Bride

“‘Your father. I need to know if he hates you.’

I meet Moreland’s eyes, more baffled than offended. And perhaps a little peeved that I cannot insist that my one living parent gives a shit about me.

‘Why?’

‘If you’re going to be under my protection, I need to know these things.’

I cock my head up at him. His face is so…not handsome, even though it is, but striking. All-consuming. Like he invented bone structure. ‘Am I? Under your protection?’

‘You’re my wife.’”

Hazelwood’s introduction of Lowe makes it obvious from the beginning that he’s the perfect fit for Misery. He quickly grasps the emotional abuse she’s suffered and her feeling of insignificance. He implies his desire to protect her—“You’re my wife,” which signals that he is the person to build her up. This passage also explores The Complexities of Leadership and Alliance Building. Despite agreeing to the marriage, Lowe finds Henry’s behavior incomprehensible, rendering any true alliance difficult.

“I have no plan—just the only person I ever cared about, displaced from my life. And maybe it’s a little amateur sleuth of me.”

This quote illustrates Misery’s motive and the inciting incident of the plot, Serena’s disappearance. It also emphasizes Misery’s isolation, as Serena is the only person Misery currently cares about. Finally, it highlights Misery’s positive characteristics. She is brave and loyal, traits which make her a good match for Lowe, who has shown similar personality traits.

“That’s not how feeding works. Let’s just acknowledge that we know nothing about each other’s species.”

At this point, Misery and Lowe have yet to realize how Love Transcends Boundaries. Each is still afraid and ignorant of the other, and Misery’s comment makes understanding seem impossible. The irony is that Misery herself isn’t totally sure how feeding off live creatures works; part of her sarcasm is to mask her own insecurity about her identity as a Vampyre.

“The birth control shot I was given before coming here was a joke, not just because Lowe and I are as likely to have sex as we are to start a podcast together, but also because he’s a Were and I a Vampyre, and we couldn’t reproduce even if we wanted to. Interspecies relationships are unheard of—if not unseen, judging by all the Human-produced porn Serena and I would watch.”

The podcast reference is a good example of Misery’s humor. This quote illustrates Hazelwood’s style, which blends elements of modern reality with her paranormal world. Mentioning podcasts brings Misery and Lowe closer to the reader’s reality, where podcasts are a phenomenon. Hazelwood also examines preconceived ideas each character has about the Were and Vampyre cultures, and their belief that a union between their species is an impossibility. Lowe already knows this is untrue, but it takes most of the novel for Misery to shift her mindset and understand that Love Transcends Boundaries.

“‘I took a bath. Did that not make it better?’

His stare is blank. ‘Make what better?’

‘My scent.’

He swallows visibly. His tone is sharp. ‘The situation hasn’t improved for me.’”

In this moment, Misery’s usual snarky demeanor falters and her true feelings about herself emerge. Over the course of the novel, Misery will have to embrace Identity, Self-Acceptance, and Belonging. At this point, she assumes she is repulsive, which is shown by how she misinterprets Lowe’s attraction to her. Because she undervalues herself, she misses all the signs, not realizing the attraction she feels is mutual.

“Lowe Moreland has drawn my face, and then stuffed it at the bottom of his bottom drawer. I’m not sure when he observed it long enough to pluck this level of detail out of me, the serious, detached air, the tight-lipped expression, the wispy hair curling around the cusp of an ear. Here’s what I do know: there is something sharp about the drawing. Something searing and intense and expansive that’s simply not there in the other sketches. Force, and power, and lots of feelings were involved in the making of this portrait. Lots. And I can’t imagine they were positive.”

Once again, Misery misses the signs that her husband cares for her. This is an example of dramatic irony, where the reader is aware of something that a character is not. The prose makes it clear that Lowe is deeply interested in Misery, having “observed [her] long enough to pluck this level of detail.” There is emotion in the drawing— “[s]omething searing and intense and expansive.” Moreover, it is different from his other drawings in this way. However, Misery can’t let herself believe that these emotions reflect his love. This quote also depicts Lowe’s appeal. Not only is he handsome, a good leader and loyal, he is also an artist, a trait that gives him depth. His love for and interest in Misery also shows how he is a worthy match for her.

“I should be a pariah, I am one, but I don’t think I fit in this place anymore poorly than I did among the Humans, or the Vampyres. In the past seven days, I’ve had more social interactions than ever before. No: more positive social interactions than ever before.”

This quote illuminates how Misery has struggled to belong, but how, among the Weres, she is finally forging connections. Despite what she thinks about being repulsive, the Weres begin to accept her when she unintentionally shows them who she really is. Be demonstrating loyalty and care for Ana, she proves she isn’t as different as they assume. It is the first inkling that being and accepting herself will result in belonging with others.

