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Content Warning: This section of the guide includes discussion of illness, death, child abuse, and bullying.
Emilia LeBlanc reflects on her grandmother’s axiom that love and hate resemble one another, as both involve passion and pain. Emilia did not give credence to this idea until she met Baron “Vicious” Spencer, Jr.
The narration reverts to 10 years prior, when Emilia and her family arrive in Todos Santos, California. Emilia finds the all-black decor of the Spencers’ massive mansion off-putting. Her mother, a household employee, sends her to seek Vicious. Emilia hears him arguing with a man named Daryl. The two speak cruelly to one another, and Vicious announces his intention to kill Daryl someday. Emilia tries to flee, but the door opens and Vicious catches her eavesdropping. He threatens to kill her if it ever happens again.
Emilia avoids Vicious for the next two months, during which she is bullied for her low socioeconomic status by her wealthy classmates. After the bullies steal her textbooks, she seeks to borrow a copy from Vicious. She overhears him with a girl in his bedroom, which makes her jealous. Furious at the economic disparity between herself and her classmates, particularly Vicious, Emilia barges into the room and refuses to leave even when she finds Vicious kissing Georgia, a wealthy classmate. They taunt Emilia for being “the help.”
Emilia realizes that Vicious has her textbook, making her wonder why he hates her so intensely. He taunts that he bullies her “because [he] can” (12); Emilia laments that she admires Vicious’s looks and intelligence when he is so unkind. She storms away despite her urge to “fight [him],” as she knows that doing so would risk her parents’ jobs. She tells herself to move past these conflicted feelings toward him.
Vicious reflects on his boredom with the wild parties he regularly throws. He callously brushes off a classmate who shows romantic interest in him. The classmate invokes the nickname for Vicious and his friends Dean Cole, Trent, and Jamie—“the Four HotHoles of All Saints High” (17), a name that invokes their physical attractiveness and tendency toward cruelty. Trent recently suffered a broken ankle that ended his aspiration toward a football scholarship. Unlike most of his classmates, Trent is not wealthy and needed the scholarship to afford college.
Emilia enters the room, something that annoys Vicious, as his friends use the media room as their private area during parties; only those invited are permitted inside. He dislikes that “something weird [happens] in [his] chest” when he sees her (18). He further dislikes that Emilia and Dean seem interested in one another and that he finds Emilia “sexy” despite “her apparent devotion to trying not to be sexy” (19). He blames his jealousy on his concern that Dean will hurt Emilia, which will then cause “drama” in Vicious’s home. Dean and Emilia leave together.
Jamie and Trent reassure Vicious that Dean, who eschews serious romantic connections, cannot have a close relationship with Emilia. Though Vicious protests to his friends that he doesn’t care what Emilia does, he thinks with pleasure that her lack of a college scholarship means that she will lack opportunities and therefore “stay small and insignificant” and in his orbit (21).
Vicious pushes away two classmates vying for his sexual attention, musing about how he enjoys his peers’ shallow admiration. He retreats briefly to a basement storage room, where he keeps weapons that make him feel safe, though he does not use them. He leaves his weapons behind as he plans to play “Defy,” a game in which All Saints students brutally fight one another. Before he can find an opponent, Trent approaches; he plans to tell Dean to break up with Emilia, fearing that it will “drag everyone down a very dark path” if Emilia comes between the two friends (24). Vicious dissuades him from this plan, as he anticipates taking advantage of Emilia’s heartbreak after her relationship with Dean ends “to show her she [i]s nothing more than [his] property” (25).
In the narrative present, Emilia lives and works as a waitress in New York City. She rushes to work through the rain as she talks on the phone to her sister, Rosie, who is chronically ill with cystic fibrosis. Emilia laments being let go from her assistant job at an advertising agency. Though she reassures Rosie that she can easily find more work, she worries about the expensive medication Rosie needs. While running through a dark alley to avoid being late for work, Emilia is mugged. Her manager, Rachelle, is friendly and sympathetic, especially when Emilia explains being fired earlier that day.
