A Nearly Normal Family

Initially portrayed as a man of faith and conviction, Adam experiences a profound transformation driven by his daughter, Stella’s, legal troubles. His journey from a pastor with a rigid moral compass to a father willing to forsake his principles for his family is central to the novel’s exploration of moral ambiguity and parental love.

Adam’s deep love for his family is coupled with a need for control that often veers into paranoia. For instance, his reflection, “I didn’t know what my daughter wanted from her life” (13), underscores his preoccupation with his own ideals of a perfect family and reveals his disconnection from Stella’s aspirations. Moreover, as his family life seems to spin out of control, Adam has few places he can look to for stability. Adam’s character arc is marked by an increasing distrust of the legal system and those around him, including his wife and the lawyer Michael Blomberg. His subsequent erratic behavior, such as his misrepresentation of himself to Linda in search of information, indicates a gradual loss of control. This progression suggests his internal struggle between his deeply ingrained moral beliefs, particularly around truth telling, and the desperate need to protect his daughter.

Adam’s composure slips again after Stella’s exoneration, when the novel describes him as “absolutely uninhibited and stripped bare” (385). This moment of raw vulnerability signifies a departure from his controlled persona, revealing a depth of emotion and a readiness to embrace a new understanding of his relationship with Stella. In lying to provide Stella with an alibi, Adam evolves into a character who prioritizes his daughter’s well-being over his strict moral code.

Ulrika, Stella’s mother, embodies the contradictions 21st-century women face. As a successful lawyer, Ulrika is deeply committed to her career, which often puts her at odds with traditional expectations of motherhood and family life. Her narrative arc is shaped by her profound sense of being an outsider, a sentiment encapsulated in her admission, “For my entire life I have felt cut off from the rest of humanity” (301). This feeling of disconnection permeates her family life, influencing her relationships with her husband, Adam, and daughter, Stella.

Ulrika’s sense of alienation stems partly from the societal pressure to be a “good girl”—a pressure she has internalized from her own childhood and one she sees being imposed on her daughter. This internal conflict leads her to step back from her family as she grapples with feelings of inadequacy as a mother. Her affair with Blomberg symbolizes her inner conflict and her struggle with societal expectations. This affair represents her attempt to find recognition and value outside her familial roles, offering a respite where she feels seen for her professional achievements and intellect. However, it also acts as a catalyst for her self-reflection, leading her to reassess her life choices and priorities. In the wake of Stella’s legal troubles, Ulrika reassesses her priorities and the role she plays in her family. This introspection leads her to a renewed commitment to motherhood, not only toward Stella but also toward Amina, effectively becoming the kind of nurturing figure she had always wanted for herself.

Ulrika’s disposal of evidence marks the turning point in her narrative arc: This is not just a mother protecting her child but also a symbolic reclamation of her familial role. As she throws the murder weapon into the quarry, she acknowledges the gravity of her actions: “At last I knew what was important, what really meant something. Here was my opportunity to prove it” (381). This scene at the quarry becomes a metaphor for Ulrika’s transformation. She is literally and figuratively casting away the past, along with her doubts and hesitations, and embracing her role as a protector and nurturer.

Amina serves as a dynamic foil to her friend Stella. Portrayed as the stereotypical “good girl,” Amina is scholarly, excels in handball, and seems destined for a career in medicine. Her character is central to themes such as The Weight of Expectation, Perception Shaping Reality, and Dreams and Disillusionment.

Amina’s ambitions are more reflective of her parents’ desires than her own, underscoring the burden that parental expectations can place on children. Her compliance appeals to Adam, whose descriptions of Amina contrast starkly with his view of Stella. However, where Adam perceives Amina as a stabilizing influence on Stella, there are indications that she is less straightforwardly dutiful than he believes. Amina’s extortion of Roger Arvidsen, for example, reveals her capability for deceit and manipulation, which stands in stark contrast to the “perfect” image others project onto her.

