56 pages • 1 hour read
Freida McFaddenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Domestic violence is violence within an intimate relationship. Domestic violence can take place between romantic partners of all gender identities. It can also be violence perpetrated by an adult against a child. In this novel, McFadden explores the stories told about domestic violence, especially those that miss important details of how domestic violence occurs. The primary instance the novel seems interested in are those involving violence perpetrated by men on their female partners. The main character, Millie, after spending a decade in prison for protecting a friend from a rapist, has made it her life’s mission to save women from their abusive partners by helping these women escape. Millie is also studying to become a social worker in hopes of continuing this work in a legal capacity. It is this history of helping women that causes Millie to recognize the signs of abuse in Wendy Garrick and to push to save her.
The novel is told from Millie’s point of view, and it is easy to see why she would believe Wendy is abused. Wendy spends all her time locked in the guest bedroom of her home. Douglas, Wendy’s husband, refuses to allow Millie to interact with Wendy and he becomes angry when she does. Millie overhears sounds coming from Wendy’s bedroom that could be the sounds of conflict. Millie sees blood in the bathroom and bruises on Wendy’s face that appear to be the mark of long-standing abuse. From Millie’s point of view, there is no doubt that Wendy is abused and needs to be removed from the situation. Even Wendy’s reluctance to leave and her apparent disrupted escape only solidifies the situation for Millie. In the end, spurred forward by her past and her determination not to be someone who stands by and allows something bad to happen, Millie fires a loaded gun at Douglas when he attempts to strangle Wendy and believes she kills him.
Unfortunately for Millie, Wendy’s claims of abuse are all false. Like the New York Times article about Kitty Genovese that spurs Millie into action in regard to Wendy’s case, Wendy has manipulated Millie’s point of view to cause her to act in a specific way. From the beginning, Wendy has known that women experiencing abuse are Millie’s weakness, and she uses it to get what she wants out of Millie. Wendy carefully sets Millie up to take the fall for killing Douglas Garrick even though Millie has never met the real Douglas, nor did she shoot him. By using domestic violence to manipulate Millie, Wendy twists the truth in order to mold it to tell a story she wants told. Wendy does a despicable thing that turns a real tragedy among families into a game to get what she wants. In this way, McFadden opens up the narrative to broader definitions of domestic violence that include emotional manipulation and women perpetrators.
The bystander effect is a psychological phenomenon that is described as the inaction of witnesses of a crime when more than two people observe the same crime. This phenomenon has often been attributed to the murder of Kitty Genovese, a crime that, according to a New York Times article, was witnessed by 38 people who did nothing to intervene or help. Millie hears about this case in her psychology class, and although Brock informs her that the news article was sensationalized and misleading, she clings to the idea of Kitty dying in front of these witnesses as a reason to continue helping Wendy. Millie doesn’t want to be one of those people who sees a crime and does nothing to help.
The opposite of the bystander effect is when someone becomes so involved in a case, they lose perspective and don’t see things that might be right in front of them. In Millie’s case, she is so determined to help Wendy that she doesn’t notice, or doesn’t analyze, certain behaviors on both Wendy’s and her part, or notice obvious signs that Wendy’s story is a lie. Millie sees bruises on Wendy’s face, but she doesn’t question the fact that they are painted on with makeup. Millie agrees to rent a car and a motel room in her name, but doesn’t question the fact that Douglas might assume Millie helped Wendy escape and use that fact to locate his wife. Millie acts rashly at times because of her determination to save Wendy. This is something that Millie has displayed in the past as well, most notably when she beat a man to death for attempting to attack her friend, as pointed out by Officer Scavo in the aftermath of Xavier’s assault.
Although Millie is somewhat bitter by her experiences in prison, she is a good person who wants to protect those who cannot help themselves. Even though she knows she cannot help Wendy as well as she might have if Enzo were still around, Millie does her best to get Wendy out of her situation. It is this desire to be the good person, to do the right thing, that causes Millie to shoot Douglas and end up nearly going to prison for his murder. In this way, McFadden does challenge Millie’s heroic impulses as potentially dangerous and naive.
Money is often a strong motivator for a variety of actions. For Millie, money is a means to support herself, to pay for school, and to secure a good future. For Brock, money is something his family has always had, and something he wants to prove he doesn’t need from his parents now that he has his own career. For Enzo, money doesn’t seem to matter at all. For Douglas, money is a way to care for himself, but it is also a way to give back to a society that allowed him to become as successful as he has. However, for Wendy, money is an end in itself, the only thing that matters.
Like nearly all the characters in the novel, Wendy grew up poor. Wendy attended a private school on scholarship, and she developed a great deal of jealousy of her classmates and their clothing and possessions. As Wendy became an adult, she made the decision that she would not only not be poor, but would be wealthy. Wendy set out to find a rich husband with the sole desire to have money. Wendy isn’t even willing to walk away penniless from her loveless marriage and decides to find a way to outsmart the prenup that will take her money from her in the case of a divorce.
Yet the desire for wealth is not absolutely criticized in the novel. Brock’s desire for a financially stable and “good life” is grounded in morality. He tries to defend Millie, even after breaking up with her when he warns her about the warrant for her arrest. Douglas desires to give his wife whatever she desires, but ends up drawing boundaries to protect his wealth from her corruption. Finally, Millie’s desire to earn money is not demonized and her circumstances as a poor single woman shed light on how wealth can complicate women’s attempts to escape domestic violence.
By Freida McFadden