Emilia is shocked when Vicious is one of the bar’s customers. She pretends that nothing is amiss as she admires his more mature style since high school. She laments that she looks disheveled in her revealing bar uniform. She watches from a distance as Vicious has an argument with a man in a suit. When Emilia takes her break, Vicious follows her into a back room, where he taunts her about not working in a fine arts field, as she received a degree in the subject. On impulse, she tells him about getting fired from her job. He taunts her with the nickname “Help,” which he used to demean her for her poverty in high school. She quickly flees, annoyed that she still finds him attractive. She returns to her tables. At the end of her shift, she is furious to see that instead of leaving a tip for her service, Vicious summoned her to an address. She throws away his note, determined to refuse.
Vicious is surprised but pleased to see Emilia, as he planned the trip to New York to use a dubious lawsuit to strong-arm a competitor into dropping a countersuit against the investment firm he runs with Trent, Jamie, and Dean. He schemes to use Emilia to get revenge against his stepmother, Josephine “Jo” Spencer (whom he later reveals facilitated her brother’s abuse against Vicious), relishing the idea that Emilia’s “innocent little soul” would “probably shatter” in the process (41).
Emilia debates telling Rosie about Vicious’s reappearance in her life as she retrieves the numerous medications that Rosie needs to manage her cystic fibrosis. Rosie’s health fluctuates; she is currently battling a serious bout of pneumonia that left her extremely weakened. The sisters lament their financial straits, and Rosie cites feelings of guilt for being unable to work while ill. Emilia dissuades Rosie from returning to California to live with their parents, who are also lacking money, as Rosie would have to begin her college degree over again if she did so. Emilia works on a commissioned painting, an activity that soothes her. The sisters joke about their dreams and aspirations, which makes Emilia reflect that she is lucky to have a loving family, despite her difficulties. Over the next several days, Emilia continues to hunt for work and take on as many extra bar shifts as possible. Rosie’s health worsens, as do their finances.
One night, she returns home late and is startled to find Vicious waiting for her. He offers her a job as his personal assistant, which she rejects immediately. He offers increasingly large salaries and then adds free housing and healthcare for Rosie before she agrees. She is suspicious, but he promises that “nothing too seedy” will be asked of her and that he will not make sexual requests (50). He gives her a $10,000 advance on her salary, and Emilia resigns herself to taking the job, as she and Rosie desperately need money. Emilia agrees to begin work the next morning, though she vows to “leave on [her] own terms, not his” (52), when she can afford to do so.
Vicious toys with a pen he stole from Emilia, as he has been stealing from her since high school, and fumes that his stepmother, Jo, has demanded that he “clear [his] schedule” for her unexpected visit to New York (54). He complains over the phone to Dean, who is overseeing their company’s Los Angeles office while Vicious is in New York. He doesn’t mention Emilia, whom Dean hates. (Dean believes that Emilia broke up with him abruptly and left town because she had fallen in love with someone else. He later learns that Vicious blackmailed her into leaving Todos Santos.) Vicious callously fires his old assistant to open the job for Emilia, thinking about his belief that “people [are] disposable” (59).
When Emilia arrives, the two immediately fall into a combative working relationship. Vicious enjoys ordering Emilia around but is discomfited when she comments that FHH, the acronym for his company Fiscal Heights Holdings, also could stand for “Four HotHoles” (62), Vicious and his friends’ high school nickname. He considers that he hates Emilia because she reminds him of his stepmother and because he fears that she knows his secret (that he was abused as a child); however, he also respects that she refuses to be impressed or cowed by him.
Vicious reluctantly meets Jo for dinner, though he blames her for his mother’s death. Jo confides that Vicious’s father, Baron Sr., is ailing and predicts that he doesn’t have long to live. Vicious considers Jo’s love for her husband false. Jo worries that Baron Sr. will leave her little in his will and asks Vicious to give her the Todos Santos house, where she lives, if this happens. Vicious refuses. She threatens to sue him, but Vicious relishes the challenge of getting “justice” against her for the physical abuse that she and her brother perpetuated against him when he was young.
