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Content Warning: This section of the guide includes discussion of graphic violence, emotional abuse, death, and cursing.
For three days, Sweetheart feeds on the body of Renee in the wheat field. The nourishment causes Sweetheart to grow at an accelerated rate. When only bones and organs remain, Camille disposes of them in the well. Meanwhile, the creature from the well has started leaving wild game for Camille, which she prefers over the farm animals it previously brought.
Camille’s interest in housekeeping fades away, causing her home to become dirty. Online, Camille is publicly accused of faking her “tradwife” lifestyle by Sophie Tang, a former colleague from her science program. Camille messages Mara Shoemaker for advice on handling the negativity, but Mara reads the message and doesn’t reply.
Feeling that her daughter’s online presence is an invasion of privacy, Camille deletes all photos of Sweetheart from her social media accounts. She then takes Sweetheart for a walk to Renee’s house, where a neighbor named Bill reveals that Renee was divorced and had lost custody of her children, who had not lived there for a year. Camille realizes Renee had been hiding the truth about her life out of shame. She watches the empty house as Sweetheart stares silently from her stroller.
That evening, Graham complains about dinner and the messy house. Camille ignores him and later eats a deer left for her by the creature. In the bathroom, she discovers that dark, hard scales are growing on her scalp where her hair has fallen out. She then finds Graham’s phone charging in their bedroom, which he normally doesn’t do. An Instagram notification appears, revealing a secret account.
Camille uses Graham’s sleeping face to unlock the phone and discovers direct messages between him and a woman named Rose. The messages confirm he is having an affair, wishes to be with Rose, and suspects Sweetheart may not be his child. He even calls Rose “sweetheart.” Heartbroken and enraged, Camille accepts her marriage is over. She goes to the nursery and notices Sweetheart has grown long, sharp nails. Camille resolves to raise a “feral woman,” rather than a traditional wife.
Distraught by the discovery of Graham’s affair, Camille goes outside to the well in the middle of the night. The creature emerges, and she initiates a passionate kiss. He lifts her onto the stone rim of the well, and they have sex while she is suspended precariously over the dark opening. The element of danger heightens the experience.
Afterward, the creature pulls her safely to the ground. As they share a quiet moment, Camille’s hunger returns, and she finds herself wondering which one of them is the true “fallen angel.” The act solidifies her emotional break from Graham and her former life.
The next morning, Camille discovers Sweetheart standing in her crib. She decides to delay confronting Graham until she has a financial plan. Her day is interrupted by the arrival of Officer Lipton, who is investigating Renee’s disappearance. Graham lets the officer inside, where he and Camille give conflicting accounts of their relationship with Renee. Lipton reveals that Renee had no midwifery training, which alarms Graham and deepens his suspicion of his wife. To deflect, Camille mentions that Renee often smelled of wine. Lipton leaves, clearly intending to return.
Graham confronts Camille, demanding to know the truth and expressing his disappointment in her. His condescending tone reminds her of her father, and she realizes she has merely traded one domineering man for another, which fuels her anger.
Camille rushes to Sweetheart, who says her first word: “Food.” Blood is no longer enough; the baby now requires meat. As Camille contemplates her next move, Officer Lipton returns, using a lost pen as a pretext to re-enter the house and question her alone. When Lipton expresses concern over Sweetheart’s large size and unusual eyes, Camille thrusts the baby at him. Sweetheart latches onto Lipton’s neck and rips out his trachea, killing him.
Camille places Sweetheart on the floor, where the baby begins to feast on the corpse. To create a false lead, Camille takes Lipton’s keys, drives his police car to Renee’s empty house, and leaves it there. Upon returning, she finds Sweetheart has eviscerated the officer’s torso. Camille is overcome with a desperate hunger to eat the remains herself but resists as Sweetheart falls into a food-induced sleep. She then begins the arduous task of cleaning the bloody scene.
The cleanup takes all afternoon. Camille drags Lipton’s body into the wheat field, then throws his clothing, gun, and keys into the well. She also smashes a framed photo of herself with Mara, and discards the pieces, severing her final tie to the tradwife life.
When Graham arrives home, he complains that dinner isn’t ready and confronts Camille again about her strange behavior and appearance. Camille, in turn, confronts him about his affair with Rose. Graham denies it and tries to gaslight her by showing that the Instagram app is no longer on his phone. Realizing the depth of his deception, Camille gives up, and the tense confrontation ends with Graham asking what’s for dinner.
The next morning, Graham announces he is taking the day off to go to church. While he is gone, Camille feeds a piece of Lipton’s thigh to Sweetheart before they both fall into a deep sleep. Camille later eats a wild boar left by the creature. Sweetheart grows even larger overnight.
Embracing her transformation, Camille puts on a black dress she once wore to a funeral and goes barefoot. Camille dreams of a ceiling covered in thousands of blinking eyes that merge into one. A voice tells her, “When you are ready, we are ready” (289), and she replies that she is. She wakes with a jolt to find Graham sitting on the bed watching her. It is sunset.
Graham, angered that Camille slept all day, summons her downstairs. She does not hide her increasingly monstrous appearance. At the dining table, Graham announces he is seeking an annulment on the grounds of “misrepresentation,” claiming she has changed into someone he doesn’t know. He outlines his plan to leave her but provide financial support.
