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Content Warning: This section of the guide includes references to drug addiction and death.
Rhys Dupris, 35, is watching television at his house in Emerald Lake when the doorbell rings. He ignores it, too stiff from his recent sports injury to get up, but the bell rings several more times. He’s shocked when he opens the door to find the attractive Tabitha Garrison on his doorstep. She explains that her sister Erika Garrison is moving into Rhys’s rental apartment on the other side of his duplex. Tabitha wants him to look out for her and her son Milo. Tabitha explains that Erika lives with addiction to pain medication, and she’s worried about her staying on the right path. (Erika developed a reliance on painkillers after suffering a sports injury in high school.) Tabitha also begs Rhys to contact her if Erika ever needs help with rent. Charmed by Tabitha, Rhys promises to keep an eye on Erika and Milo.
Two years later, Tabitha goes to Erika’s apartment to clean out her things. Erika recently died from a drug overdose. Tabitha talks to her late sister while letting herself into the apartment. Then Rhys appears. Tabitha becomes angry with him because Erika said he evicted her after just one late rent payment. Tabitha has cared for Erika since Erika became addicted to painkillers in high school. She blames herself for failing her sister, but she’s also angry with Rhys for breaking his promise.
Facing off with Rhys, Tabitha can’t help noticing how attractive he is. She ignores her feelings and confronts him for hurting Erika. Rhys is shocked to hear about Erika’s death and asks after Milo. Tabitha notices something shift in his face when she says Milo is safe.
Tabitha wakes up on Erika’s floor. She spent the night sorting through Erika’s things and drinking scotch. When Rhys enters, she demands that he leave her alone. They get into another argument about how he treated Erika. Rhys shows her Erika’s will: Erika elected him as Milo’s legal guardian. Shocked and confused, Tabitha snaps at him for overstepping and insists that Milo is her responsibility. After Rhys leaves, she studies the will and recognizes Erika’s signature.
Ever since Tabitha packed up Erika’s things, Rhys has felt confused. Erika told him Tabitha was an unemotional workaholic but she obviously cares about Erika and Milo.
Rhys’s lawyer calls and arranges a meeting between Rhys and Tabitha about Milo. On Rhys’s way to Rose Hill, Rhys worries about taking Milo away from his family and Rose Hill.
At Tabitha’s, Rhys finds Tabitha playing in the yard with Milo. He marvels at her tidy property and kindness to Milo. He feels bad intruding but already promised Erika he’d care for her son.
Tabitha and Milo sit in the grass and play with a caterpillar until Rhys arrives. She’s shocked when Milo races into his arms. She’d hoped to “make Rhys see that Milo loves [her], and his grandparents, and his town,” but now she sees Milo loves Rhys too (33). She reluctantly greets Rhys, feeling self-conscious about her appearance. Milo refers to her as Tabby Cat, which amuses Rhys. She explains that Milo will be staying with her parents while they talk to a therapist about the next steps.
Rhys and Tabitha take Milo to Paul and Lisa Garrison’s house. Watching the family from the car, Rhys reflects on his own difficult past: He was “passed from foster home to foster home” throughout his childhood (40). Tabitha rejoins and they drive silently back to her house.
Tabitha and Rhys convene in Tabitha’s office for their meeting. Tabitha’s mind races through thoughts and feelings about Erika, Milo, and Rhys. The video call with Trixie, the therapist, begins. Rhys explains that he lives in Florida and isn’t a Canadian citizen and that he’ll have to take Milo with him. Tabitha gets upset, but Trixie changes the subject to Milo’s emotional state. She explains how to tell Milo that Erika died and that he is safe and loved. Tabitha is surprised when she notices how emotional Rhys looks.
After the call, Tabitha races out of the room. Rhys feels guilty and worried. When she returns, she’s wearing her chef’s uniform. (She owns and operates the Bighorn Bistro.) She insists that Rhys leave because she has to work. An argument ensues about Milo’s future. Tabitha demands to know what Rhys does for work because his schedule is so strange. Rhys is a professional wrestler with World Professional Wrestling but doesn’t want to tell Tabitha. People usually make fun of or take advantage of him when they find out. Their argument intensifies and Rhys realizes Tabitha’s anger is about Erika, not him.
Before work, Tabitha drops Rhys off at the local bowling lanes to bowl with her friends West, Ford, and Bash. Rhys is uncomfortable but quickly realizes the men are friendly. The game takes his mind off Erika and Milo. However, he continues thinking about Tabitha.
Tabitha reports to work. At first, the shift takes her mind off things. However, she runs out of energy toward the end of dinner service. Overwhelmed, she looks up and discovers that Rhys is sitting at the bar drinking a glass of wine. They have a more friendly conversation until Tabitha remembers what Rhys did to Erika. She accuses him of trying to hurt her by taking Milo, but he suggests otherwise.
Rhys regrets flirting with Tabitha. They drive back to her house where Rhys will be staying in the basement. He reflects on everything Erika told him about Tabitha, realizing how wrong she was. He also understands that he should tell Tabitha about his work; he’s been on leave since his injury but will be wrestling again soon.
Inside the house, Rhys and Tabitha sit in the kitchen and talk. Rhys realizes that Tabitha needs somewhere to direct her anger and decides he can be that for her. Tabitha reveals that she hasn’t told anyone about Erika’s death yet. The conversation turns to Milo. Rhys insists that he really wants to take care of him. Tabitha explains her reasons for loving Milo too and alludes to her family history. Finally, they say goodnight. Rhys heads to the basement with his stomach audibly grumbling. Shortly thereafter, he discovers Tabitha made him a bowl of pasta.
Rhys returns to Florida and meets with his boss Anthony Morris about returning to the Monday Night Mayhem show. He’ll still be fighting his usual colleague Will, but Anthony wants to change Rhys’s character Wild Side’s storyline. Rhys settles back into work, feeling relaxed once he dons his Wild Side outfit.
