44 pages 1 hour read

Stolen

Fiction | Novel | YA | Published in 2009

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Pages 100-201Chapter Summaries & Analyses

Pages 100-129 Summary

Ty takes Gemma back to the art shed and starts painting himself to look like the landscape. He finally tells her about the first time they met. She was only 10, wandering through the bushes of a park and imagining little fairy families living in each flower. She stumbled on him sleeping in the bushes, looking like a “tramp.” He gave her a robin’s egg. He credits that moment with changing his life and making him realize he belonged out on the land. She is furious and calls him sick and a freak for being obsessed with a 10-year-old girl.

She tries to run, but he grabs her. He insists he only wanted her once he was older. He claims her parents were trying to mold her in their image. She spits in his face. He reveals that he has been stalking her, watching her from the tree outside her window and the neighbor’s house. He tries to convince her that her life wasn’t perfect and that her parents constantly abandoned her. He claims her mom was trying to move away and leave her in a school dorm. He knows about her crush on Ben and her conflict with Anna. He even knows how Josh Holmes sent creepy messages to her. It all adds up. Ty tries to make Gemma paint herself like he is doing, but she refuses. He gets angry and nearly hits her.

The next morning, Ty wants to take Gemma on a drive to catch a camel. She worries he’s going to murder her. He packs supplies. She refuses to get in the car. He insists that he won’t do anything to her and her body is her choice. She finally gets in the car.

He tries to make her smile by driving fast and turning donuts, but she refuses to engage. She watches how he drives, trying to figure out how to operate the car. They drive deeper into the desert and finally spot a herd of wild camels. While he’s rummaging in the trunk, she slides into the driver’s seat, seeing a chance to escape. A snake slithers up into the window, stopping her attempt. He pops up into the window, holding the snake: It was a joke. She wonders if he’s trying to punish her.

Pages 129-151 Summary

Ty and Gemma stop for a picnic. He pours her a glass of sparkling wine to celebrate her 21st day with him, but she pours the glass into the dirt. They argue again about whether he has kidnapped her or saved her. They spot the camels and chase after them in the car. He asks her to pass him tools and take the wheel while he lassoes the camel, and she does. They catch the camel, and he ties the camel up while she moans horribly for her herd. Gemma, similarly trapped, feels connected to the camel. Just when Ty thinks he’s done, the camel throws up on his head. He throws up as well, and then Gemma throws up too. They drive back covered in the stench. The camel trots behind them, having gotten her revenge in some small way.

Back at the complex, he builds a pen for the camel. He shows Gemma how to lead the camel around. They try teaching the camel how to sit. Ty believes the camel will learn to like doing what they say.

Gemma thinks through her past, trying to remember when she saw him. She realizes that he used to work in the park. Anna thought he was good-looking. Gemma thinks through her memories in the park and settles on one night—“[t]hat night.” Her friends were drunk and hooking up. Gemma was left alone, drunk, with Josh Holmes skulking after her. She took off through the park, and he followed. As Josh was about to corner her, someone in a hoodie tackled him and pulled him into the bushes. Gemma realizes the stranger was Ty. Ty reveals that that was the moment he knew he wanted her and would take her to the desert.

Pages 151-176 Summary

Gemma watches Ty train the camel, noticing how he uses fear and reward. She also notices how much more comfortable she has gotten with the desert. Ty starts training the camel so they can ride it when the gas runs out. As Ty gets water, Gemma thinks back to the night in the park and the man in the hoodie. She doesn’t understand the whole story.

She asks him why he came to Britain, and he tenses up, smashing a glass in his hand. He reveals his mother wrote him a letter and fetches the letter from the house. Gemma notices a photo of Ty’s mom, realizing that she looks a little bit like her. Ty reacts angrily when Gemma doesn’t immediately read the letter. He tells her that his mom wrote him, asking him to come live with her. He flew to London and discovered the address was a squat, and his mum had left. He tracked down a number for it and called, finding only a woman asking for money. He wonders if that was his mum after all. He hits a cushion near where Gemma sits and then retreats to the Separates. Later, she hears him scream.

The time comes when Ty usually feeds the chickens, but he hasn’t returned, so Gemma goes to feed them herself. She names them after her friends, family, and two ladies who used to chatter on the bus. Ty finds her fighting off the rooster and goes in to help. The rooster claws at his hands and tears a large gash across his knuckles. He asks Gemma to help clean the wounds.

Before helping, she decides to barter. If she helps, what will he do for her? He agrees to answer her questions. While she scours his wounds roughly, he tells her how he built this place. He stole money, begged, and eventually did sex work. He made better money working as a professional escort. He sank all the money into building this complex. The next morning, Gemma asks how he got the material here, and he reveals that there’s a mine site not too far away. Though Ty claims it’s abandoned, Gemma feels a glimmer of hope.

The next day, she pokes through the kitchen and finds a sewing needle, which she hides in her pocket. She goes on a walk with Ty, and he points out different plants. While he closes his eyes, leaning against a tree, Gemma holds the needle to his eyelid, threatening to kill him. He laughs at first then grows serious. She finds the key in his pocket. He tries to go with her, but she doesn’t want him. He laughs cruelly and calls her pathetic, telling her to see how far she gets.

Pages 176-201 Summary

Gemma runs straight to the car. She struggles to start it, and Ty walks leisurely toward her. She figures it out, and the engine revs. Ty realizes she’s serious and starts chasing after her. He screams and lunges at the door, but she locks him out. She leaves him behind, and he furiously throws things at the car. The car strains as she drives, but she’s too afraid to switch gears. She drives toward shadows on the horizon, thinking it’s the mine site, but she discovers the shadows are tall dunes. The car gets stuck in the sand. She starts to get dehydrated. She looks for tree bark or anything to help get the car out of the sand. She climbs the dune and sees nothing. She sleeps in the car and it grows cold. In the morning, she knows it is hopeless. She starts walking back toward the complex.

