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For the next two weeks, Blythe can think of nothing but Elijah’s death. She even visits the pediatric intensive care ward at the hospital, a McDonald’s happy meal in her hand to make people think her child is a patient there.
As a child, Blythe knocks on the Ellingtons’ door to play with their boys, Thomas and Daniel. Mr. Ellington answers and says the boys are at their aunts and Mrs. Ellington is sick. Upstairs, Mrs. Ellington tells Blythe that she is resting after suffering a miscarriage.
Blythe decides she wants to have another baby: “I wanted another chance at motherhood. I could not concede that I was the problem” (114). Fox reluctantly agrees, but Blythe doubts his sincerity.
One night when Blythe is ovulating, she tries to initiate sex with Fox. When Fox’s body language suggests that he doesn’t want to have sex, she accuses him of not wanting another baby. At that he relents, but their sex is cut short after Violet walks in on them.
The next morning, Blythe overhears Violet say she hates her. Fox merely replies, “Violet, she’s your mom” (115).
That night, Blythe begs Fox to try just one more time to make another baby, and Fox reluctantly agrees. The attempt is successful.
Now pregnant, Blythe goes to a flea market and is profoundly affected by a painting of a mother with a baby boy on her lap. She buys the painting to hang up in her next child’s nursery.
The moment Blythe gives birth to Sam fills her with euphoria: “He was my miracle. [...] He was the most beautiful creature I had ever seen” (121). Fox says he looks just like Violet, but Blythe disagrees.
Blythe adds, “I remember so little else about how he came into this world. I remember everything about how he left it” (122).
When Cecilia has her first period at age 12, Etta refuses to help her or explain what it means; she merely tries to give Cecilia two of the white pills she hides from Henry. Fortunately, Cecilia learned about puberty from classmates and has the wherewithal to take money from Etta’s purse to buy sanitary pads.
Blythe has fond memories of her earliest days with Sam. The tears she sheds are a “release of love” (125), and even though her nipples hurt from feeding him, she cherishes this time in a way she never did with Violet.
Violet doesn’t like Sam at first, but Sam adores her. Meanwhile, the distance grows between Blythe and Fox, whose lived experiences continue to diverge. While Fox supports the family by going to work and interacting with adults, Blythe feels like a machine—a body that must keep running even as it turns itself to “mush” (127).
As Blythe schedules swim classes and playdates, Fox resents how much busier Sam’s social life is than Violet’s was. One night, Blythe overhears Fox tell his mother, “She loves that boy. I just wish she felt that same way about Violet” (130). Later, Violet asks Blythe if she loves Sam more than her. Blythe says she does not, yet she worries that Violet may have overheard Fox say something to this effect.
Nevertheless, Blythe’s relationship with Violet is the strongest it’s ever been, particularly as Violet begins to warm to Sam.
One night, Blythe goes to check on Sam, lifting him up and comforting him in her arms. Suddenly, she hears Violet say, “Put him down” (134). Blythe didn’t realize that Violet was in the dark room. She’d been watching him sleep. Violet continues to insist that Blythe put Sam down in a voice that still haunts Blythe today.
Blythe leaves Violet and Sam with a babysitter so that she can get a pedicure with a friend. During the pedicure, Blythe imagines a scenario in which Violet grabs one of Fox’s golf clubs from the basement and bashes Sam’s head in. In a panic, Blythe runs out of the salon and comes home to find Sam asleep and Violet reading in her room.
The small bit of affection that had grown between Blythe and Violet after Sam’s birth is now gone. Violet’s contempt takes the form of passive resistance to even the simplest commands.
Meanwhile, Blythe gets a prescription for anxiety medication but never fills it, thinking back to the pills Cecilia often took.
Blythe recalls the day before Sam died. The family goes to the zoo, and Blythe buys her children two tiny lion figurines from the gift shop. On the way home, Violet, now seven years old, throws her lion out the window, saying, “I didn’t want the mom lion. I hate my mom” (147).
At home, Violet helps Blythe give Sam a bath, calling him “a good baby” (148) but then saying, “I don’t want Sammy anymore” (148). Nevertheless, she still kisses him goodnight.
The next day, school is closed, leaving Blythe, Violet, and Sam alone for the day. They go to a coffee shop where the owner, Joe, is friendly to Violet, and Blythe orders a hot tea. Outside, they wait at a crosswalk for the light to change, Sam in his stroller. Suddenly, Violet grabs Blythe’s arm as she’s taking a sip of tea, causing her to burn her face. As Blythe grabs her face with both hands, Sam’s stroller rolls into the road. An SUV driven by a mother with two kids in her backseat crushes it, killing Sam instantly.
Unable to move, Blythe stares at the twisted stroller. She looks down at the curb and sees a groove between the road and the sidewalk she thinks is deep enough to stop a rolling stroller. Blythe is convinced that she saw Violet’s pink mittens touch the stroller when Blythe was scalded by the tea.
