44 pages • 1 hour read
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Gemma drunkenly wakes up to Ty pushing his way into her room. He waits for her to sober up and fixes her breakfast on the veranda. She wonders if anyone is still looking for her. He reveals the reason behind the poisonous creatures in the outbuilding: He’s making antivenom. He’ll milk their venom, inject it into the camel, and collect her immune reaction. He offers to help Gemma build up her own immunity by injecting little bits of venom into herself. She resists the idea.
Ty starts being really nice, fussing over her, and Gemma tests his boundaries. She claims he must hate her if he won’t let her go. He tries to argue that she just needs to give it six months, and she’ll learn to appreciate life with him. He promises to take her to a town if she still hates it after six months. She calls him disgusting, a killer, and a dog. He tells her he loves her. Instead of getting angry, he feels wounded and sad. She feels both empowered and strangely guilty. Over dishes, he insists he’s serious about the six-month arrangement. She barters it down to four months. Without really meaning to, she tells him she doesn’t even have to turn him in.
That night, she wonders if she has disappointed him. She hears him screaming and tiptoes into his room with the knife. She finds him sobbing in his sleep. When he starts screaming again, she shakes his shoulders. He reacts fearfully, begging some unseen foe not to take him away. He grabs Gemma and sobs into her stomach. She comforts him.
The next day she visits him in the painting shed. He is relaxed and happy. She touches his sandy chest. He wants her to see the painting at sunset. He wants her to paint his back, but he refuses. He sends her to collect some moss and leaves from the Separates, and she does as he asks.
When she returns, he’s naked and almost completely covered in paint. She considers running away but realizes she doesn’t want to. He begs her to paint his back with the moss. She does. He tries to paint her, but she recoils. As the sun sets, it illuminates the brilliant colors of the painting. She finds it wild and beautiful.
As Ty leads Gemma back in the dark, she wonders if she should just give in and accept him. She wants to sit outside and look up at the stars, and he allows him to sit with her. They discuss the constellations they imagine in the stars. He tells her about “the sisters,” a legend where the first women on the land ran away from the men and leaped into the sky, becoming stars. The man chased them and became a star himself, always watching, never catching them. Ty moves closer to Gemma, warming her up. They draw more shapes in the sky. She suddenly feels an ache for her home. He wraps his arms around her, and she leans into him. She asks him if, knowing her as he does now, he would still steal her. He answers that he would. She lays down with her head on his chest, and he talks her to sleep.
She wakes up in the morning craving his warmth. He has left her a note that he went to catch a snake. She wanders to the Separates. She finds him with his arms outstretched, looking for the snake. He tells her to stand still. She becomes shaky with fear. The snake slithers toward her, and she jumps onto the boulder. She slips and steps on the snake, and it bites her.
He ties her shirt around her leg to try to stop the venom. He tries to project calm, but she can see he is very worried. He carries her back to the house. She starts to feel feverish. He lays her on the table and wraps up her leg. He gives her antivenom that he stole from a research lab. He reveals that she was bitten by a death adder. He tries to reassure her, but he’s clearly worried.
Gemma’s fever rises. Ty suspects that the antivenom isn’t working because he stored it in a warm location. He gives her a choice: She can ride it out with him, or he can take her to the mine site. They have a clinic and an airstrip there. She chooses the mine site. He leaves to prepare the camel, and she thinks about dying. When he returns, he slips a gemstone ring on her finger. He saws the legs off the table and ties her to it. He ties the stretcher to the camel. Gemma feels intense pain as they walk through the desert sun. She slips into sleep, dreaming she’s watching herself as a kid through the window. She places a robin’s nest on the windowsill. She realizes she’s playing the role of Ty in the dream as well as herself.
She wakes up, and it’s raining. They have to wait out the downpour. He builds a makeshift shelter out of tarps. He tells her about the rain as she tries to stay awake. Soon, they’re off again.
They reach the car, and he extricates it from the sand. He unharnesses the camel and releases her into the wild. The camel follows them for a while as they drive off. Gemma says goodbye to the camel. She’s barely awake when they reach the mine site. She sees glimpses of trucks and mining structures. Ty takes her to the clinic. They put an oxygen mask on her face, and she can breathe again. He drives her to the tarmac and takes her onto the plane. She holds his hand tight and won’t let him go. He glances back toward the land but stays with her.
They arrive at a hospital. Gemma sees people pushing Ty back. She reaches for him. He leans over her and says goodbye. She shakes her head. She pulls him to her and kisses him. Then, the hospital staff wrestles him away. She watches him as she is wheeled away. He blows a handful of sand after her.
She wakes up alone in her hospital room and asks where Ty is. She sleeps. Her period arrives. She hears her parents speaking in the hall. They rush in, happy and sobbing. She tries to speak but can’t find any words. She’s overwhelmed, and they have to leave.
Later, her mom comes in by herself. She apologizes for overwhelming Gemma. She tells her that the police have Ty, and Gemma will need to make a statement. Her mom calls Ty a monster. Gemma insists he isn’t a monster. Her mother wonders what he did to her to make her think that way.
The police begin interrogating Gemma. She eventually gives in and tells them what happened. A new therapist, Dr. Donovan, starts visiting Gemma. Dr. Donovan explains that Stockholm syndrome happens when a victim starts to bond with their abuser. Gemma feels mixed up and defensive of Ty. Gemma’s mom brings in newspaper clippings from when she was missing to show how much the world cared about her story. She sees an article with a line drawing of Ty, who has pled “not guilty.” Gemma’s mom tells her that Ty will argue that Gemma went with him of her own free will. Gemma agrees to go back to London until the trial. They fly across Australia. Gemma looks down at the land and realizes Ty was painting it as if looking down from above.