For the next two weeks, Tabitha takes care of Milo in Rhys’s absence. She’s glad to be away from Rhys but worries about Milo because he’s grieving. She’s done her best to incorporate memories of Erika into her house since Milo moved in. They even have a plant named Erika.
Not long after, Rhys returns to Rose Hill. Tabitha gets annoyed when he tells her to start locking the door, but can’t deny her attraction to him.
Watching Rhys and Milo together, Tabitha softens. However, it’s still easier for her to hate Rhys. She lets them go to the beach together while she cleans the house.
Over the following days, Tabitha tries avoiding Rhys but keeps making him dinner. One morning, they run into each other in the kitchen. Startled, Tabitha burns her hand with coffee. Rhys tends to the burn although she insists she’s fine. The two are close together and tension builds between them. Tabitha lifts his shirt, exposing bruises and cuts on his body. She demands to know what he does for work but Rhys doesn’t open up. He urges Tabitha to think about letting him take Milo to give her a break. However, he promises not to take Milo to Florida when he leaves the next day.
In the morning, Rhys leaves. Tabitha feels guilty that they don’t say goodbye.
Chapters 1-13 introduce the parameters of the narrative world and its primary conflicts, stakes, and themes. Erika’s unexpected death thrusts the romantic counterparts together and establishes a key theme of the novel, Navigating Grief and Loss. For both Tabitha and Rhys, Erika’s death raises questions about her son Milo’s future and about themselves. Both characters are accustomed to quelling their emotional experiences for the sake of others, and Erika’s death proves no different.
The novel builds Tabitha and Rhys’s characters through their alternating first-person points of view. In Tabitha’s chapters, the narrative conveys how Tabita is a caretaker, such as when she tries to tamp down her grief to stay strong for her nephew. In a similar vein, Rhys’s chapters convey Rhys’s compassion and how he puts others first, such as when he controls his sadness to honor Erika’s wishes for Milo’s care and to make peace with Tabitha. The novel shows how the two are well-matched: Both are empathic and compassionate. Their intersecting points of view reveal their individual and overlapping attempts to make sense of their loss while conceptualizing a healthy future for themselves and Erika’s son.
Silver uses a trope commonly seen in romance novels, where the love interests are in forced proximity to one another. This creates tension and camaraderie between Tabitha and Rhys. After Erika dies, Tabitha and Rhys are forced into a relationship of circumstances. Erika’s will acts as a narrative device to compel Tabitha and Rhys together. Once Tabitha sees the paperwork, she realizes that Rhys “has some claim over [her] nephew” although she’s the one who’s “helped raise [him] for three years” (20). Tabitha can’t simply run away from Rhys or cut him out of Milo’s life. She is forced to invite him into her home in Rose Hill as the will is a binding document. As a result, Tabitha and Rhys must spend protracted bouts of time together—an arrangement that begets the primary narrative tension.
Erika’s will complicates Tabitha’s ability to grieve. Erika’s stipulations suggest that Erika didn’t trust Tabitha enough to care for Milo and make Rhys believe that Tabitha didn’t love Erika or Milo enough to be in their lives. For Tabitha, these conflicts feel “almost worse than the pain of [Erika’s] death” (22). Instead of focusing on how she feels about what happened to her sister, she becomes embroiled in a legal and emotional battle with Rhys.
Silver also uses another romance trope, enemies-to-lovers. In an enemies-to-lovers storyline, the love interests begin as antagonists, usually because they misunderstand one another, and end up falling in love. A classic example is Jane Austen’s Pride and Prejudice (1813), where Elizabeth Bennet and Mr. Darcy conquer their distaste for one another and become a couple. Other popular examples include Sally Thorne’s novel The Hating Game (2016) and the film You’ve Got Mail, which alludes to drawing inspiration from Pride and Prejudice.
Fitting the enemies-to-lovers trope, Tabitha and Rhys outwardly hate each other but secretly harbor sexual and romantic feelings for each other. They initially don’t see how the other has a good and kind nature. Tabitha believes that Rhys evicted her sister, and Rhys believes Erika’s lies that Tabitha didn’t care for her. Their hidden attraction to one another heightens their more overt distaste and foreshadows relational developments between them.
The characters’ intersecting first-person points of view reveal their true feelings for one another, reflecting their simultaneous frustration with and attraction to each other. For example, when Rhys comes over to visit Milo and meet with Tabitha and Trixie, he feels annoyed remembering all of the negative things Erika told him about Tabitha; at the same time, he can’t help but notice the “elegant slope of her neck, the way her bare shoulder peeks from the off-kilter neckline of her navy knit sweater,” and the “tips of her breasts creat[ing] two clear points in the fabric” (28). This illuminates his attraction. Tabitha also feels irritated with Rhys in this scene. She believes that he betrayed her and Erika, but can’t help noticing his alluring physique and manner. The characters’ conflicting emotions promote tension.
Tabitha and Rhys do their best to bury their feelings for each other because they are still grieving Erika and determining Milo’s future. Additionally, they fear betraying Erika’s memory by prioritizing their own desires. Emotional and familial concerns keep them from confronting their attraction to each other. They begin to engage in a “slow burn” romance—a relationship that develops gradually and arduously to incite the reader’s investment and protract narrative tension. The protagonists put sex and romance second to their grief and loss, forming a rationale for the slow development of their relationship. References to guilt pepper Chapters 1–13 and suggest that Tabitha and Rhys feel incapable of acting on their feelings in light of Erika’s death. At the same time, the collision of grief and love in Tabitha and Rhys’s story suggests that all endings beget new beginnings and that even loss can create opportunities for intimacy.



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