53 pages • 1 hour read
Home doesn’t provide Truly with relief, as she can’t pull herself away from her screens. She tells herself not to check her computer or phone, but she inevitably does. She consumes the comments on the photos Natasha posted. Kids from the all-county orchestra think Truly is “stuck up,” ninth-grade girls comment “SMH” and “LOL,” and an older boy thinks Truly is “hot.”
Fed up, Truly throws her phone at her door, catching Henry’s attention. Henry doesn’t feel bad for not having a group of friends. When Truly tells him her friends hate her, Henry replies that they’re not her friends then.
Henry tells Truly about G. Gordon Liddy, the person who primarily planned the break-in at the Democratic National Committee headquarters in the Watergate complex. The break-ins led to the Watergate scandal and the resignation of President Richard Nixon (1969-1974). Liddy refused to cooperate with investigators and went to jail. Henry claims Liddy would hold a lighter to his palm during parties. People asked how he withstood the pain, and he said the trick was not minding. Henry thinks Truly should try not to mind.
The popular girls worry about the conflict on social media. They’re scared the principal might step in. Truly has stopped replying to comments and she’s given up on untagging herself. Natasha concludes that Truly’s surrender signals her guilt.
Hazel arrives in a shiny black car, and Brooke tells her that she wants to hang out again without funerals or death. Hazel compliments Brooke by calling her “weird.” She also sticks up for Truly. She tells Brooke that Truly is nice and alludes to the email Natasha sent Truly. Brooke wonders how Hazel knows about the email, and Hazel promises to explain later. Hazel reminds Brooke that she has “power,” so she should use it to help Truly. Citing the Israeli Prime Minister Golda Meir (1969-1974), Hazel tells Brooke, “Don’t be humble; you’re not that great” (344).
Hazel quotes adults who say kids should get off social media and go outside. Hazel thinks it’s people, not social media. Hazel argues that kids didn’t invent bullying. Hazel’s grandmother bullies her mother about her style, her mother bullies her father about how he chews, and her father bullies her about her hair.
Clay studiously prepared for his math test, but when he looked at the test, he was immediately confused. After math class, Clay bumps into Brooke, and she takes him to the C stairwell. Clay’s parents took away his phone and computer, so he’s not following the online drama. Jack briefed him about it, and Brooke thinks Truly looks “haunted.”
Concerning math, Brooke suggests Clay asks his father to run with him. Clay’s father doesn’t run, but that’s Brooke’s point: Running for him is like studying for Clay—it’s not easy. Clay is silent. He wants to “grab” Brooke. She asks him if she’s “weird.” Clay says she is, and she kisses him. They admit their romantic feelings for each other.
Truly writes the script for the Benedict Arnold play. She prints them out, staples them, and brings them to social studies. There are only four parts, so Natasha asks if Truly is the director. Truly claims she’s “nothing.” Natasha is Peggy, Brooke is George Washington, Evangeline is Benedict Arnold, and Lulu is John Andre. The girls discuss the play and the actions of the characters, and Natasha notices that their conversations have multiple meanings, as it also applies to their personal behavior.
Truly claims no one in the play is “innocent,” but Natasha believes the play suggests that if a person is a scheming “douche,” then they should die. Truly walks out of school, and Natasha texts her mother in the bathroom. Natasha’s mother tells her to stay tough.
Truly’s chapter is five lines. She calls herself a “butterfly” and tells herself not to feel or think. Truly just has to keep walking.
Truly has never cut school, so Hazel is worried. Hazel is supposed to be strange and hyperbolic, not Truly. Hazel begs Truly to “connect.” She sends Truly a flurry of urgent texts. She prods her to answer. She tells Truly that the ostracism is her and Natasha’s fault.
Truly stands by Big Pond as she wonders why people are mad at her. She feels like she must choose between having no friends and having friends that hurt her. She doesn’t want to go home because then she’ll have to face her parents, who’ll be disappointed that she cut school.
Truly looks at her phone and the texts from Hazel, who promises to publicly accept blame for the conflicts on social media. Hazel apologizes, and Truly responds with an apology. Hazel tells Truly to change her passwords. Confused by Hazel’s directive, Truly throws her phone in the air and it splashes into Big Pond.
Jack skips practice and goes to Truly’s house. No one answers the door, but he sees her sitting on a swing in the backyard. He joins her. After small talk about her stitches, she starts to cry. Truly asks Jack about what’s happening online. Jack believes people say false, unmindful things, and there’s nothing anyone can do about it.
Jack gives Truly the bracelet, and Truly wonders why he’s nice to her. She feels like she has a wrecked and petty personality, but Jack disagrees. He helps Truly put the bracelet on, and Truly says it feels as strong as rope. Truly wants a rope. Jack is excited that Truly likes his gift. To calm himself, he thinks about what he’ll cook for dinner.
Brooke’s father stands in the kitchen. He can’t believe he bought $200 worth of groceries but forgot milk. Her father says he once bought a car for $200—it had no floor or brakes, but he didn’t need them. Her father doesn’t mind setbacks. Bad things will occur, but people should keep going and start over. While Brooke helps her father put away the groceries, Clay sends her a photo of the C stairwell, labeling it the greatest spot on earth.
At Evangeline’s house, the girls are supposed to practice the Benedict Arnold play, but they go online to try to find Truly and delete and block the toxic posts about her. At home, Natasha tries to fit into a dress. She sweats and feels her blood flow cut off. She gets the dress inside-out and over her chest when she crashes into her lamp. Natasha’s mother thinks Natasha threw her lamp against the wall.
