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Armed with guns, Noah and Kaleb stay up in the hall to watch out for Terrance and his gang. Tiernan wants to know the reason why Terrance is after her. Noah cryptically replies that people like Terrance are not satisfied with their share and “want it all” (234). Noah begins watching an old movie on TV. When Tiernan teases him about his movie choice, he switches to a pornographic film with themes of coerced sex. Tiernan gets aroused. She and Noah masturbate as Kaleb watches. Noah tells Kaleb that they have amusement for the winter in the form of Tiernan. Noah touches Tiernan and tells her that he wants to have sex with her. Jake walks in on the three of them and asks Noah to stop. Noah tells him that everything is happening with Tiernan’s consent, but he and Kaleb leave nevertheless. Jake keeps Tiernan back and spanks her to punish her, warning her to stay away from Noah and Kaleb. She seems to enjoy the pain and tells him to go on.
Jake rationalizes his treatment of Tiernan to himself. Unless he makes her physically afraid of him, she will keep making wrong choices. He knows that his sons do not love Tiernan and could hurt her. At the same time, Jake cannot deny that slapping Tiernan made him sexually excited. Later, everyone goes out for shooting practice. He tells Tiernan that learning how to hunt an animal is essential for her survival in case she finds herself alone during the winter. Tiernan finally hits a deer but is unhappy that Jake forced her to make a kill. She and Jake argue and get into a physical fight. Jake kisses Tiernan and touches her aggressively. When he hears Noah, he asks Tiernan to get into the truck.
Jake asks Noah and Kaleb to head home as the hunt is over. He will stay back with Tiernan to teach her how to skin the deer. After the younger men leave, Jake starts to have sex with Tiernan. He pauses mid-way to ask her if she wants him to stop. Tiernan says that she wants Jake to make love to her. They have sex.
Jake and Tiernan return to the ranch. Jake asks Tiernan if she regrets having sex with him. Tiernan replies that she is glad that her first time was with Jake as he made sure that she felt pleasure. Jake’s guilt is somewhat alleviated. When Noah and Kaleb guess the reason why Jake stayed back with Tiernan, Noah lashes out against his father. Noah tells Jake that he and Kaleb also desire Tiernan. Unless Tiernan asks Noah to stop, he plans to pursue his attraction to her. Jake tells Noah to do the right thing and let Tiernan make her own choices.
Tiernan reflects that though having sex for the first time is not great for many people, it was for her. She joins Jake in the shower and they have sex. Tiernan feels comforted by Jake’s presence, knowing that he will not abandon her like her parents did. She tells Jake that he can pretend she is Flora, his first love, if he likes. Jake says that he never wants to pretend Tiernan is someone else. Tiernan belongs to him and his sons and they will always be her home. When Tiernan returns to her room, she finds an angry Kaleb waiting for her outside. He pushes her into her room, spits on her hair, violently writes a sexual slur on her forehead, and leaves. Tiernan feels humiliated and angry. Even though Kaleb has sex with women all the time, he has chosen to judge and degrade Tiernan for her sexuality.
Tiernan decides not to tell Jake about Kaleb’s behavior as she feels that treating Kaleb as if he does not exist is the best punishment. At the breakfast table, Noah tickles Tiernan and she laughs. Kaleb watches them silently and then slams his bowl against Tiernan’s glass of milk, spilling it in her lap. He then lobs wet oatmeal in her face with a fork. When Tiernan tells him that he is acting like a baby, he upends the table and walks out. Tiernan feels frightened but asks Jake and Noah not to intervene.
Tiernan heads to the stables to groom the horses, whom she loves. She finds Kaleb hacking at an animal carcass violently. Kaleb licks the animal blood on his fingers to terrify Tiernan and she walks away. Tiernan finds a room stuffed with old furniture next to the barn.
Jake tells Tiernan that the furniture is old pieces he and his ex-wife collected from yard sales. Tiernan has the beautiful, antique furniture brought into the house so that she can restore it. Noah helps her out and tells her not to take Kaleb’s actions personally. Like Jake, Kaleb does not trust women. Tiernan finds the excuse unoriginal. Noah asks Tiernan if she has sex with his father because hers did not love her. Tiernan should be offended at Noah’s words, but she is not, as she knows where he is coming from. Tiernan tells Noah that she would have continued with him and Kaleb the other day had Jake not stopped them. She wanted to lose herself in the moment. Noah tells Tiernan that he understands that she wants an escape from reality because her parents have left her empty, much like his have left him. Noah begins to touch Tiernan, asking her repeatedly to have sex with him. Tiernan desires Noah but leaves.