In the airport, she’s swarmed by reporters. She dreads going back to the cold, gray city. She breaks away and hides in the bathroom. Her mom comes in and hugs her close. Gemma begins to wonder if the stories Ty told her about her parents weren’t true. She realizes, crying, that she isn’t ready to leave Australia.
Gemma and her parents move into a temporary apartment in Perth. She immediately snaps and throws everything she can find. She asks her mom if she was planning to move away. Her mom says no. Gemma feels hatred toward Ty for destroying her life and making her question her parents. She also realizes that she wants him there, and part of her thinks she loves him.
Gemma looks ahead to the trial. She realizes her feelings change every day. The police and her therapist visit often. Dr. Donovan suggests she write about her experience, and it becomes this letter to Ty. Everyone thinks she has Stockholm syndrome and frets when she says good things about Ty. She tells them what they want to hear—that he is a monster. She thinks about how he stole her but also saved her. She still dreams about him and wears the ring he gave her.
She imagines the trial. She imagines the version where she tells them he stalked her, drugged her, threatened her, and hurt her. She imagines the version where she tells them she befriended him in the park, he protected her, she fell in love with him, and they decided to run away.
She realizes she can’t save him like that. She needs him to know that he was wrong. She decides to tell the whole story, the good and the bad. She hopes it will help him grow into the person he can be. She doesn’t want to stop writing, but she knows she needs to. She tells him about a dream she’s been having where she buries the ring in the Separates. She says goodbye to Ty.
After Gemma’s near-death experience burning up in the desert, she bonds more deeply with Ty, an experience that emphasizes the theme of Transgression, Coercion, and Love in Abusive Relationships. Ty cares for her, attends to her wounds, and generally fusses over her, actively alleviating her suffering even though he is the one who caused it. She feels an ironic, momentary gratitude toward him as he tenderly takes care of her. The experience backs up his claim that he needs her, and she begins to accept this as a reality, illustrating that she is growing to view his coercion and control as a form of love.
Across this section, Gemma and Ty’s power dynamic shifts in several ways, illustrating how Trauma’s Role in Shaping Identity extends to interpersonal relationships. Ty becomes more vulnerable as he reacts to the experience of almost losing Gemma to the desert. He becomes softer and sweeter in his dealings with her. Gemma begins to see opportunities to play emotional games with him. She attacks his point of view, playing a rhetorical trick on him by forcing him to admit he hates her if he won’t let her go. Unlike in earlier scenes where he reacted with anger, in this moment, he reacts by plainly telling her that he loves her. Capitalizing on this vulnerability, Gemma finds an opportunity to engage with Ty on a more equal level. They negotiate the terms of her captivity. She agrees to stay for four months, and if she still hates it at the end, he’ll take her to a town. Unlike earlier scenes when he refuses to give in at all and claims he will keep her forever, he now treats her like more of an equal party in this arrangement. Ironically, this change also contributes to the general feeling that Gemma is a party to her own captivity, creating an illusory sense that she has agreed to be here.
The emotional, almost romantic bond between Gemma and Ty deepens in this section, demonstrating Gemma’s empathy for Ty’s traumatic past, though this empathy is invariably colored by her captivity. When she hears Ty screaming in the night, she recognizes he is dreaming about being forcibly removed from the land, and he mistakes her for his mother. She comforts him as he cries into her chest. Gemma witnesses the depth of his emotional suffering and the traumas from his childhood that have directly led him to make the extreme choices he makes. She also sees the ability she has to alleviate his suffering by comforting him, just as he stepped into that role when he tended to her wounds, she temporarily steps into that role when she comforts him. Following his nightmare, Gemma participates in his painting for the first time, experiencing a genuine desire to see what he is trying to accomplish with the painting. She stops short of painting herself; she isn’t willing to fully immerse herself in this world, but she wants to see inside his mind. The experience is intense and beautiful as the sun illuminates the brilliant colors. She recognizes the wild beauty that attracts him to this land, understanding his desire as well as his trauma. That night she sleeps against his chest under the stars, connecting them physically in an extension of the intimacy built in the art shed. Gemma’s participation in Ty’s art moment highlights the emotional complexity of her experience. She is undeniably moved by the painting, but she isn’t sure whether her feelings are entirely manufactured by her captivity.
Gemma’s snake bite and Ty’s willing arrest bring the story to its climax, demonstrating the novel’s subversion of romantic tropes and its complex depiction of love and abuse. The poison of Ty’s manipulation is physicalized in the form of the death adder. Ty’s carefully constructed world begins to fall apart. He can’t actually protect Gemma or mold her into the desert-hardened person he wants her to be. His role as her protector has cracked, as has his narrative about their actual living situation. Ty completes one last “grand gesture,” which, in a conventional romance, would be the action that solidifies their love or the sacrifice that solidifies the tragedy. In this subversive take on the trope, he takes her to the hospital, sacrificing himself, his freedom, and his perceived love story in order to save her life. This gesture perversely solidifies their love, leading to the climactic moment when she pulls him down onto the stretcher and kisses him. Yet, this moment is not a tragedy—it’s her liberation. The kiss epitomizes Gemma’s emotional bind: She autonomously decides to kiss him, yet the circumstances he has forced her into have manufactured her feelings.
In the final pages of the book, the narration catches up with the present, and the novel’s format becomes clear. Gemma reveals she is writing this as a therapeutic exercise to figure out her feelings in advance of her trial. She acknowledges that her feelings are both real and unwelcome. Her Stockholm syndrome is real, yet she has the strength to fight against it. She projects forward to the future where she tells the whole truth of her experience. The revelation that the text of the novel is in fact Gemma’s attempt to work through her trauma in writing emphasizes Trauma’s Role in Shaping Identity, with the letter to Ty acting as an attempt to reclaim her agency and identity.
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