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Content Warning: The source text and this section of the guide discuss domestic violence, abuse, and miscarriage.
America lies on a blanket in the gardens with Maxon, looking at the stars. A week before, the Selection was narrowed down to six girls, called the Elite, and Maxon tells America that he is ready to choose her the moment she decides to commit to him. America is drawn to Maxon but also to Aspen, her former boyfriend who now works as a guard in the palace in Angeles. America admits to Maxon that she doesn’t feel she knows him, and he “seem[s] perfect all the time” (3). He lists his faults, including his dwindling patience with the rebels who continue to attack the palace: the Northerners, who cause chaos, and the Southerners, who inflict death and destruction. America is pleased that Maxon sees a possible future with her, but when she encounters Aspen standing guard outside her bedroom door, he reminds her that he loves her. She asks for time to figure out her feelings.
The Elite sit with Queen Amberly, who describes her wedding, when she was chosen from the Selection by King Clarkson. The other girls describe the wedding they’d wish to have with Maxon. America, who once imagined she would marry Aspen, admits that she would like for her father to give her away. Only Marlee, who has become America’s best friend, seems uninterested in marrying the prince. America hopes she will remain in touch with Marlee when the Selection is over. Marlee reminds America that, though she was born a Five in the caste system that rules Illéa—which means her family is required to work as artists and musicians—the Selection has made America a Three, a higher caste. Natalie seems distant, Celeste complains, but Kriss always seems calm and ladylike. In the hallway, America runs into a guard, Officer Woodwork.
America tries to read a report on military statistics and chats with her maids—Anne, Mary, and Lucy—with whom she is close. Maxon visits and takes America into the gardens, which have become their refuge. As they hold hands, Maxon notices the calluses on America’s fingers from playing the violin. He invites her to ask him questions, and she wants to know what Halloween is, as she read about it once in an old history book. Maxon takes her to a secret room in the palace that holds a computer, banned books, and maps. Maxon looks up Halloween and finds a mention in the diary of Gregory Illéa, the man who founded their country after the American State of China got involved in the Fourth World War. Maxon allows America to take the book in secret. America is pleased to have his trust and hides the book in her piano bench.
America tries giving Marlee piano lessons, and Marlee asks America why she continues to push Maxon away. America can’t confide that there is someone else she can’t let go of. America suspects Marlee has a secret but doesn’t press her. At dinner, America requests to talk to Maxon using their secret signal, tugging on an ear, but he is busy. As she walks to her room, Aspen grazes her arm, and America feels dizzy from his touch. She knows she must choose Maxon or Aspen, but she wonders how to “make a choice that would leave some part of [her] devastated either way” (30).
The Elite girls are interviewed by Gavril Fadaye for the Report on their opinions about Illéa’s military. Celeste suggests raising draft numbers for the war with New Asia. America, who dislikes Celeste, says enlistment should be voluntary. Kriss suggests opening service to women, saying, “some girls have a frightening killer instinct” (34). America recalls a neighbor from her home province, Carolina, who lost her husband and son to the wars and was reduced to begging as an Eight.
Maxon comes to America’s room and suggests a Halloween party. The girls could wear costumes, and guards could dance with them. When he says the girls can invite their families, America hugs him, thrilled at the idea of seeing her parents and younger sister, May. She feels hopeful about being with Maxon. Though she is jealous of his attention to the other girls, she admits that she doesn’t want to leave him. She wants to be his, though “[i]t might mean welcoming a future I never thought I would and saying good-bye to things I never intended to” (39). Maxon seems relieved when America suggests they could be good together, and they embrace. America cherishes the moment, though it feels fragile.
The girls are photographed while they design their costumes for the Halloween party. America is inspired by her necklace with the image of songbird, a gift from her father, but is put off when it seems Celeste has a bird costume. Maxon reveals that an elimination will happen after the party. America is troubled when a week goes by without personal time with him, though he spends time with the other girls. The girls have dance lessons with the guards, where America witnesses Celeste being mean to Natalie. Aspen approaches America, and she feels guilty that he hasn’t thought much about him lately. America is a clumsy dancer, and she worries that Maxon is having second thoughts. Aspen indicates that he will always be there for her.
America waits in the foyer of the palace with the other girls to welcome their families. Silvia, who oversees the girls and their etiquette, reminds America to remain calm. Excitement erupts when the families arrive, and America clings to her sister and parents. Maxon approaches and introduces himself to America’s family, then welcomes the whole group.
America speaks to her father about the history she is learning about the former President Wallis, the last leader of the former US and the American State of China. She has learned that the US was invaded at the beginning of the Third World War and, because it couldn’t repay its debt, the Chinese government took over. When the Fourth World War began, the new county of Illéa rose from the economic devastation. Castes were assigned at that time, which her father believes is unfair. America tells him about the secret room full of books.
In her room, America finds May chatting with America’s maid, Lucy, who was sold to the palace when the woman she worked for found out her son was in love with Lucy. Lucy describes being in love, and America thinks that “[l]ove is beautiful fear” (62). She reads a letter from her brother, Kota, who wants to ingratiate himself with the royal family. During tea with the queen, America sees Maxon and her father walking outside in the gardens, talking then shaking hands.
