50 pages • 1 hour read
Danielle ValentineA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Anna calls Dr. Crawford and Dr. Hill, both of whom suggest that what Anna is feeling is psychosomatic. Regardless, Anna makes an appointment to see Dr. Hill next week. Anna calls Dex, who offers empty consolations, and when she gets off the phone with him, she sees that her stalker has left a message for her on her calendar. The message is a warning: “They did something to your baby” (177).
Anna responds to the stalker, asking if this unspecified “they” killed her baby, and the stalker responds by asking if Anna is sure it’s dead. The stalker stops responding to questions after this, and Anna hypothesizes about how it would be possible for her baby to still be alive when Dr. Crawford couldn’t find a heartbeat. Anna decides to go to CVS for a fetal heart rate monitor. On her way out of the house, she smells the corpse of a raccoon that died in the empty swimming pool; she’s disturbed to find that the scent makes her crave eating the raccoon. Unnerved, Anna hurries to the CVS, where there are no fetal heart rate monitors. When the store clerk puts her hand on Anna’s belly without Anna’s permission, though, she claims to feel something kicking inside.
Anna returns to her car and receives a call from Emily: Anna has been nominated for an Oscar. As Emily begins to insist that Anna do more publicity events and possibly move to LA, Anna starts to consider Emily’s motivations and the possibility that Emily might somehow be the one interfering with her life. When Anna gets back to Talia’s house, a strange woman approaches; Anna quickly evades her. Dex is home, and when she asks Dex if this woman might be a neighbor, Dex reveals that Talia also owns the house next door but keeps it empty. Anna tells Dex that she believes she’s still pregnant. Dex, though initially hesitant, feels her stomach and also feels kicking. The kicking grows more violent until Anna, in deep pain, believes that the baby has broken one of her ribs.
Dex takes Anna to the hospital, though she’s apprehensive about returning to the site of her earlier trauma so quickly. Dr. Hill, in from the city, gives Anna an ultrasound that reveals Anna is, in fact, still pregnant.
In 2007, Lucy, a pregnant woman who previously had a very difficult birth because doctors didn’t believe that she was in pain despite her insistence, takes the advice of a stranger named Josie and hides dolls in various parts of the city. Josie tells her that the dolls will help ease the pain of her pregnancy. Lucy, disillusioned with doctors and hospitals, figures that the dolls can’t hurt.
Dr. Hill informs Anna that her rib is bruised, not broken, and that this issue is not unheard of in pregnant people. The doctor theorizes that Anna was previously pregnant with twins and miscarried only one. This explanation doesn’t quite sit right with Anna, but she’s willing to accept it because of her elation. As she’s driving home with Dex and Kamal, she sees that her stalker has left her a new message via her calendar warning her that she can’t trust anyone.
Anna tells Dex and Kamal about the message, and Dex reveals that he spoke to Emily while Anna was in the hospital, so Emily knew about the visit with Dr. Hill. Kamal urges Anna to fire Emily as her publicist, which Anna agrees to do.
A few days later, Anna believes she hears noises in the attic while she’s in bed. Dex checks, but there’s nothing. To settle Anna’s nerves, Dex brings some cookies from the kitchen. Anna discovers that, though she’s been eating these cookies for weeks, neither she nor Dex actually knows where they came from. Disturbed, Anna heads to the bathroom, where she finds a photo hidden in a drawer of Dex, Adeline, Talia, and Meg. Talia appears to be waving to Meg. Anna is deeply unsettled by this revelation and begins tugging at her hair; her hair comes out in large, bloody clumps.
Dex bursts into the bathroom, and Anna reveals the photograph. Dex, more disturbed by the hair loss than the photo, gets Anna an appointment with Dr. Hill, who assures Anna that hair loss during pregnancy is normal. Dex asks Talia about the photo during the appointment, and Talia confirms that she was once acquainted with the woman but no longer knows her. That night, Anna hears movement in the attic again. She goes up herself this time and finds a doll with its hair pulled out.
