54 pages • 1 hour read
Jennifer HillierA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
Background
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
Content Warning: This section of the guide includes discussion of illness and death, graphic violence, physical abuse, emotional abuse, child abuse, child death, and rape.
The book’s title alludes to a Mason jar that Calvin fills with cinnamon heart candies and gives to Geo. This jar comes to symbolize several things. Calvin gives it to her as an apology after the first time he hits her. The fact that he fills it with a candy he loves and she doesn’t demonstrates the selfish nature of his feelings for her and his efforts to impose his own desires and needs onto her, developing the theme of Manipulation and Control in Abusive Relationships. Calvin believes he loves Geo, but his abusive treatment qualifies that love as distorted and deceptive. The jar of cinnamon hearts, like the heart that Calvin tattoos on his wrist with Geo’s initials or the heart he draws on his note to Geo in the courtroom, symbolizes the false love that embroils Geo in an abusive relationship and murder.
For her part, Geo accepts Calvin’s gift of heart candies “because she [thinks] the bright red hearts inside the glass look[] pretty” (136). The hearts represent Geo’s naive sense of what love is. She falls for Calvin because he’s beautiful and charming, like the pretty red hearts in the glass jar, and she thinks their intense relationship is love.
The night Calvin rapes Geo, he eats the last of the candies in the jar. This is symbolically significant, as the rape is the culmination of what began when Calvin killed Angela; they are two connected events that destroy Geo’s innocence. She says that rape is “about taking the best parts of a person and leaving the empty shell behind” (296). The now-empty jar symbolizes the empty shell of herself left behind after the loss of her innocence, thus illustrating The Enduring Trauma of Violent Crimes. More broadly, when Calvin eats the heart candies, it symbolizes his destruction of women, both figuratively, through emotional trauma, and literally, when he rapes and murders them.
The jar is also related to The Psychological Weight of Guilt and Secrets—one of trauma’s effects. In the dramatic present, Geo describes the empty jar as “the one that used to contain all her innocence, all her goodness” (220), saying that she kept it all this time as punishment for Angela’s death. It reminds her of her own trauma and pain, which she feels she deserves. After leaving prison, Geo tries to smash the jar by throwing it at the wall, but it doesn’t break. This is symbolic of the fact that her past—her trauma and guilt—still has a hold over her even after she has done legal penance for her actions.
Part 5’s epigraph is a line from “Jar of Hearts” by Christina Perri, a song about a heartbreaker who, metaphorically, collects the hearts of those who have loved him, leaving only emotional scars behind. Similarly, the Mason jar in the novel symbolizes the emotional scars of abusive and selfish love.
The titles of the novel’s five parts align with the five stages of grief, a widely used model for understanding people’s psychological response to significant loss, such as the death of loved ones. The five stages, as seen in these titles, are denial, anger, bargaining, depression, and acceptance. The recurrence of section titles representing stages of grief creates a motif related to loss in its many forms and the long-lasting, harmful effects of traumatic experiences.
Grief is a significant part of Geo’s internal conflict. She’s faced numerous traumas and losses that have shaped her character and her ability to love and hope. Her mother dies when she’s five, her best friend is murdered, her boyfriend abuses and rapes her, and she gives her baby up for adoption. When Geo loses Cat to cancer, she sobs because she’s “only loved three women her entire life—her mother, Angela, and Cat, in that order. And now all three are dead” (271). Thus, Geo’s character arc begins with a string of losses, and she experiences more through the story’s rising action. Her transformation centers, in part, around her ability to deal with her grief and find happiness again.
Part 1, titled “Denial,” depicts the phase of Geo’s arc in which she hasn’t yet dealt with her trauma, grief, and guilt. She had to hide the truth about Angela’s death for so long that she had no outlet for processing her feelings or atoning for her actions. Keeping the truth hidden has required extensive compartmentalization and denial, creating internal despair that demonstrates the psychological weight of guilt and secrets. Part 2, titled “Anger,” focuses on Kaiser’s kindness and his affection for Geo, which help him push past his anger toward her and, in doing so, ultimately facilitate her healing; his forgiveness helps her to eventually forgive herself. In Part 3, titled “Bargaining,” Geo makes ethical compromises in order to survive prison. Like her emotional compartmentalizing, her choices are about self-preservation, which must come before she can do the work of atoning and forgiving. Part 4, titled “Depression,” depicts others facing loss, including Emily’s adoptive parents and Sasha’s grandmother after their loved ones’ deaths. These losses show how the trauma of violent crimes can touch an entire community. Part 5, titled “Acceptance,” brings about the events that allow Geo to atone for her mistakes, paving the way for her to accept them and achieve closure.
Dominic’s murders of Claire Toliver, Sasha Robinson, Henry Bowen, and Emily Rudd all follow the same pattern: The woman has her eyes gouged out, while the child has the words “SEE ME” (as well as a heart) written on their skin in lipstick. The two symbols work in tandem to suggest Dominic’s feelings of rage, betrayal, and, above all, invisibility. The women are blinded because Geo has been figuratively “blind” to Dominic’s plight since his adoption, and the children are stand-ins for Dominic himself, Geo’s own child who demands that his existence and suffering be recognized.
These details of the murders also serve as metatextual symbols of the characters’ (and, presumably, readers’) failure to recognize Dominic as the murderer. Geo quite literally misidentifies Dominic when she sees him buying lipstick on security footage, mistaking him for his father. Similarly, details such as the two men’s “neat” handwriting and penchant for hearts and cinnamon candy allow Dominic’s identity and crimes to blur into his father’s. Ironically, the very “blindness” of the murdered women is one of the few clues that might “open the eyes” of characters and readers to the killer’s identity; Calvin never gouged out his victims’ eyes, nor did Geo do so to Angela when dismembering her body, so the modus operandi is unique to Dominic.
By Jennifer Hillier