Of the events between that revelation and being at the hospital, Blythe has no memory. When Fox arrives, he hugs Violet and then Blythe. Down the hall, Blythe and Violet get water from a water cooler. Although Blythe knows Violet has to pee, she does not take her to the bathroom: “I wanted to let her wet herself” (153).
Still at the hospital, Blythe tells Fox, “I think she pushed him into the road. I told the police. [...] I saw her pink mittens on the handle of the stroller. [...] It wouldn’t have rolled over that groove” (153). Fox insists that it was an accident, shaking his head at the police officer, who acknowledges that he does not believe Blythe either.
Sitting in the emergency room, Blythe thinks back to a question Violet asked her a week ago: “Do the cars only stop when the light is red?” (154).
This chapter grouping covers Sam’s tragically short existence, leading up to his horrifying death in Chapter 44. The author builds suspense toward this moment the entire novel, having Blythe mention that Fox’s new son looks like Sam without explaining who Sam is—after all, Fox already knows. Blythe also foreshadows this moment in her thoughts during the frequent visits she makes to the pool, where she used to take Sam for swim lessons.
Another symbol of Blythe’s love for Sam is the painting of the mother and child that she buys from the flea market. At first, the painting represents Blythe’s broader attitude toward motherhood: an idyllic vision of overwhelming love and affection. This vision is free from sleepless nights or anxieties over a child’s latent capacity for violence and murder. After Sam’s death, however, the painting represents all she has left of her son: a memory of their love frozen in time. Like the boy in the painting, Sam will never grow old.
However, from the start, Blythe’s motivations for having another child are suspect. She all but admits this in her letters, telling Fox, “I wanted another chance at motherhood. I could not concede that I was the problem” (114). Once again, Blythe is driven less by a sincere desire to be a mother and more by a compulsive need to outperform Cecilia in maternal respects, as if doing so will erase the trauma of her upbringing and abandonment.
Nevertheless, Blythe presents her approach to motherhood as vastly different with Sam than with Violet. This is evident in the language she uses when describing giving birth to and caring for Sam versus Violet. The experiences she recalls about birthing Violet center on diarrhea and afterbirth. When she remembers giving birth to Sam, however, she writes, “He was my miracle. I pulled him to my nipple and tapped its nub on his bottom lip with arms that still shook from the oxytocin. There you go, sweet boy. He was the most beautiful creature I had ever seen” (121). Later, she characterizes the hardships of caring for Sam as an infant in similarly miraculous terms, writing, “I cried without thinking, without knowing why, but the tears were a release of love. [...] My nipples stung at the thought of feeding him next. And yes. I didn’t want that time with him to end” (125). During these halcyon moments of birth and breastfeeding, Blythe hardly thinks of Violet, except in a shockingly candid admission about passing her placenta and fetal membranes: “The blood poured from me into the toilet and when I looked down at the mess, for some reason I thought of our daughter again” (121).
Why Blythe takes to Sam so excitedly—after approaching Violet’s birth like some harrowing affair at every turn—is worth questioning. One explanation is that after viewing her first attempt at motherhood as such an utter failure, Blythe goes about the task of raising Sam with a special zeal, more eager than ever to prove that she can break the cycle of neglectful mothers in her family. Another explanation is that this is yet another consequence of Blythe’s unreliable narration. Given Sam’s untimely death and Violet’s suspected role in it, it’s understandable that Blythe’s recollections of Sam would be far rosier than those of Violet. In her memory, Sam is the boy from the painting, eternally young and innocent. However, the third explanation for the disparity between her feelings for Sam and Violet is also the simplest: Sam is a boy. Blythe’s maternal trauma is unique to the mother-daughter relationship she shared with Cecilia; so was the trauma between Etta and Cecilia. A mother-son relationship, however, isn’t poisoned by the past, allowing Blythe to escape the cycle of inherited trauma and build something wholly new in its place.
In addition, these chapters further explore Fox’s role in the dissolution of their family and the alienation that festers between Blythe and Violet. For example, when Blythe overhears Violet say she hates her mother, Fox only says, “Violet, she’s your mom” (115), as opposed to offering a less perfunctory defense. Blythe recalls, “There were so many other things you could have said, but those were the words you chose” (115). In this view, Fox doesn’t consider mothers as complex human beings or even women with agendas outside of birthing and rearing children; Blythe is simply “mom,” nothing more and nothing less.
Finally, these chapters depict the novel’s central tragedy: Sam’s death in the intersection. As with Elijah’s death, Blythe’s interpretation of the events is untrustworthy. She admits that she’s predisposed to believe Violet is capable of such monstrous behavior. Moreover, if the incident were truly accidental—that is, if Blythe simply let go of the stroller and it rolled into the street—then Blythe would understandably search for any explanation except for the one that implicates herself. The rest of the novel walks this narrow line as Blythe drives herself to despair and anguish trying to know for certain whether the death was accidental or intentional—and in doing so, pushes away everyone in her life. While in a literal sense, the novel’s title refers to Violet’s suspected murder of Sam, it also refers to Blythe’s compulsion to push Fox and Helen away, even as she paradoxically draws Violet in closer.