Anna tells Kamal about the doll and begins to question how well she really knows Talia. She then receives a phone call from a detective in New York who was assigned to her case. He tells her that the warehouse holding the dolls of her former television character was broken into by a woman who appears to be Meg. Anna goes to bed distressed and has a long, vivid dream about going out to the pool for the raccoon. When she wakes, she finds that she did go out to the pool; to her relief, the raccoon is nowhere to be seen.
Anna goes back inside and, while in the bathroom, sees a woman outside. Kamal, having already realized that someone has tripped the outside motion detector, finds Anna and tells her to stay in the bathroom. Neither Kamal nor the police who eventually arrive are able to find anything.
In 1978, Viviana Torres gets pregnant at 16 and wants to get an abortion. She knows her Catholic parents won’t allow it, so she goes to her friend, Sofia, whose great aunt, a bruja, taught Sofia an abortion ritual. Months later, Viviana still feels the baby inside her and now has unusual cravings. She goes back to Sofia, who contacts her great aunt; the great aunt lets them know that they’ve done the ritual incorrectly and must follow her instructions before it’s too late.
This section of the novel does significant work in developing the central theme of Patriarchal Institutions’ Failure to Acknowledge Female Pain. Anna’s interactions with Dr. Crawford after she begins to feel fetal movement in the wake of her miscarriage demonstrate the unhealthy doctor/patient and male/female power dynamic that characterizes many of the interactions Anna has during her IVF journey. Dr. Crawford immediately dismisses the sensations Anna is experiencing as purely imagined, figments created by the intensity of Anna’s grief. When Anna pushes back, Dr. Crawford responds in “the low, even voice of someone trying to soothe a screaming child” (172). Characterizing the interaction as an adult/child power dynamic is problematic on two fronts. First, it shows the uneven and inappropriate power imbalance that Anna faces when going into these interactions. Second, it indicates how the men in Anna’s life view her—as hysterical and irrational as a child. Anna’s damaging experiences in hospitals are only compounded by the opacity of the guidance she receives from her doctors. When she questions why certain foods are prohibited and others are not, she receives unsatisfactory answers that only lead to further unanswered questions. The institutions involved in Anna’s treatment seem designed to obfuscate necessary knowledge and minimize her very real suffering.
In exploring how patriarchal institutions ignore female pain, this section of the novel also begins to outline more explicitly the effects of such behavior. One of these effects is an inappropriate focus on male suffering during the IVF process. When Anna tells Dex that the woman in the drug store felt the baby kick, Dex not only refuses to believe Anna but also rebukes her suggestion that she get another ultrasound on the basis that doing so would upset him: “I can’t go through another ultrasound like the one we had the night of your miscarriage” (199). Valentine doesn’t present Dex’s rejection of Anna’s request in a way that minimizes the pain that non-childbearing partners may feel through a difficult IVF journey; in fact, Anna entertains Dex’s feelings and even gauges her own lack of response based on what he has expressed. However, Dex’s highly articulate expression of his own pain does starkly contrast with the weeks of entirely internalized physical and emotional turmoil that Anna has suffered as a result of the men in her life dismissing her when she tries to express it. As a result, Dex’s expression here feels inappropriate at best and ridiculous when placed in context. The patriarchal institutions in Anna’s life that demand she internalize her pain and self-silence create a space that elevates and prioritizes male suffering. This section thus lays important groundwork for the theme of The Necessity and Limits of Female Friendship, which the following sections explore in more depth.
The juxtaposition of the interludes in this section once again raises questions about the role of the supernatural in what is happening to Anna, building on the theme of Monstrosity as Female Survival. Lucy Washington’s story presents a surprisingly positive take on the possibility that witchcraft-like practices can help alleviate a pregnant woman’s pain; Viviana Torres’s narrative, by contrast, suggests that incorrectly executed witchcraft-like interventions in a pregnancy can have dire results. In Viviana’s interlude, Valentine once again creates a sense of dread through the use of ambiguity. It’s unclear what the bruja knows and what, exactly, has gone wrong with the ritual. By keeping this information from the reader, Valentine allows for many possible readings of what is happening to Viviana and, by extension, what might be about to happen to Anna.