Conversely, Ulrika identifies with Amina precisely because she senses the pressures and expectations Amina struggles with—expectations Ulrika also felt as a young woman. However, Ulrika’s connection with Amina creates a point of contention in Ulrika’s relationship with Stella, as Amina inadvertently becomes a standard against which both of Stella’s parents measure their daughter.

Nevertheless, the relationship between Stella and Amina is one of the strongest in the novel. Stella feels a need to shield Amina, as seen during her ultimate decision to confront Christopher Olsen. This protectiveness is mutual, as evidenced by Stella’s belief that Amina’s presence would have deterred Robin’s advances. Still, their friendship is not without its deceptions, particularly regarding Amina’s interest in Christopher and her reluctance to share her feelings with Stella.

Amina’s decision to expose Ulrika’s professional shortcomings to defend Stella symbolizes a shift from innocence to a more complex understanding of loyalty and truth. This moment also reveals Amina’s reasons for not reporting Christopher’s assault, highlighting the societal challenges women face when confronting abuse: “I was thinking about Dad. I know how stupid it sounds, but it would destroy Dad if he found out. I was afraid of what he would do. Plus, Linda Lokind had already reported Chris, and it never led anywhere. Guys like him always get off” (371). Her brave testimony plays a pivotal role in securing Stella’s exoneration.

Christopher serves as the antagonist whose actions catalyze the novel’s central conflict. Stella describes Christopher as handsome: a “classic hunk” with “thick, slicked-back hair and bright blue eyes” (196). However, there is a significant age gap between them, which offers early insight into Christopher’s manipulative tendencies. His history with Linda, who filed charges against him for sexual assault and assault, further foreshadows his controlling interactions with Stella. This aspect of his character is explicitly emphasized when Stella researches psychopathy: “For a psychopath, sex is all about power […] The psychopath slowly pushes the partner’s limits and in this way gains power over her” (243). His coercive behavior further emerges in a scene where he suggests being intimate on Stella’s parents’ bed, a proposal Stella finds repulsive.

Christopher serves as a lynchpin for the novel’s exploration of societal issues surrounding abuse and manipulation in relationships. He represents the darker, predatory aspects of human nature, exploiting the innocence and vulnerability of younger individuals with impunity, knowing sexual offenders rarely face repercussions.

Shirine, Stella’s therapist in jail, plays a pivotal role in Stella’s journey of self-discovery and healing. The novel portrays her as a confidante whose approach to therapy is both unconventional and deeply insightful. Her static but essential character offers stability and understanding in Stella’s chaotic life.

Shirine’s physical appearance aligns with her role: “She’s dark and pretty and has her hair in two tight braids—a Middle Eastern version of Princess Leia” (156). This description, coupled with Stella’s perception of her as warm and kind, akin to “little old ladies and puppies” (157), establishes her as a strong but compassionate figure. Despite Stella’s initial resistance to therapy, she finds it hard to dislike Shirine.

Shirine recognizes that traditional therapy techniques may not be effective with Stella, so she chooses a more indirect path by introducing books. This allows Stella to explore her feelings and thoughts indirectly, providing insights for both herself and Shirine. Shirine’s understanding of Stella becomes clear when Stella notes, “Shirine is polished in a sneaky way. Somehow she’s lured me into a conversation” (194). This ability to engage Stella in meaningful dialogue without direct confrontation demonstrates Shirine’s skill as a therapist.

After building trust with Stella, Shirine probes the moral complexity of Stella’s situation by questioning if murder can ever be justified. This pushes Stella to confront her own values and beliefs, deepening her character’s introspection. The bond between Stella and Shirine culminates in heartfelt physical expression as they say goodbye: “Shirine hugs me hard, for a long time” (288). This moment is crucial in Stella’s character arc, indicating a breakthrough in her emotional barriers. It also symbolizes Stella’s journey from isolation to a place of understanding and connection, facilitated by Shirine’s empathetic guidance.