She gets increasingly dehydrated and desperate. She takes off all her clothes, trying to cool down. She is swarmed by flies. She collapses into the sand. She hallucinates returning home and seeing her family. It turns into a nightmare where her eyes and mouth are sewn up. Ty’s arms emerge from the bed, dragging her down.

She wakes up in bed covered in blisters, with cold clothes on her. She’s tied to the bed. Ty tends to her wounds. He rode the camel and followed her tracks. The car is still missing.

Several days pass. Gemma wonders why she hasn’t gotten her period yet. She walks outside and sees Ty catching a snake and taking it to the second outbuilding. Later, after he’s gone, she wanders into the building. She discovers it is full of crates housing poisonous spiders, scorpions, and snakes, including the snake he caught that morning. She rummages through the boxes and finds a bottle of rum. When he hasn’t come back by evening, she feels conflicted, worried that he might be planning to kill her but also worried that something happened to him out in the desert. She waits for him. Eventually, she pushes the dresser in front of the door and starts drinking from the bottle.

Pages 100-201 Analysis

The novel’s exploration of Transgression, Coercion, and Love in Abusive Relationships continues in this section with revelations about Gemma’s interactions with Ty before the kidnapping. Though he alluded to prior encounters with her, she doesn’t fully remember him until a memory resurfaces from when she was 10 years old. This revelation signifies a major shift for Gemma as she begins to doubt her memory. Ty seems to have more insight into her own life than she does: He knows about her private imaginary games and the intricacies of her relationships with her friends, and he even claims to know private conversations her parents had about wanting to move away without her. His manipulation and control over her deepen as she doubts her own point of view, with Ty’s claims eroding her trust in her parents and in her own understanding of the social dynamics of her life.

While Ty’s past transgressions reveal the extent of his coercion and manipulation, Gemma’s understanding of her captor is complicated by the revelation that he protected her from Josh Holmes. Ty, who abuses and confines her, protected her from Josh by tackling him before he could corner her. At that moment, he saw himself as her guardian angel and told Josh as much. This revelation complicates Gemma’s feelings toward Ty. She can’t deny the fact that he helped and protected her that night. For Ty, his attack on Josh acts as evidence supporting his claim that he wants to save Gemma, not hold her captive. As Gemma doubts her own perspective more, these arguments solidify his point of view and his emotional control over her.

As Gemma’s confidence in her point of view begins to waver, she also gains more insight into Ty’s tragic backstory, which emphasizes Trauma’s Role in Shaping Identity. She finds the picture of him as a baby with his mother, who looks strikingly like Gemma. The “smallness” of him in the photo humanizes him and showcases his vulnerabilities. His backstory with his mother continues to reveal more devastation and neglect. She begins to feel genuinely sorry for him and the abject suffering he experienced in London. She understands why he hates it so much, why he feels connected to the land, and why he chose Gemma of all people. She understands the art as a way for him to connect to the land and live in its “aliveness” as compared to the “deadness” he felt in the city. He is extremely sensitive about his art project and lashes out when she refuses to engage with it the way he wants. As Gemma grows to understand how Ty was shaped by his traumatic past, her empathy for her captor reveals that she is beginning to experience Stockholm syndrome.

Much as Ty’s identity has been shaped by trauma, Gemma undergoes changes to her identity and behavior as she continues to endure captivity. At the beginning of her captivity, she resisted Ty at every turn. She followed no directions and fought back violently. During this section, Gemma begins to acquiesce to some of his commands. When he wants to take her on a long drive, she references the conventions of the thriller or the murder story, connecting herself to it and the danger of the long drive. However, she doesn’t fully believe that her story is meeting those conventions. The long drive turns into another experience altogether as it becomes the site of Gemma and Ty’s first collaboration. He asks her to help him catch the camel, and she passes him the lasso, driving the car as he successfully loops it around the camel’s neck. This period is emotionally complicated for Gemma. On the one hand, it empowers her. She learns new skills, coming to believe that she could drive the car if she could wrestle the key away from Ty. She also learns more about the land, the animals, and the plants, feeding the chickens herself and absorbing some of the skills that Ty has developed in order to survive out here. Ironically, as she gains skills and feels more empowered, she is turning into the person Ty is shaping her to be. The camel is an analog for Gemma and a symbol of her captivity, illustrating the theme of Nature as a Reflection of Characters’ Inner Lives. Yet in this scene, Ty has made Gemma complicit in the camel’s kidnapping, a party to her own captivity.

These steps toward empowerment encourage Gemma to step up and make her boldest attempt at escape yet, demonstrating both her character growth and the depths of Ty’s abuse. She takes a needle from the sewing machine, waits for a moment of weakness, and threatens Ty with it in exchange for the car keys. Ty recognizes her growing empowerment and cruelly targets that when he calls her “pathetic” and “desperate” (176). He reveals the paradox at the heart of his desire: He wants her to be a willing and capable participant in the life he has designed, yet if she gains the skills to participate, she’ll gain the ability to leave. He attacks her confidence and hands her the keys, knowing she will run into trouble out in the desert. When she nearly dies, he swoops in and saves her, solidifying his perceived role as her protector and savior. After he saves her from her escape attempt, Gemma feels even more dependent on him. She worries about him when he doesn’t come back. Her emotional transition into Stockholm syndrome has progressed.

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