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The narrative goes back in time and describes the day that Daisy first met Hal. In this scene, it is the summer before her senior year, and she has been dieting while living at home with her mother and working as a waitress. She dreams of working for a food magazine when she graduates and having an apartment in New York City. She and Hal go for dinner at a ramen restaurant, and while he drinks water, she has sake. She gets more intoxicated than she intends to and sleeps in the car as he drives her home. Hal tells her that he is serious about her and wants to settle down. The two kiss, and Hal asks if he can call her something other than Diana, because he once knew another Diana. She agrees, and he decides to call her Daisy.
The narrative returns to the present. Daisy returns home, still reeling from Diana’s revelation. Part of her wants to think it is a lie, while another part of her is sure it must be true. She wonders whether Danny would really have let her marry a rapist and remembers that Danny left the party early on her wedding day. She remembers Hal’s recently deceased friend Brad and wonders whether he was also involved. She then starts to wonder whether Brad’s suicide might really have been a murder.
Daisy calls Danny and asks him to tell her what happened at the bonfire 30 years ago. Danny tells her that Hal had sex with a girl at the party but hesitates to tell her whether it was consensual. He tells her that he thought he was in love with Hal and was terrified that his sexual identity as a gay man would be discovered. Danny says he has tried to be a better man than he was that night and insists that he tried to tell Daisy about Hal before they married. When Daisy hadn’t been receptive at the time, he had instead talked to their mother. Daisy finishes the call with her brother and rings Beatrice’s school to take her out for the rest of the week. She tells her daughter that they’re going to her mother’s house and that she shouldn’t tell her father anything. Daisy promises to keep her daughter safe.
The narrative goes back in time to just after Diana learns about Brad’s suicide. She begins to have trouble sleeping and tells herself to forget about the two other men she has not yet confronted. The newspapers start to carry stories relating to the #MeToo revelations, and Michael suggests that this could be a chance for Diana to get some closure. Diana struggles with her decision for a while before deciding to act. Instead of approaching Hal directly, however, she decides to approach Daisy, the wife of her rapist and the sister of the boy who watched it all happen. She researches Daisy and resolves to try and confront Hal without hurting any other women.
The narrative returns to the present. Daisy and Beatrice drive to Judy Rosen’s house. Beatrice asks her mother what is going on, and Daisy skirts the truth but admits that Hal might be in trouble. At her mother’s house, Daisy asks Judy whether Danny ever told her anything about Hal, or about the party on the Cape. She tells her mother that Hal raped a girl. Judy makes excuses for Hal, saying that he was only 18 at the time and had had too much to drink. She insists that Hal is a good man. Daisy accuses her mother of refusing to believe the truth about Hal and of being happy that her daughter was someone else’s responsibility. Judy and her partner Arnold remind Daisy that Hal is Beatrice’s father and that she must think about her daughter. Daisy calls Diana, who apologizes for lying. Daisy decides to drive to Diana’s cottage to see her in person. Finally, she calls Hal directly.
This marks the first chapter told from Hal’s point of view. The narrative goes back in time to 1987, when Hal and his friends have finished school and are spending the summer living together on the Cape, drinking and trying to sleep with the local girls. Hal and Danny stay with Hal’s parents, and Hal teases Danny about his lack of sexual conquests. Hal jokingly asks his friend if he is gay, and Danny aggressively denies it. Hal suggests that the girl he has been talking to all summer would be perfect for Danny and tells the other boy that he is happy to share her at the party that night. At the bonfire, Hal flirts with Diana and gives her drinks, and when Diana stumbles into the dunes, he tells Brad to follow her before fetching Danny. In the dunes, Brad holds an unconscious Diana down, but Danny refuses to have sex with her. Hal decides to go first.
The narrative skips to 1990, and Hal is at an Emlen reunion. Hal is drunk, and an older man tells him that the drinking will catch up with him. The man tells Hal to find a good woman to keep him grounded. The narrative then skips to Hal and Danny’s 10th Emlen reunion in 1995. Danny asks Hal if he ever thinks about the party and the girl, and Hal struggles to remember. Danny tells him he is in a relationship with a man, and Hal congratulates him, but Danny turns the conversation back to the girl, declaring that Hal raped her. The two argue, and Hal refuses to feel guilty.
In 2019, the Monday after the dinner party, Hal receives a call from Danny asking what they are going to do about Diana. Hal shows no sign of worry, instead telling Danny that there is no evidence of their past wrongdoing. When Danny asks if Hal feels any remorse, he doesn’t answer. Hal returns home to find the house empty and realizes that Daisy must know about Diana. His phone rings and Daisy asks if there is anything he wants to tell her. He demands to know where she is, and Daisy tells him to meet her at Diana’s house in the morning.
Daisy arrives at Diana and Michael’s cottage. Daisy tells Diana that Hal is on his way. The two women drink coffee on the platform above the stairs to the beach, and Daisy leans on a loose post that Michael has never quite gotten around to fixing. Daisy begins to tell Diana about how she and Hal met, about how dazzled she was by him and how flattered she was to be desired by him. She realizes that Hal hurt people and limited her own freedom in life. She worries that she has been a bad role model for Beatrice, but Diana comforts her. Diana says she is not going to tell the police what happened, and Daisy wonders what Hal could possibly do to atone. Diana tells Daisy the whole story of that summer and her life since then. Both Dianas wonder what will happen next and what kind of justice would be right for Hal. Daisy tells Diana about an Indigenous American tradition of ending a marriage by saying “I divorce thee” three times. Diana tells Daisy not to blame herself and that she is glad they became friends. Hal arrives and it begins to rain. Diana suggests that Daisy and Hal go for a walk on the beach and warns them to be careful on the slippery deck with the loose post.