Tiernan is surprised when Kaleb joins her in designing a pattern for painting a wooden chest. Tiernan wonders if, like her, Kaleb loves to draw. She tells him that she used to make drawings of her house when she was a child and stick them up on the fridge, but her parents would throw the drawings away as they did not go with the décor. The painful memory makes Tiernan cry, and Kaleb embraces her. The hug is comforting and not sexual. Tiernan lets herself be lulled for a moment but them remembers Kaleb’s previous mistreatment of her. Reminding Kaleb of the slur he wrote on her forehead, she says that maybe a woman like her is good enough for him when he is desperate for affection. Kaleb walks away.
Jake leaves for a four-day trip to the Van der Bergs’s other cottage, which is closer to hunting and fishing grounds. Tiernan takes the opportunity to prepare her forms for college admissions. She misses Mirai’s advice when contemplating courses in politics and economics, since the Van der Bergs are completely apolitical and do not even vote. While doing laundry, she sees her underclothes missing. She is afraid that Kaleb may have stolen them and secretly searches his room. Kaleb’s room is filled with books and devoid of technological devices. Tiernan finds three scratches on the wooden floor of the room, as if a person clawed them. Afraid that this implies that Kaleb may have kept a woman captive here, Tiernan reminds herself to keep her distance from him. She doesn’t see her underwear anywhere but finds the red ribbon she wore on her first day at the ranch. She is partly happy that Kaleb thinks about her.
Tiernan wears the ribbon in her hair at dinner. Kaleb stares at her, aware that Tiernan went into his room. As Tiernan reads a book, Noah suggests that they watch another pornographic film together. When Tiernan refuses, he pulls her onto his lap. He tells her that he desires her and touches her aggressively. Noah says that Jake abused his authority with Tiernan. Tiernan only had sex with him because she was needy for affection. Sex with Noah will be better. Tiernan pushes Noah away and tells him that having sex with Jake was her conscious choice: Men have propositioned her before and she has said no; now, she is saying a firm no to Noah. Tiernan leaves the kitchen.
Noah wishes that Tiernan would stop rejecting him. He knows she wants him but is holding back. Noah hears a terrified cry from Tiernan’s room and rushes out. Kaleb comes towards Tiernan’s room, too. The brothers open the door and see Tiernan thrashing in a nightmare. Kaleb lies next to Tiernan and she settles down in sleep. It is obvious that Kaleb comes in often to calm Tiernan in her sleep. Noah recalls that Kaleb had similar nightmares when he was a child. Just then, Noah smells smoke and realizes that the barn is on fire. Kaleb and Noah rush to pull out the animals. Tiernan wakes up and goes to save the horses, and she gets a deep cut on her left arm in the process. Kaleb topples the water tower to put out the fire. He carries a bleeding Tiernan back into the house. Noah resents that Tiernan pays him no attention.
This section revolves around Tiernan’s sexual agency, awakening, and coming-of-age. The theme of Female Sexuality and Patriarchal Control is explored in detail. Tiernan’s growing sexual experience coincides with the beginning of the snowed-in period. The snow is a metaphor for a willing solitude—chosen by Tiernan—so that she can explore her sexuality and, in archetypal terms, fight real and fictional monsters. The sequence in which Tiernan, Noah, and Kaleb watch a pornographic film together contains elements of taboo and transgression: The onscreen action—which involves coerced sex—is described in great detail and Tiernan finds it sexually stimulating. The scene of three quasi-siblings watching TV in the family lounge room parodies a common familial routine, and the boundaries between familial and sexual behavior is deliberately blurred, again bringing out the taboo aspects of the plot. The explicit scene is also an announcement of Tiernan’s sexuality: Before she was masturbating hidden in a cave, and she now touches herself openly. In a symbolic sense, she is revolting against Jake’s patriarchal control. Tellingly, Jake responds to this resistance of his control with corporal punishment.
While the scene does assert Tiernan’s sexual agency, it also contains multiple misogynistic and coercive elements. For instance, the language which Noah uses for Tiernan is dehumanizing, such as when he tells Kaleb that “we might have a little something to play with this winter, after all” (241). Noah also conveys a sexual threat to Tiernan, asking Kaleb not to “bruise” her until she is used to the brothers. He also indicates that Kaleb will want to have anal sex with Tiernan but does not ask Tiernan if she would be okay with the act. Although Tiernan describes herself as extremely aroused by the film and Noah’s touch, she does not initiate the sexual touching.
