who helps her search for her sisters. Ina finds herself enjoying Hector’s company and secretly worries that he will prefer Evelyn or Anastasia once they’re found. When they locate the other sisters just before midnight, Hector interrupts Evelyn to tell her that he wants to keep talking with Ina. The party begins the countdown to midnight a minute early; during this false start, Hector takes Ina’s hand. When the countdown is repeated at the correct time, he kisses her.
The narrator, Jonas, recounts the first time he heard about the Mikkola sisters when he was around five years old. He recalls playing on the living-room floor while his parents argued in French in the kitchen. The argument was about an old friend of his father’s, a woman with the surname Mikkola, who was considering moving to their neighborhood with her family. Jonas’s mother was deeply upset by this possibility, while his father was dismissive. The fight escalated, with his mother calling his father a coward before his father walked out. Ultimately, the Mikkola family didn’t move to their area until seven years later.
In January 2000, Anastasia is evicted from her studio at the Mossutställningar. The curator, Hella d’Ailly, lists numerous reasons, including late rent, drug use, and the destructive behavior of Anastasia’s boyfriend, Mathias, at the New Year’s Eve party.
Anastasia recalls the party in flashes: Mathias pulling down a lighting rig and later setting off the indoor sprinkler system by launching fireworks in a roofed courtyard. She also remembers Evelyn being angry that Ina had gone home with someone without saying goodbye. Feeling a strange sense of relief, Anastasia packs her belongings, disposes of her artwork, and arranges for friends to store her furniture. With nowhere else to go, she calls Ina and arranges to move in with her temporarily.
Jonas recalls that in May 1990, when he was 11 years old, he heard about the Mikkola sisters for the second time. While riding the subway with his father, they argued about Jonas’s long hair, which his father believed made him look like a girl. His father warned him not to end up like the Mikkola sisters, whom he described as looking like boys.
At a hair salon, Jonas’s father arranged for Jonas to have his head shaved against his wishes. On the way home, his father confronted a drunk man who had stolen newspapers from a kiosk, scaring him away by bluffing that he had a weapon. He decided to tell everyone the story of his father’s heroism rather than complaining about his haircut, discovering that storytelling gave him a sense of power over his father.
In February 2000, Evelyn is deeply bored with her job at a high-end clothing store. One day, Ina visits with Hector, the man she met on New Year’s Eve. Evelyn is shocked to see her sister in a relationship. Hector tries on clothes for a dinner with his father, but nothing in the store fits his large frame.
Evelyn tries to provoke a reaction from Ina by mentioning that Anastasia is back with Mathias, but Ina is uncharacteristically nonchalant. After Ina and Hector leave, Evelyn feels deeply unsettled, goes to the bathroom to avoid screaming, and resolves to quit her job. She remains until closing time.
Jonas recalls that in May 1991, he saw the Mikkola sisters for the first time after they moved into his neighborhood, Drakenberg. The three sisters, who spoke a mix of English and Swedish, quickly developed a reputation. Rumors spread about them: Their father was dead, Anastasia could resurrect animals, and Ina was secretly a boy. They were always seen in the park without adult supervision. Jonas’s mother watched their mother with disapproval whenever she returned in her red sports car. She warned Jonas to stay away from the sisters, predicting that their lack of structure would lead to their ruin.
In March 2000, Evelyn finds herself missing Ina’s usually bothersome weekly phone calls and decides to call her. Ina is cheerful and talks at length about her new life with Hector. During the call, Evelyn learns that Anastasia is now living with Ina. After hanging up, Evelyn reflects on her own life of dissatisfying one-night stands. She then opens a letter from her landlord, who informs her that he needs his apartment back but suggests they could share it. Desperate to avoid moving in with her sisters, Evelyn calls to accept his offer. To her surprise, the landlord has changed his mind and now insists that she move out.
A few months after the Mikkola sisters moved to his neighborhood, Jonas learned that they were half-Tunisian, just like him. When he approached them, they revealed that their mother and his father used to date. Jonas’s mother confirmed this but again warned him to stay away from the family. Jonas ignored her and befriended Evelyn.