“‘Maybe.’ Lowe’s shoulders tense and relax. ‘Maybe there is something devastating about the incompleteness of it. But maybe, just knowing that the other person is there…’ His throat bobs. ‘There might be pleasure in that, too. The satisfaction of knowing that something beautiful exists.’”

Lowe’s response to Misery’s declaration that it would be terrible to not be loved back shows the depth of his giving and understanding nature. It is also one of the many moments of dramatic irony in the novel. While it is obvious to the reader that he is speaking about Misery, her insecurity and adherence to the boundaries set by her society preclude her from having the same insight. Misery still has a long way to go before she recognizes her own worth, and how Love Transcends Boundaries.

“I understand because I feel the same about Serena. And for reasons I cannot fully articulate, because feelings are fucking hard for me, I’d like to come with you. To help you find whoever is trying to hurt Ana. And I think that Serena would be proud of me, because I’ve finally managed to care about something. Even just a little bit.”

Here, Misery makes it clear that she does know how to love, despite what she thinks about herself. Her admission to caring about Ana and Lowe is a major step toward becoming a complete person who can admit her feelings and connect with others. Misery’s honesty is one of her most appealing character traits for Lowe. Her willingness to be vulnerable is part of what convinces him to take her with him.

“‘Misery.’ I jolt back to him at the command in his voice. There’s an angry V between his brows. ‘I need your explicit consent.’

‘For what?’

‘I’m going to scent you the traditional Were way. It entails rubbing my skin against yours. My tongue, too.’

Oh. Oh.

Something electric, liquid, pools inside my body.”

Misery has felt physical attraction to Lowe from the very beginning, but this is the first time they intentionally make physical contact. Her physical reaction reveals her emotions more than her thoughts. She is surprised that she enjoys the Were tradition, as she is still under the assumption that Weres and Vampyres are incompatible. It is one of her first realizations that Love Transcends Boundaries.

“She wouldn’t admit it—she might not even realize it herself, but she’s the kind of person who would feel beholden to me. She would think I need her. When what I really need is for her to be happy, whether it’s with me, or alone, or with someone else.”

In another moment of dramatic irony, Lowe reveals why he won’t admit that Misery is his mate, despite all the obvious signs and their growing closeness. He believes her when she says she has trouble feeling, and assumes she would feel obligated to be with him. This reveals how he is also laboring under the illusion that boundaries to their love exists. The quote also emphasizes his appealing character traits. He is sacrificing, kind, and understanding. This allows him to be a successful Alpha, but it also makes him a highly desirable match for Misery. His compassion makes him a foil (a character who illuminates another character through contrasting qualities) for Misery’s father. His empathy is just what Misery is lacking in her life.

“And yet, even without knowing what to do, I know exactly what to do. I know to draw the tip of my nose across the base of his throat to find the perfect spot. I know to stop where his blood smells the sweetest and his skin forms the thinnest veil. I know to press my lips to his flesh in a brief, indulgent moment of silent gratitude. Above all, I know without any trace of doubt, or hesitation, or fear, to bite.”

This moment—where Misery bites Lowe—is a turning point in the novel for both Lowe and Misery. For the first time, Misery accepts her identity as a Vampyre, and she is rewarded by feeling both correct and good. The experience lifts her confidence and is a major step in accepting her Vampyre nature.

“Suddenly, I’m not sure that there’s something wrong about the fact that we’re about to kiss. It feels right, for sure. I’ve never kissed anyone before, and I like the idea of my first being special. And Lowe—Lowe is that and more.”

Again, Misery encounters proof that Love Transcends Boundaries. This is another mental turning point for Misery, who is finding that all her barriers are eroding. Here, she questions the life-long assumption that Vampyres and Weres shouldn’t have relationships. She had learned about Ana and knows that inter-species relationships are possible, then enjoys sexual satisfaction by biting Lowe. Through these experiences, Misery is primed to question her assumptions and her old way of thinking.

“I get it now, though. In the fuzzy, yellow light filtering into my closet and splattering over the walls, in the worn-out ache that has nested in my bones—I get her anger now. Something within me must have changed, but I still feel like a fairly accurate version of myself: exhausted, but furious. Above all, glad to be alive. Because I have something to do. Something I care for. People I want to keep safe.”

Misery is taking another step toward accepting herself and her true identity, which may be different than that of her fellow Vampyres. The Vampyres in her life tend to avoid feelings or mask them with sarcasm, but Misery is allowing herself to feel. She feels anger first, which is closer to the accepted range of emotions she has been permitted thus far in her life. Starting from there, Misery builds to new, more complex emotions such as caring deeply for others.

“But when I’m with Lowe I feel different, because he is different. He never treats me like I’m the runner-up, even though I know I am.”