The first section of Vicious establishes the dual timelines of the novel. With Emilia’s introductory reflection about the proximity of love and hate, the novel begins in medias res—opening at a moment of heightened emotional tension before going back in time to show how the protagonist arrived at this crisis. By introducing Emilia’s conflicted feelings about Vicious from the novel’s first pages, Shen highlights the emotional stakes of the novel while creating a sense of suspense. The primary genre convention in all romance subgenres is that the love interests end up with a “happily ever after.” This knowledge regarding where the characters’ emotional arc will end means that readers do not ask if the characters will end up together; they are encouraged, by contrast, to ask how, when, and why the characters end up together. Since readers know from the beginning that Emilia hates Vicious at some point, the novel derives suspense from the question of how she moves from hate to love.
Beginning in medias res also establishes that the high school timeline is the “flashback” timeline, while the adult timeline is the main timeline. This sense is important to the arc of the bully romance and Vicious’s eventual redemption. Though readers experience Vicious’s cruelty alongside Emilia due to the extensive flashback chapters, they also do so with the perspective provided by the adult timeline. This evidence of a life beyond high school in which Emilia has not forgotten Vicious but is no longer controlled by nor in contact with him shows that Vicious did not make good on his threat to force Emilia to “stay small and insignificant” (21). If the high school timeline is a flashback timeline, readers understand that Vicious’s bullying is in the narrative past—even while they are reading the chapters that describe it as it is happening. This sense that the bullying relationship is backstory rather than a condition of the narrative present assists in the credibility of the redemption arc. This redemption arc is a key convention of the bully romance genre, in which a former bully must confront their past misdeeds and achieve redemption before being framed as an acceptable love interest. For Emilia, Vicious’s abuse is a decade past; the flashback structure helps readers remember that this time gap exists.
This sense of distance gives context to Emilia and Vicious’s high school relationship, which offers a greater scope of perspective when contemplating The Value and Risks of Forgiveness. As she discusses in Chapter 4, adult Emilia has a hard life but not a bad life. Though she faces numerous hardships, these are not presented as curtailing her agency. Emilia has built herself a life that she enjoys, even if she does labor under persistent financial precarity. Emilia has developed a personal style, has had numerous fun experiences living in New York with her sister, Rosie, and has gotten a college degree. When she agrees to work for Vicious, the novel therefore presents it as a choice—one that Vicious does his best to make coercive, admittedly, but one that Emilia makes with a clear-eyed understanding of her choices. Because she is happy with her life and is not under Vicious’s control, she is free to forgive him on her own terms if she chooses to do so.
Vicious, by contrast, has a life that is far more controlled by his past. While not all of this negatively impacts his life—his close relationship with his friends, for example, is framed as emotionally and professionally beneficial—much of it is presented as limiting. His desire to get vengeance against his stepmother, which he characterizes as justice, has tied him emotionally to his childhood trauma. His arc over the course of the novel involves allowing himself to be at a greater emotional distance from his past, which means letting go, at least partially, of his desire to make Jo pay for the violence she perpetrated against him.
Emilia has far more emotional security than Vicious does, particularly in the adult timeline, and this helps balance the scales of power between them despite his far greater wealth. In the narrow, stratified world of Todos Santos and All Saints High School, Vicious has almost total power over Emilia. He has far more money, and in a world ruled by Money as a Source of Identity, his family’s wealth equates to social capital. The only advantage that Emilia may have is that she is less preoccupied with Vicious than he is with her, but this gap is a narrow one. In the adult timeline, Vicious still has more money and therefore more social capital in a global sense, but Emilia has support and a stronger sense of self. This righting of the power imbalance between them provides the first step toward Vicious’s redemption and an appropriate reconciliation; because Emilia is capable of walking away from Vicious in a way that she could not in high school, her decision to spend time with him—and ultimately enter a sexual and later romantic relationship—is presented as consenting, not coerced.



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