During a dinner at Jonas’s house, Evelyn shared that her great-grandfather emigrated to New York and helped build Rockefeller Center. Later, while they were alone, Jonas repeated a rumor that Evelyn’s mother was a sex worker. Furious, Evelyn clarified that her mother was a traveling carpet salesperson and revealed that her family lives under a curse that everything they love will be taken from them.
Evelyn prepares to move out of her apartment. To help, Ina, the only sister with a driver’s license, rents a moving truck. She chooses a cheap rental service far from the city center, much to Evelyn’s annoyance. The “office” is a small tobacco shop, and the truck they’re given is a battered and dirty former postal vehicle. With Anastasia sitting between them to act as a buffer, the three sisters begin the drive back into town.
Jonas recalls that the Mikkola sisters had their own set of rules, dictated by their mother. These included never revealing personal information, always wearing their protective necklaces, and performing a ritual to ward off bad luck. Ina also imposed rules on Evelyn for her safety, forbidding her from certain activities. Evelyn obeyed her mother’s rules while consistently breaking Ina’s. This made Jonas see Evelyn as defiant and fearless.
While driving the dilapidated moving truck, the sisters sit in tense silence. Anastasia recalls their mother’s old red Toyota, which prompts the three to bond over shared childhood stories. As they cross the Väster Bridge, Evelyn looks at the padlocks attached to the railing. Instead of “love locks,” she imagines they’re memorials for people who have died by suicide. She finds herself wondering about their final moments.
In August 1993, Jonas and Evelyn snuck away to Långholmen island to watch an air show featuring the new Jas 39 Gripen fighter jet. During its aerial demonstration, the jet malfunctioned and crashed onto the island near where they were standing. Mesmerized, Jonas and Evelyn approached the wreckage before being turned away by police.
Later, back in their neighborhood park, a crying Evelyn confessed that she believed her negative energy caused the crash, as her mother had warned them to “spread out” to avoid disaster. Jonas’s attempt to console her was interrupted by the arrival of an enraged Ina, who saw them at the crash site. Ina forced Evelyn to leave with her.
The sisters arrive at Evelyn’s apartment, only to find Evelyn and Anastasia’s friends waiting to help with the move. This makes Ina feels like an outsider. Evelyn delivers a charismatic speech that motivates everyone to work. More friends, including Hector, arrive throughout the day.
Ina and Anastasia share a private joke, comparing Evelyn’s tendency to cycle through friends to things that change frequently, like their mother and apartments. By evening, the truck is loaded.
As she leaves her apartment for the last time, Evelyn regrets heeding Ina’s warnings about a housing bubble, which prevented her from buying a house. She promises herself that she will listen to her inner voice rather than Ina’s in future. She gets into the truck, eager to go.
Jonas reflects that after the day of the plane crash in 1993, his friendship with Evelyn was over. Though they saw each other around the neighborhood, they never spoke again. Two months later, the Mikkola family moved away without a word.
Jonas concludes that every time he reads of a new Jas 39 Gripen crash, he thinks of the Mikkola sisters and wonders where they are.
The novel’s second chapter introduces its central narrative conceit: that the whole novel is being narrated by a character who exists within the world of the Mikkola sisters, an observant peer named Jonas. This narrative framing suggests that what is being told about the Mikkola sisters isn’t entirely omniscient, but rather relative to Jonas’s perspective. He even alludes to this at the very end of Book 1, Part 1 when he indicates that he thinks of them every time he hears news of a Jas 39 Gripen crash. Inasmuch as the Mikkola sisters are the organizing principle of Jonas’s life, Jonas is theirs by virtue of being the narrator who brings cohesion to their disparate stories. This status recurs throughout the novel as Jonas applies it to other significant characters, like his own father: His explicit admission that “[he] enjoyed turning [his] father into a story, somehow it gave [him] power over him” reveals his awareness of this process (26). This narrative choice foregrounds The Subjective Nature of Memory, suggesting that the account of the Mikkolas is a deliberate construction and a blend of observation, rumor, and personal mythmaking. The narrative thus becomes as much about the act of remembering as it is about the events remembered, questioning the line between fact and the stories people tell to make sense of their lives.