Fearing he could later try to take Sweetheart, Camille realizes Graham is a threat she must eliminate. She tells him there is something he must see and leads him to the nursery, where she shows him Sweetheart. Graham is horrified by Sweetheart’s inhuman white eyes, unnatural size, and ability to stand. When he also notices Camille’s new fangs, he calls them “unholy.” As he recoils, Camille grabs a heavy lamp and bludgeons him from behind. After he collapses, she descends upon his body and begins to eat him, feeling ecstatic as she consumes his still-quivering heart. Aware of the baby monitor, she briefly looks up, waves a bloody hand at the camera, and returns to her feast.
After eating most of Graham, Camille gives his forearm to Sweetheart. She then accesses the baby monitor’s footage of the murder and feast. She edits a short clip of herself waving while covered in blood and posts it to her social media accounts with the caption, “Fuck you, Mara Shoemaker. #tradwife” (301).
After helping Sweetheart out of the crib, Camille retrieves the penny she once threw into the well. She pauses before a mirror and sees that her own eyes, like her daughter’s, have turned completely white. Her transformation is complete.
Carrying Sweetheart, Camille goes outside and finds the creature waiting at the edge of the wheat field. She tells him she is ready and acknowledges her feelings for him. As they kiss, Sweetheart says, “Food,” and takes her first steps toward them. Overjoyed, Camille kneels to embrace her. The creature takes Sweetheart’s hand, and the three walk to Lipton’s decomposing body. Together, they kneel and share their first meal as a family.
After they finish eating, the new family walks to the well. Camille says “Goodbye” and drops the penny into its depths for the last time. The creature and Sweetheart walk ahead of her toward the forest. Shedding the last vestiges of her human life, Camille rips off her tattered black dress and undergarments. She stands naked, looking back at the house one final time. Facing the woods, she places a hand on her chest and feels the absence of a heartbeat. She then follows her family into the trees.
Camille’s decision to erase her daughter from social media marks the beginning of the end for her online persona, which fully disintegrates in a final, grotesque performance that parodies, rather than enacts, the tradwife lifestyle. After murdering and cannibalizing Graham, she posts a clip of herself waving, blood-soaked, with the caption, “Fuck you, Mara Shoemaker. #tradwife” (301). This act transforms the tools of her former life, from hashtags to the performance of motherhood, into instruments of horrific satire. The post is a final, defiant rejection of the tradwife movement’s curated perfection, exposing the monstrous reality underpinning her carefully constructed life. Notably, this act also follows an earlier act of maternal protection, as Camille, in response to the cold lack of sympathy she receives from her online community, begins to remove every trace of Sweetheart from her online profiles. These final uses of social media bring the theme of The Cost of Performative Femininity to its brutal conclusion; the pressure to maintain a flawless digital facade is answered with an irrefutable, nightmarish truth that cannot be aestheticized or ignored. The effort to embody an impossible ideal of domestic womanhood results in the literal consumption of the patriarchy she once served.
As Camille sheds her human identity, the narrative redefines motherhood as a primal, predatory force. Sweetheart’s first word is a guttural demand for “[f]ood,” establishing her needs as the central, devouring engine of the plot. Camille’s role shifts from a traditional wife to a monstrous provider, facilitating the murder of Officer Lipton to satiate her child’s hunger. This evolution portrays Motherhood as Monstrous Consumption, where the maternal instinct to nourish becomes a cannibalistic imperative. Camille’s earlier resolution to raise Sweetheart as a “feral woman” is likewise a conscious rejection of the domestic values she once prized. It signals her alignment with a new, matriarchal power structure rooted in primal survival, rather than patriarchal submission.
The complete collapse of Camille’s marriage serves as the catalyst for her final transformation, underscoring the hollowness of the domestic ideal she pursued. The discovery of Graham’s secret Instagram account and his affair with “Rose” shatters any remaining illusion of a partnership. His subsequent gaslighting and condescending demand for an annulment on grounds of “misrepresentation” point to The Isolation of Patriarchal Relationships. Graham’s complaint that Camille is no longer the woman he married is deeply ironic; he rejects her for failing a performance he himself abandoned long ago. His horror upon finally seeing Sweetheart and Camille’s fangs, which he deems “unholy,” confirms that his love was conditional on a version of her that was docile, human, and submissive. In contrast, Camille’s sexual encounter with the creature at the well is an act of total surrender to a different kind of bond, one that is nonverbal, primal, and accepting of her monstrous nature. By killing and consuming Graham, Camille reclaims her home and body, eradicating the source of her oppression and transforming him into a new source of sustenance for her new family.
The novel’s final chapters chart Camille’s metamorphosis, which tracks both on her body and in the world around her. Her physical changes, like the scales on her scalp, are external markers of her internal severance from humanity. She takes this a step further by willingly donning a black funeral dress as a transitional garment, mourning her dead life before she ultimately rips it off, stepping naked into the forest to embrace her new form. The house, once the meticulously curated stage for her tradwife performance, becomes a slaughterhouse, its domestic spaces irrevocably stained by violence. This transition fulfills the ominous potential of the forest, which evolves from a menacing presence into a welcoming sanctuary. Her final act of dropping the penny into the well is a deliberate release of the desperate, pleading hope that defined her human existence. She renews her wish but is now free to pursue it without the obstructions of social expectation and an abusive marriage. When she lays a hand on her chest and enjoys “the absence of my heartbeat” (306), her transformation is complete, indicating that she would rather assume the appearance of death than live any longer as a tradwife.



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