55 pages 1 hour read

Lights Out

Fiction | Novel | Adult | Published in 2024

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Themes

The Interplay Between Fantasy, Obsession, and Reality

Lights Out centers on a narrative of social media obsession, the fantasies that spring from that obsession, and the transition from fantasy to reality in Aly and Josh’s relationship. Aly and Josh constantly wonder if they are acting on fantasies that should be kept in their mind or acting out an obsession that might be unhealthy. These doubts reflect the real dangers of following Aly and Josh’s actions, such as Aly’s risk of assault if Josh is not as kind as he seems or the risk of criminal prosecution that Josh will face if Aly is not a willing participant in their games. However, a critical facet of the narrative is how smoothly this transition plays out for both characters, highlighting both how special their relationship is and how dangerous it would be for a person in real life to act out these fantasies.

For Josh, the concern of obsession and fantasy is rooted in his father’s crimes, which Josh feels doomed to repeat. He hints at a progression toward becoming a serial killer when he asks himself, “Was this how it started? Just a quasi-innocent fantasy about ravaging a woman somewhere that no one could hear her scream?” (16). While Josh fears for his own psychological stability, he also fears retribution; he panics while breaking into Aly’s home because of legal punishment rather than emotional rejection. For Aly, her fears are more physical, and she thinks, “The biggest reason I longed to believe him when he said he didn’t want to hurt me was the potential to play out my mask kink” (60). Her focus on fulfilling her fantasy outweighs the reality of sex crimes and assault. In each case, the characters are addressing the gap between their obsessive fantasies and the reality of their actions. Allowing Josh to stalk Aly and insert himself into her life is a risk, just as Josh’s actions provide the basis for legal action.

Nonetheless, the author justifies these risks by weighing fantasy against possible reality, just as Aly explains regarding her mask kink. The narrative smoothly transitions from doubts and fears about the characters’ fantasies into trust and love. Aly reconciles her fears in the end, meshing the fantasy of the mask with the reality of Josh as a person: “Maybe he was still the same Josh I’d grown to care about so deeply, and wearing the mask allowed him to bring out a darker side of his personality” (288). Josh, too, transitions from purely sexual fantasies to picturing him and Aly “snuggled together on the couch, Aly sipping wine, and [him] rubbing her feet while [they] talk[] about [their] days, the cats curled between [them]” (279). The interplay of obsession, fantasy, and reality ultimately dissolves into a consistent, affectionate relationship as Aly and Josh learn more about each other and show that they care for and support each other.

The Psychological Impact of Trauma on Desire

Author Navessa Allen hints at a connection between the traumas that Aly and Josh have endured and their sexual interests, but Allen ultimately turns this connection toward romance, intimacy, and support. Early on, Aly thinks that “it [i]s only natural that [her] tastes [a]re starting to skew heavily toward the dark side,” citing “all the ugly shit [she]’d seen” and “[her] fucked-up teen years” (8). This connection implies that people inevitably turn to violent sexual fantasies in response to trauma, which is a stereotypical trope regarding “deviant” sexuality. Josh, too, draws a connection between his father’s crimes and his own desire to chase and dominate women. However, as the novel progresses and Aly and Josh grow closer together, they discover how their trauma has a greater impact on their romantic, interpersonal desires than their sexuality.

Aly first hints at a broader connection between trauma and desire when she acknowledges her numbness. She thinks, “I’d seen so much shit that my faith in humanity was at rock bottom, and I’d lost contact with everyone but my nursing and other first responder friend […] [which] proved that I needed something spicier to get me off” (42). The root of her dissatisfaction, though, is not sexual but social. She wants a connection with another person who can understand her and support her through her traumatic past and daily life. She later questions her trauma, wondering if she “stopped letting people in and started pushing them away” (174), which she explores with Josh. Aly’s mother’s death pushed her into nursing, and Josh’s support helps her realize, “I try to save every patient as if it might somehow make up for not saving my mom” (224). While sexuality plays a significant role in Aly and Josh’s relationship, Aly’s trauma is one source of their romantic intimacy, as Josh helps her work through her past and present struggles.

Josh also thinks of the loneliness that has been subsequent to his fear of people finding out who his father is, just as he worries that his sexuality is ultimately derived from a genetic link to his father. Like Aly, though, Josh’s trauma is not as much a source of sexual desire as it is a source of desire for intimate connection, such as acceptance of Josh and his past without judgment or fear. When Josh confesses his lingering doubts and fears to Aly, she reassures him and relates to the guilt he feels over not having been able to stop his father. In the shower, Aly assures Josh, “You know it’s not your fault, right? That you shouldn’t feel any guilt over it?” (281). Josh notes that this reassurance is not a magic spell that heals him, but the connection he builds with Aly allows him to explore his feelings and overcome his trauma. Together, Aly and Josh push forward despite their traumatic pasts, revealing how trauma—while potentially influencing sexuality—predominantly drives a desire for closeness and vulnerability as a path to healing.

The Moral Complexities of Control, Consent, and Power Dynamics

The dark romance genre is known for pushing the boundaries of control and consent, often setting up heteronormative power dynamics in which a male love interest has near-total control over a female protagonist. These dynamics feed into a pattern of fantasy in which readers can explore their desire to dominate or be dominated without the real-life risks of such dynamics. Lights Out explores this theme through Josh and Aly’s tumultuous, budding relationship, but Allen takes this theme a step farther, exploring the intimacy and romance surrounding sexual fantasy to build an environment of support and trust. In tracking Aly and Josh’s sexual activity, there are no explicit sex acts performed without consent, and the characters often share or distribute power evenly, subverting many tropes of the genre.

Even as Josh plans to break into Aly’s home and fantasizes about dominating her, he highlights how both he and Aly need to share the fantasy for Josh to enjoy himself: “The things I would do to this woman if she let me. I’d play into every lustful dark thought she’d ever had” (17). The implication of this thought, focused on thoughts that Aly had and the conditional “if she let me,” emphasizes Josh’s focus on consent and coordination. He does not want to assault Aly, but he does want to arrange a consensual situation in which they can mimic assault. In fact, when Brad invades Aly’s home, Josh realizes how some of his actions crossed this boundary of trust, thinking, “Brad and I might not have had the same intentions, but we’d both broken into Aly’s house, and I hated the idea that I’d caused her similar distress” (183). Josh realizes that intent is irrelevant in light of the victim’s distress, causing him to reevaluate how he expresses himself to Aly.

Aly’s analysis of her relationship with Josh is rife with commentary on what it means to share a fantasy and relinquish or reclaim power in a sexual situation. In her car, Aly uses the knife that Josh gave her to threaten him, asking, “All this time, you’ve been trying to reassure me that I’m safe with you…but did you ever stop to consider whether or not you were safe with me?” (78). Aly reverses the power dynamic in this moment, revealing how, like Josh, she is not a passive participant in their games. In the Epilogue, Aly addresses this issue of dubious consent: “I was more than into it, so maybe it was more like con-dub-con?” (314). Though Aly phrases this idea as a question, she reveals the difference between Lights Out and many other dark romances, which is that Aly is an active and engaged participant throughout the novel. She and Josh share power and give consent consistently, making their games explicit performances of a shared fantasy, rather than a forceful enactment of one person’s will on another.

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