56 pages • 1 hour read
Krystal SutherlandA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Iris walks into the hallway of Grey’s smoky apartment, but the bull-man returns. He pulls out a gun and starts shooting, breaking a mirror. Vivi slams the door to Grey’s room, and bullets rip through the door. She’s shot in the arm, making Iris hysterical. The man batters the door, and the girls escape out the window, dropping to the ground and running.
Iris and Vivi dash through town to escape the bull-man. The sisters find safety in a cafe, where they peruse Grey’s salvaged belongings and use the barista’s first aid kit on Vivi’s arm. They find sketches of fashion designs and a tumbledown house that’s vaguely familiar, then their father’s notes. Gabe’s entries describe his joy at his daughters’ homecoming, then his mistrust and angst; he cites the girls only talking to each other, wandering their house as though they’ve never seen it, and their physical changes (their eyes turning black, their hair turning white, and Iris’s regrown baby teeth). He considers his paranoia a symptom of PTSD, as Cate and his therapist say, but still believes something is “wrong with all of them”—“especially the one that looks like Grey” (97). Gabe is afraid of the girls, asking where his children are before he writes, “I have come to a terrible conclusion. My daughters are dead” (97).
Iris and Vivi read Grey’s articles and notes on cases of missing people next. Grey researched these people and jotted ideas like “Same? Unlikely. Probably murdered” and “Just one door, or many?,” and “WHAT DID I DO?” (101). The last note addresses a file on Mary Byrne, who disappeared in Brombley-by-Bow, the city where the family buried Gabe. Grey wandered often that week, her notes showing sketches of freestanding doors and archways. The sisters think Grey may have solved Mary’s disappearance.
Vivi thinks Gabe unraveled, but Iris believes something triggered his mental state, asking about their lost month. Neither of them remember, until Iris wonders who would cut young girls’ throats, and Vivi states she recalls a girl. Iris remembers a fireplace and a girl with a knife too. They suppress their memories while Iris cleans Vivi’s wound, pulling out a white flower, the same kind on the apartment corpse; she’s shocked that the flower was feasting on Vivi’s blood, crushing it before Vivi can see. The sisters agree to call the police about Grey.
At a press conference a few days later, Cate and some detectives speak about Grey’s disappearance. They don’t have answers for the press, and Iris suppresses sobs, aware she and Vivi failed to find their sister.
When interviewed by the police, Iris and Vivi shared the more believable parts of their search—that Grey left a note, a corpse was in her apartment, a man broke in, set the place on fire, and shot Vivi. Back when the girls first vanished, Cate and Gabe were distraught, sobbing at press conferences and agreeing to die by suicide if their daughters weren’t found. They were broken, but their daughters returned. Now, Cate can barely find emotions for Grey at the press conference.
At home, Iris confronts her mother about why she doesn’t love Grey anymore and what Grey said the night she moved out. Cate says, “It would break my heart to tell you” and admits she wouldn’t care if Grey died, leaving Iris hurt and “alien” to Cate (115). Her mother goes to work her nursing night shift, while Vivi drinks at the local bar.
Tyler Yang arrives unexpectedly, drunk and stating that Grey is “Gone Girl-ing” him to punish him, that she’s faking her disappearance. Police searched his home, but he insists he’d never murder Grey. Iris calms him, asking for clues, but Tyler passes out. She checks on him throughout her sleepless night, finding information about Tyler’s past, including an article about his older sister, Rosie, dying from drowning at age seven. Tyler almost died from drowning too, but was resuscitated.
The next morning, Tyler bursts into the room shouting about Yulia Vasylyk, one of Grey’s old roommates. When they lived together, Yulia went missing for a week, then returned.
Iris, Vivi, and Tyler interrupt Yulia at her job as a makeup artist. She reports that she doesn’t know where Grey is and hasn’t talked to her in years. Vivi tries to convince her to share information by reaching for her face, but Yulia smacks her hand away, snapping to not try that “vile” method and that she’s just as manipulative as Grey. She grabs scissors, but Iris calmly asks what Grey was like when she knew her, promising they only want to find her.
Yulia describes Grey as beautiful, secretive, and weird. Grey didn’t go to parties like the other girls, but would be gone for days. Though drugs and lovers were suspected, Yulia sensed Grey had deeper secrets. She followed Grey until she slipped through some mysterious place; Grey returned, but Yulia didn’t, stating the place “ruined” her. Yulia doesn’t remember the place, but has nightmares about dead people whispering to her. When she came back, she was naked and covered in bloody runes—made of Grey’s blood.
With new clues, Iris, Vivi, and Tyler head to the apartment Grey shared with Yulia, thinking the bloody runes aren’t a coincidence, since the bull-man wore them too. They search the dark, empty apartment, feeling Grey’s unhappy energy. Iris follows a line of ants to a rotting wall. They peel the wallpaper off, revealing spongy plaster and the same white carrion flowers, which “smell like rotting flesh to attract flies and bugs”—hybrid pyrophytes adapted to tolerate fire (135).