Alone with Hal, Daisy accuses him of raping Diana. He defends himself but apologizes to Daisy for not telling her, claiming that he has always acted to protect her. Daisy accuses him of controlling her and demands a divorce, declaring that she never wants him near her or Beatrice again. She yells that he took her name away, that Daisy is not her name. When Hal reaches for her, Daisy imagines ducking so that Hal will stumble and grab onto the loose post before sliding off the deck and falling down the six flights of stairs to the beach. Her thoughts fly through memories of their life together in an instant before she decides that death would be too easy for Hal. Instead, she imagines another life, where she and Beatrice live near Diana, without Hal. She thinks the phrase, “I divorce thee,” and does not duck. Instead, she simply walks away, leaving Hal watching her.
It is August in Cape Cod, and Beatrice wears a yellow bikini as she navigates a paddleboard across the bay. She is unsure about what has happened between her parents, Diana, and her Uncle Danny. She and her mother are staying in Cape Cod for the summer and the next school year, but Hal has been visiting them on the weekends. A boy a few years older than her paddles close and begins to talk to her. He asks her if she wants to hang out at the beach together. She gives him a noncommittal answer and paddles away.
The final part of That Summer is bookended by two scenes focused upon Hal’s metaphorical theft of Daisy’s true identity as the story of Hal’s unilateral decision to rename her is closely followed by the climactic confrontation many years later in which she violently rejects his renaming of her to assuage his own unspoken guilt for raping Diana Scalzi. Her impassioned cry, “You took my name away!” emphasizes her inner conviction that Daisy is not and never has been her true name. In the context of her condemnation of Hal for his past crimes, this rejection of the name “Daisy” is not simply a repudiation of his pet name for her; instead it represents a deliberate step beyond the reaches of his authority. She is actively reclaiming the identity she had before she became his wife, just as Diana has managed to reforge her own identity in her pursuit of justice from the men who harmed her.
Between these two scenes, Weiner chooses to tell a few tales from Hal’s point of view, a stylistic decision that is deliberately designed to disrupt the otherwise entirely female narrative of the novel. Just as the majority of the narrative focuses upon the importance of The Bonds of Female Friendship, these brief and unflattering scenes of key moments in Hal’s private life over the years provide a stark contrast to the truths recently laid bare by collective female testimony. Thus, these chapters represent a rather disconcerting narrative that nonetheless serves an important purpose in humanizing Hal and characterizing him not as a villainous caricature, but rather as a markedly flawed man. In this, Weiner suggests that because Hal is just like other men, his crime is not an isolated one, but is rather a symptom of a larger, systemic issue that has yet to be truly solved.
Despite the somewhat humanizing effects of Hal’s chapter, however, this splinter narrative does little, if anything, to redeem the novel’s antagonist. For example, when Danny reminds Hal of Diana Scalzi, Hal cannot accurately recall her name and callously denies having raped her. He demonstrates no sense of guilt for his past actions, only a desire to leave them in the past and to make a new life for himself—one which will inevitably rely on the exploitation of another woman. This time, however, she will be his wife: an “anchor” with whose grounding influence he will be able to establish a comfortable life to which he believes himself to be entitled.
The theme of Justice Versus Revenge lies at the heart of Daisy’s final confrontation of Hal, and although her cathartic moment of imagining his fatal fall is immediately recanted, her willingness to imagine such a scene serves as a deft way for Weiner to explore several different versions of punishment for Hal’s past crimes. However, like Diana’s mysterious reminder about the platform’s loose post, Daisy’s decision to simply walk away from Hal contains a degree of ambiguity, which is itself a recurring a trope throughout the novel. Indeed, Weiner has spoken of writing multiple endings for the novel, and even the conclusion that made the final cut finds a way to combine two different endings in one, emphasizing that in a situation as difficult as this one, there is no one “right way” to end things, nor is there an ending that can provide full satisfaction. In one ending, Daisy lets Hal die, and in the other, she divorces him and allows him to live. The novel simultaneously chooses one ending while offering readers a vision of an alternative route. This ambiguity is reflective of other uncertainties within the novel, such as Hal’s false identity, Diana’s alternate persona of Diana Starling, Daisy’s false name, Beatrice’s accusations, the novel’s own resistance to traditional gender roles, and underlying discussions of the #MeToo Movement. Thus, Weiner creates a world in which no one is quite who they seem to be and emphasizes the importance of finding one’s voice and acknowledging difficult truths in order to be truly free of them.
In the novel’s Coda, Beatrice, who is at times serves as a foil for both her mother and for Diana, is subsumed into a recreation of Diana’s first summer on the Cape. Wearing an identical yellow bikini, a symbol of both her emerging sexuality and her innocent youth, she walks in the footsteps of the previous generation of women whose lives have suffered the upheaval of sexual assault and abuse. But Beatrice is different, and as the novel suggests, after the reckoning that the #MeToo Movement wrought, all women and girls will be more easily able to make different choices in the future. This dynamic is emphasized when Beatrice refuses the amorous boy’s invitation to meet up and instead retains her innate independence and paddles off into the sunset alone. The novel’s conclusion therefore suggests that Beatrice might just be equipped with the proper tools to avoid the devastations suffered by the two Dianas.
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