Misery is still in the midst of change and hasn’t fully accepted that she is worthy of love, even while she has made strides forward. Misery often talks about large feelings and emotions that point to love, but negates her own worth at the end— “even though I know I am.” She is still undercutting and undermining herself; she still can’t quite believe the reality she is seeing.

“It’s beautiful, I think. Not just the pleasure, but sharing it with someone else, someone I care about and maybe love a little bit, as much as I’m able.”

Misery takes another step toward accepting her feelings for Lowe. Though hesitant, it is the first time she uses the word “love.” The qualifying tag—“as much as I’m able”—exemplifies how squeamish Misery is when it comes to feelings. Misery will declare love, only to deny or diminish it.

“He bares his fangs, and his tone is uncharacteristically earnest. ‘I could do nothing when we were children. I could do nothing when you returned, because I was too much of a coward to take a stand. I cannot do anything now, but I am determined to try.’”

Owen’s declaration is a surprise—there have been few opportunities to see interactions between he and Misery throughout the novel. His true feelings and vulnerability were hinted at only once at the beginning, when Misery related his protective instincts toward her as a child. That flashback plants the seeds for Owen’s revelation. The slow deterioration of Misery’s cynicism also makes Owen’s unexpected change in behavior believable. Hazelwood has sent him on a largely unseen parallel journey toward accepting himself and his own ability to feel.

“There’s no need for negotiation, no pain, and no struggle. I’m pliant and he’s hard. I’m wet and he’s groaning. We fit. The biological compatibility Lowe told me about, the one between mates […] I don’t presume to know what that would be like. All I know is that we feel pretty fucking—‘Perfect.’”

Lowe verbally finishes Misery’s thoughts. This shows their connection and mutual revelation that Love Transcends Boundaries. Despite what they and their separate species have expected, they are indeed physically compatible in their own way. Their physical connection is a precursor to the emotional one that transpires in the book’s final scenes.

“It’s whatever chemicals flood Vampyre brains after sex, but I cannot accept that this is not destined. That we are not meant to be.”

Again, Misery doubts herself and the reaction she has to Lowe. This shows they have not quite arrived at their happily-ever-after moment. A significant change, however, is seen in Misery’s reflection. Up until now, Misery tends to declare something profound and then undercut it with a final fragmented sentence or phrase. In contrast, her final sentence fragment supports her sense that she and Lowe are “destined.” Instead of doubting and undercutting her emotions, Misery is finally embracing her feelings.

“‘He has my son,’ he whispers, looking at Father. Who has the self-satisfied expression of someone who checkmated everyone in the game.”

Again, children are a driving force in the novel. Ana unifies Misery and Lowe as well as Misery and the pack, while Mick’s child, mentioned above, is used to splinter and destroy. He is the symbol of fractured unity. Mick’s desire to be with his child usurps everything else; therefore, his son is used against him and everyone he cares about.

“Because you have always been selfish and close-minded. Stubbornly unable to understand that the ends justify the means, and that things like fairness and peace and happiness are bigger than one specific person—or than a handful of them. The good of the most, Misery.”

The Complexities of Leadership and Alliance Building bookend the novel. While Henry’s words—“[t]he good of the most”—may seem logical, his actions are cruel: He is willing to cut his daughter’s throat in front of the three people who love her most. Henry’s words are juxtaposed with his actions to show how dangerous and morally difficult leadership is. His loss of perspective regarding what is important is evident to everyone but him. His actions reveal his true desire is for power, not creating a better world.

“‘I’m going to broker alliances with the Weres and with Humans that won’t just benefit us. I’m going to do everything I can to facilitate truces between them. And when this area is at peace and the Vampyres’ influence is reduced to near insignificance, I’m going to take your fucking ashes and scatter them where the borders and the entry points used to be, so that Weres, and Humans, and Vampyres can step over them without even realizing it. Daddy.’ He smiles once more, ferocious, scary.”

Owen addresses his father. His journey toward his true self—a caring and worthy leader—reaches its apex: He declares that he intends to broker true peace rather than grasp for power like his father. Just as Misery has transcended her cynicism to embrace her feelings for Lowe and the pack, Owen has risen above his playboy ways and is motivated by the desire to protect his sister and do good. He has transformed himself from a party boy to an adult and leader.

“[T]hen I began spending time with you. I began knowing you, and you made me happy. You made me better. You made me want to be every part of myself, even the ones I thought I’d left behind.”

Misery isn’t the only one who has struggled with belonging and acceptance. Lowe had also entered into their marriage with preconceived ideas about what Misery would be like. For Lowe, finding the right partner has helped him recover his own identity. The feeling of belonging to a secure partnership helps him be a better version of himself. This is a trope of the romance genre—the perfect partner fills particular needs, but also allows the protagonist to become the best person (or paranormal creature) they can be.