Vivi shows a picture in Grey’s journal of a ruined stone wall covered in the same white flowers, telling the group that it’s a door that “used to lead somewhere” but “now leads somewhere else”—the Halfway, the place from Grey’s fairy tales (136). Iris dismisses the Halfway as a story, but Vivi insists the doors lead to a limbo of sorts, a gap people fall through and can’t escape. Vivi starts to believe that they fell through “a crack in the world” as children (138).
Iris, Vivi, and Tyler return to Grey’s apartment, which is covered in police tape and burned to near nothingness—but “growing on almost every surface” are the “death flowers, bursting from the ashes” (140). Always dramatic and humorous, Tyler curses about the strangeness. The carrion flowers lead the group to inspect Grey’s few belongings left, such as her bookshelves and kitchen. Iris and Vivi feel a beat of Grey’s energy, faint but alive. The sisters say, “It’s her,” and Tyler asks what they mean, but they don’t explain (143). They move a bookshelf, which hides a wooden door thick with carrion flowers. Iris feels Grey is “halfway” and speaks to her through the wall, telling her that they’re close but can’t find a way to her and need her to come toward them. Tyler calls the sisters “bonkers” and leaves, Vivi not far behind. Iris stays, hoping and praying against the doorframe.
In the hall, Iris spots a figure emerge from the warped doorway: It’s Grey, dressed in white, her fingertips dripping with blood. She yells at Iris to run because “he’s coming” (143).
The Hollow girls’ father, Gabe, is explored in this section, and his mental health comes into question. Upon finding Gabe’s journal, Iris and Vivi learn more about his mental state:
When we got home, they wandered around our house for an hour, as though they’d forgotten it. [...] When they came back, they looked almost like my daughters, except for the teeth and eyes. Now their hair is turning white. [...] There is something wrong with all of them, but especially with the one that looks like Grey. I am afraid of them. I am afraid of her. Where are my children? [...] I have come to a terrible conclusion: My daughters are dead (95-97).
Iris and Vivi both miss their once sweet father, and Vivi thinks his unraveling stemmed from PTSD. However, Iris thinks something else triggered Gabe’s mental state. She asks Vivi who took them and where they went, but neither has answers (as per the theme of Memory and Letting Go). Their lost memories—or likely repressed memories—of the Halfway are not within their grasp. Gabe’s raw, unfiltered writing offers insight into his mental and emotional state, revealing the truth before the younger sisters and readers realize it—that Grey is dangerous and that the Hollow girls are neither human nor Gabe’s daughters.
Likewise, Iris and Vivi’s discovery of Grey’s research into disappearances is illuminating. Grey’s clues include years-worth of articles about those who vanished, like the sisters, and her notes reveal that she was searching for specific answers: “I want to go back! [...] How many came home? V. few. Maybe none? [...] Liminality! NYE, Dusk, dawn, etc. Time when veil is thin. If my memories are true—what does that make me? Broken doors? [...] WHAT DID I DO?” (101). Grey retaining memories of the Halfway further separates her from her sisters. While Grey told her sisters to forget, she struggles to remember everything from the Halfway, as her memories disappear the longer she remains in the living world—a clever plot device by Sutherland to make her mysteries last the story. This decision to find answers shows that Grey is hypocritical and protective, as she doesn’t want her sisters to know the truth to protect them, but also feels she should learn the truth herself. Grey’s active questioning of her past highlights both her curiosity and dark, violent qualities. As later revealed, she lured young girls into her realm and skinned them alive, stealing their skin to trick the Halfway’s doors, giving her sisters a second life. Grey’s murders match the dark fairy tale and Gothic genres, and fuel her search for answers to determine whether or not her memories are real.
Grey’s notes and Vivi’s wound also reinforce the freestanding doors and carrion flowers as symbols. Grey’s sketch of a “ruined doorway: A freestanding stone wall with an archway at its center” matches the “doorway that had been embroidered” on her quilt (102-03). The repeated symbol of the door represents the border between the living world and the Halfway, a transformative portal. The door is a threshold, and Iris and Vivi consider its significance to parse Grey’s lies and the truth about their identities.
Connected to death, the carrion flowers are often seen linked to the doors or other evidence of the Halfway, such as rotting walls or decaying corpses. The white flowers symbolize deception and reflect the sisters’ powers and identities. When Iris pulls a carrion flower out of Vivi, she’s aghast that it was growing in her, foreshadowing that Vivi is dead inside, as the flowers only grow on or near decaying things. The flowers smell like rotting flesh, which attracts prey like flies; Vivi admits to having found the flowers interesting in science class, showing further kinship. While both the flowers and the Hollow girls are enchantingly beautiful, they hide deadly intent (despite Iris and Vivi being unaware of the truth until later in the novel).
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