The Halloween party is dazzling. America sees Marlee, dressed as an angel, dancing with Officer Woodwork. America is dressed as a butterfly. The royal family enters, and America thinks about how the Selection provided King Clarkson with the ideal partner in Queen Amberly. Maxon dances with other girls, and America chides Aspen for dancing with Celeste. She recalls the moments she has shared with Aspen and realizes that a potential goodbye will break her heart. Maxon asks America to dance, saying he’s done his duty to the other girls and now can spend the evening with her. He admits that America is still the only girl he wants: He asked her father’s permission to propose, which he plans to do as soon as America is ready. He asks America to promise she will stay with him, and she agrees. She is happy and can finally imagine marrying Maxon.
The main action of the novel circles around the choice America must make between which man she wants to be with, the prince, Maxon, or her childhood love, Aspen. Maxon and Aspen are foils to one another in this first section, competing for her hand in an echo of the competition that comprises the Selection. Maxon is associated with the palace, with the romance of the gardens and the luxury of the life America is now enjoying as a member of the Elite—filled with good food, fine dresses, and leisure time—which she didn’t have in her life as a Five in Carolina. Maxon has elevated her status to a Three and would make her a One through marriage, which would give America a lifetime of comfort and security. This upward mobility is a key aspect of the Cinderella archetype, emphasizing the power and temptation of social ascension and the power of romantic choice to transform one’s life. The difference in settings, memories of the home she left, and the palace she now enjoys, symbolize the choice before her. The palace symbolizes Maxon’s world of privilege and future stability, while the simpler memories of Carolina embody Aspen’s familiarity and America’s attachment to her past. The contrast between these settings underlines the importance of identity, as America grapples with who she is versus who she could become.
While she is attracted to Maxon, much of America’s internal conflict in the novel revolves around her continuing attachment to Aspen. She once thought she would marry him, and that emotional bond still holds weight with her. In the previous book, the two kept their relationship a secret because Aspen’s status as a Six was a barrier to their marrying, and they cannot be open about their attachment now. It was emphasized in the first novel of the series, The Selection, that Selected girls cannot date or entertain rival suitors while in the competition, and such actions would be considered treason. Though America understands the danger, she cannot give up her stolen moments with Aspen, and the need for secrecy adds the thrill of the forbidden to their interactions. This secrecy also heightens the stakes of her dilemma, as each encounter with Aspen risks both her standing in the Selection and her future with Maxon. Aspen represents a link to her old life, which America feels nostalgic for. She understands that accepting Maxon means she is irrevocably breaking with her old life, and at this stage in her character growth, America isn’t ready to part with the life that has defined her. Her nostalgia for her past life serves as a symbol of her struggle with change and her fear of losing her sense of self in the process of adapting to a new, more privileged life.
The theme of Choice Among Competing Affections is borne out not only in America’s dilemma but in the entire premise of the Selection, which assembles the girls so the prince can identify his preference. For America, her consideration of what each man can offer her is often put in terms of security; Maxon is a risk because of his mysteries. Aspen is familiar and offers safety and security. This Choice Among Competing Affections is further complicated by the societal expectations placed on America as part of the Selection process, reflecting the pressure women often face in making romantic decisions based on external factors rather than purely personal desires. As she becomes more convinced that Maxon is focused only on her, America finds herself able to trust that what he’s offering will not suddenly disappear.
Maxon, for his part, attempts to be fair by giving the other girls polite attention, which shows the courtesy in his character, but this results in confusion for America, who wants his sole attention. Interestingly, America never draws an overt comparison to their situations, in that her need to make a choice mirrors Maxon’s. This parallel creates dramatic irony, demonstrating the similarities in their predicaments even if America does not, highlighting her emotional immaturity and the gap in understanding between the characters at this stage. This lack of acknowledgement also indicates America’s lack of awareness about her own feelings toward Maxon, about whom she still knows little.
The novel draws a picture of the caste system and has America register its unfairness, with the castes playing a part in the novel’s later exploration of the rebellion, but the focus in these early chapters is on setting up the competition between the girls and their roles as foils to America. Elise, whose family is from New Asia, is the picture of restraint and dignity. Natalie seems dreamy and uninformed. Kriss is intelligent, warm, and kind, as is Marlee, whose relationship with America continues from the first book. Celeste is given the role of antagonist; America’s opposite in status and polish, as she is both a Two and a model, she is also portrayed as manipulative and vindictive. The use of foils here highlights different facets of America’s character and her growth, as she sees qualities in the other girls that she both admires and rejects, forcing her to reflect on her own identity and values. Part of America’s conflict is to try to set herself apart as unique from this crowd, helped by her talent for music. But she also feels the need to prove herself as princess material, which poses an extra obstacle. Her musical ability, symbolized by the calluses on her fingers, is not just a skill but also a connection to her family and her past, grounding her and making her distinct from the polished and privileged girls competing alongside her.
The first-person point of view creates an intimate tone regarding America’s feelings and emotions but also limits reliability, which helps create suspense, as when America observes her father and Maxon talking. Much of the action takes place in enclosed rooms, with the gardens providing a setting of refuge and occasional escape. The garden setting functions as a romantic symbol of growth and possibility, contrasting with the more restrictive palace interiors. This setting allows America and Maxon to open up and show vulnerability, advancing their relationship in a space separate from the pressures of the Selection. The prose style is simple and direct, suited to the young adult audience, as is the level of physical intimacy between the romantic interests.
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