Jake’s spanking of Tiernan is described in explicit terms, as an act of sexual punishment and degradation. Tiernan is portrayed as enjoying the pain, and when Jake asks her at one point if she wants him to go on, she nods yes. This is supposed to show her complicity in the act, but again, she did not originally ask Jake to spank her. Jake also indicates that Tiernan should call him “Uncle Jake” and refers to her as “princess,” showing he is well aware of the gap in their ages and his position of control. It is transgressing those boundaries which turns him on. Jake is a transgressive figure in this section who borders on antagonism. As well as violating Tiernan, he also displays a misogynistic double standard towards her. While Noah and Kaleb were sexual with Tiernan as well, Jake punishes Tiernan alone for the situation. What’s more, he goes on to have sex with Tiernan in the very next scene. While Tiernan enthusiastically consents to the sexual encounter, the age gap and power dynamic between Jake and Tiernan makes the encounter exploitative. Narrated from Jake’s point of view, the encounter is framed in transgressive terms, pushing the borders of incest and pedophilia. Jake again wants Tiernan to call him uncle and is turned on by her “cute socks” (260). He even admits to himself that though he might want to blame Tiernan’s beauty for his desire, the real problem is his weak willpower.
However, from Tiernan’s point of view, Jake is the perfect partner for a first-time sexual experience. Jake pleasures Tiernan and is patient and attentive. Tiernan notes that “no one’s first time is good, but mine was” (268). The narrative also foreshadows that Jake and Tiernan’s sexual relationship is fleeting, when one considers the advice Tiernan’s mother gave her. Jake represents the first “L,” or lust—the partner to whom one is crushingly attracted, and whose approval one desires. Once the need is sated, this partner must recede from the landscape. Jake’s patriarchal streak foreshadows that he is not a suitable romantic lead for the heroine; while being a paramour, he is also simultaneously the old order which she must abandon after having conquered it.
If Jake represents the first monster which Tiernan, representing the archetypal heroine, has conquered, Kaleb represents the most extreme and dangerous beast to be tamed. Kaleb has been portrayed as violent and quasi-animalistic from the beginning, his silence aggressive and punishing. Once Tiernan begins to openly exhibit her sexuality, the openness so aggravates the controlling and unstable Kaleb that he bullies and humiliates Tiernan. When it becomes clear that Tiernan has had sex with Jake, Kaleb manhandles Tiernan, spits on her, and writes a horrible slur on her forehead. Kaleb also throws wet oatmeal on Tiernan’s face. Again, Jake, the much older man who has had sex with Tiernan, goes unpunished by Kaleb. The burden of sexual chastity falls on Tiernan, the woman. Kaleb’s behavior is misogynistic, but as a fantasy narrative, it symbolizes a challenge for Tiernan. Tiernan’s character must reform Kaleb and make him approach her on her terms, a point that underscores The Role of Challenges in Self-Discovery. Kaleb’s silence, which he weaponizes as a form of control, must be broken.
The theme of Isolation and Its Impact on Interpersonal Dynamics threads Tiernan and the Van der Bergs together. While Tiernan has been isolated by her parents’ neglect, the Van der Berg men feel isolated because of the absence of a nurturing female family member. Isolation forces the characters to act in transgressive and strange ways, such as making Kaleb near feral and Jake and Noah dismissive of women. Tiernan also suffers, unable to make meaningful social relationships. Although Tiernan believes that she is in control of her choices, her inner monologue shows that her judgement may be compromised. For instance, when she discovers that Kaleb has taken her red ribbon, she feels happy because even though “he might hate me […] he still thinks about me” (302). Her isolation leads her to associate abuse with kind attention.
Snow and winter, key motifs in the text, take center stage in this section as winter truly takes hold. The roads begin to get snowed in, cutting Tiernan, Jake, and the others from civilization. The men imply that the winter will be dangerous for Tiernan, since she will be boxed in with the sexually charged Van der Berg men. This adds to the narrative elements of the thriller genre, but the snow and winter also function as a metaphor for Tiernan’s growing self-awareness. Douglas evokes the winter landscape with lush descriptions and builds a world made for Tiernan to immerse herself. While male characters may consider the winter dangerous for Tiernan, Tiernan herself loves snow. She revels in the “sound of the snowflakes hitting the twelve inches of beautiful, untouched blanket on the deck” (281). The rich descriptions of nature add to Tiernan’s identification with the elements and the pure escape that the landscape offers her.
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By Penelope Douglas