Natasha’s mother gets a phone call from Truly’s mother, who tells Natasha’s mother about how Natasha’s actions have negatively impacted Truly. They hang up, and Natasha’s mother bangs Natasha’s door open. They laugh at Natasha’s condition, and Natasha’s mother cares for Natasha’s feet—she stepped in the lamp glass.
Natasha feels fat, and her mother exacerbates her perspective. Natasha’s mother makes Natasha hate herself. She wants her mother to realize that she’s hurt, too. Natasha’s mother claims to be on Natasha’s side. Natasha says her mother should be on someone else’s side then.
Hazel and Truly apologize again to each other at school. Hazel gives Truly a word lock that spells “friend,” and she compliments Truly’s bracelet. Truly assures Hazel that her parents don’t hate her, they just think the conflict got “a little out of hand” (408). Truly’s parents have banned her from going online for a month, and, as a show of solidarity, Hazel bans herself from online spaces for a month. Hazel and Truly agree that online isn’t the main problem, but it accelerates an already toxic atmosphere.
Truly enters the bathroom, hoping to have a moment to herself before she faces the girls, but the girls are already in the bathroom. They tell Truly that they deleted most of the content about her, and then they compliment each other’s costumes. They take a photo and post it.
Truly tells Natasha that her mother thinks they need a break. Natasha agrees. Truly asks if Natasha is okay, and Natasha tells Truly to get over herself. Truly is talking about Natasha’s feet—they look injured. Natasha doesn’t want to get into it. The girls agree to try not to get so angry at one another.
In the gym, Truly introduces the play, Benediction, since the word means to say something good about someone. Truly thinks Benedict also just wanted to be popular.
The main conflict resolves largely due to Hazel’s admission of guilt and her intervention. Though Hazel spends most of the story plotting against Truly, she’s not an incorrigible antagonist. Reinforcing the theme of The Fluidity of Relationships, Hazel’s connection to Truly changes when she sees her cut school. A stark departure for Truly, Hazel becomes worried and sends Truly a flurry of texts. They reconnect, and Hazel confesses her machinations, and the girls become friends again. Hazel’s actions demonstrate that redemption is possible even for characters who have caused significant harm, highlighting the potential for growth and reconciliation as long as there is consistent communication. The return to a peaceful friendship is because of Hazel. Although she acted maliciously, she’s not uncaring. She didn’t want to cause irrevocable damage to Truly, and when she thought her actions might seriously harm Truly, she stepped in. This moment encapsulates the book’s focus on forgiveness and the capacity for change within relationships. In a sense, Hazel started Truly’s downfall, and she’s responsible for lifting her back up, but she does so graciously.
The characters become sources of wisdom. That is, in the final chapters, key dialogue sounds like guidance. Henry tries to counsel Truly by telling her about Liddy and not minding the lighter. Brooke’s father takes on the role of a sage when he tells her, “Bad stuff’s gonna come. You just have to walk it off and start over when it does” (393). Hazel sounds like an informal digital technology scholar, telling Brooke, “[I]t’s not about the social media. It’s us. We all suck” (343). These moments of advice resonate across generations, illustrating that navigating conflict and resilience is a universal challenge, regardless of age. Henry’s advice doesn’t fully apply, as none of the girls successfully ignore the conflict on social media, but it sends a general message about the importance of keeping harmful things out of mind. Brooke’s father’s sentiment is salient as Hazel and Truly survive their “bad stuff” and restart their friendship. Hazel’s thoughts on social media are arguably accurate. She makes the case that social media isn’t separate from the people who use it. If the users “suck,” then the content will “suck.” This commentary criticizes the modern tendency to blame platforms rather than addressing human behavior, urging introspection among users while also highlighting The Harmful Impact of Digital Communication.
The inclusion of Liddy and Golda Meir, and the ongoing Benedict Arnold focus, cement the intersection with eighth grade and political warfare. The eighth-graders scheme and plot like Liddy did for Nixon, and they search for power like Meir, who was known as Israel’s Iron Lady. As the girls put on their Arnold play, they become inseparable from their parts. When they discuss Arnold, Natasha is confused, wondering if they’re talking about their roles in the play or what happened at school and online. Natasha says, “[E]verything they were saying had double and triple meanings” (357). Truly brings Arnold into their environment, saying, “Basically, he wanted to be popular. That’s all. We didn’t invent wanting to be popular, turns out” (420). This interplay between historical and personal motivations reflects the cyclical nature of power struggles, connecting middle school drama to larger societal patterns. Politics and warfare help the girls understand their actions, and their emphasis on popularity helps them fathom the choices of fraught political figures.
Humor continues to balance out the genuine emotions of the girls. One of the funniest moments in the last chapters involves Natasha and her dress. She tries to force herself to fit into it, and when that fails, she struggles to get it off. Natasha admits, “I was completely trapped in the torture-chamber-tube of dress” (398). The hyperbolic diction—“torture chamber”—is humorous, and when she crashes into the lamp, she becomes an example of physical comedy. This humor, though lighthearted, also underscores Natasha’s vulnerability and insecurity, offering a deeper understanding of her character. The humor juxtaposes the painful conversation between Natasha and her mother. Thus, the story indicates that humor and pain often exist side by side. This duality encapsulates the complexity of adolescence, where moments of levity and anguish coexist, enriching the narrative’s emotional depth.
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