Jonas’s discovery that the Mikkola sisters share his half-Tunisian heritage provides an immediate, if complicated, bond that illuminates The Challenges for Immigrant Children Straddling Two Cultures. Living in the Drakenberg housing project, both Jonas and the sisters grapple with their social position. Jonas’s father has his son’s head shaved to look like a “real boy” while simultaneously warning him not to end up like the Mikkola sisters, who also look like boys. This moment reveals intersecting pressures of masculinity and assimilation, where conformity to Swedish gender norms is presented as a defense against being othered. Similarly, the sisters’ use of English functions as both a shield and a marker of difference. Their linguistic abilities, alongside their mother’s history with Jonas’s father, emphasizes a feeling of provisional belonging, reflecting the instability that many immigrant families experienced while navigating a society that often viewed them with suspicion, as well as the solidarity they found among larger immigrant communities.
At the New Year’s Eve party that opens the 2000 timeline, Ina’s plea for her sisters to “stay together” is immediately ignored, establishing a central dynamic of fractured loyalty and buried resentments. This inability to cohere is rooted in a family history defined by chaos and persecution, foreshadowing the exposition of the family curse. The fear “that everything [they] love will get taken from [them]” functions as an inherited narrative that both explains the sisters’ constant instability and limits their sense of agency (53). The theme of Breaking Cycles of Intergenerational Trauma is introduced here, as the curse becomes a self-fulfilling prophecy passed down from their mother. The family’s self-imposed rules are defensive mechanisms that isolate them further, even as they purport to protect the sisters from manifestations of the curse. This drives a framework for interpreting misfortune as destined, something inevitable despite their best efforts to resist it.
For instance, the account of the 1993 JAS 39 Gripen crash weaves a real-life national trauma into the characters’ personal histories, demonstrating how major public events are filtered through individual belief systems like the curse. For Evelyn, the crash is a direct consequence of her own existence; she confesses to Jonas, “It was my energy that caused the crash” (68). In this moment, she maps the private, inherited fear of her family curse onto a public disaster, reinforcing the narrative of inevitable loss and personal culpability. This deeply personal interpretation of a historical event is contrasted with another, more distant, piece of history that is a family myth: the story of the sisters’ great-grandfather, a steelworker who helped construct Rockefeller Center. This aspirational tale of creation and contribution stands in direct opposition to the curse, which is a narrative of destruction and loss. The juxtaposition of these two foundational stories of building and breaking reveals the competing forces of hope and doom that shape the family’s identity.
These early chapters use setting to mirror the characters’ internal states of instability and displacement. Anastasia’s eviction from her studio at the Mossutställningar art collective precipitates a crisis that forces the sisters back into physical proximity. The various homes depicted, from the chaotic series of apartments that the sisters recall from childhood to Evelyn’s precarious sublet that she promptly loses, reflect their different approaches to managing the family’s legacy of rootlessness. The dilapidated moving truck that Ina rents, a battered former postal vehicle, becomes a potent emblem of their dysfunctional journey. It’s a cramped, uncomfortable, and temporary space that traps them together, forcing a brief, nostalgic reconciliation that Evelyn feels is “fake.” The constant movement between these provisional spaces contrasts sharply with the apparent stability of Jonas’s childhood home, showing the Mikkola family’s deep lack of a secure anchor in the world. This is representative of the way Swedish society maintains the Mikkolas’ displacement, forcing the sisters to return to each other for stability, even if they’re reluctant to depend on each other. In this way, Ina’s desire to reunite with her sisters at the party becomes a foreshadowing of her sisters’ uncertain living situations, which force them to return to the same home with Ina.



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