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Disappoint Me
Disappoint Me

Disappoint Me

A trans poet resolves not to die alone. Her new boyfriend's past makes her question it.
by Nicola Dinan 2025 320 pages
3.97
8k+ ratings
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Summary in 60 Seconds
After a New Year's fall, thirty-year-old trans poet Max resolves to find love. She meets Vincent, a lawyer who shares her Chinese heritage, and they fall hard. Meanwhile, a brain tumor caused by her hormone medication threatens her future. During a holiday in Provence, a hash cake unleashes Vincent's buried secret: a decade ago in Thailand, he outed a trans woman named Alex to his violent friend Fred, then promised to stay with her through gender-affirming surgery and abandoned her on the operating table. Max, seeing herself in Alex, flees to Scotland. She reconciles with her father over her own long-held guilt, then undergoes surgery to remove the tumor. Vincent is at her bedside when she wakes. Max chooses to stay with him: not from absolution, but because she wants to see what comes next.
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Plot Summary

Sober Fall on New Year's

A trans woman trying moderation tumbles down a staircase at a party

Max,1 a 30-year-old trans woman and published poet turned tech-company lawyer, attends a New Year's Eve party at Caspar's house in Hackney. She is experimenting with near-sobriety after alcohol worsened her post-breakup depression. Her best friend Simone3 attends with her boring girlfriend Eva.16

Carla,11 a provocative trans painter, corners Max,1 insists she admit jealousy of a younger trans model, then reveals she slept with Max1's ex, Arthur.12 Upset, Max1 flees the confrontation, misses a step on the staircase, and tumbles. She wakes alone in Homerton Hospital on New Year's Day, an IV in her hand.

Simone3 has left clean clothes and a note. Max1 pulls out the needle, dresses, and walks out before her scheduled CT scan. On a bench facing a church, she imagines dying alone in a hospital bed decades from now. She makes a resolution: she will find someone. She will not be alone.

May contain spoilers
Analysis

Max's fall literalizes her emotional descent. The paradox is sharp: she moderates her drinking precisely to avoid chaos, yet sobriety cannot protect her from the staircase, from Carla's cruelty, from the gravitational pull of her own loneliness. The hospital becomes a crystal ball showing a possible future: dying alone, unvisited by anyone. This is the wound the rest of the novel will probe. Not the head injury (she skips the scan, a choice that will echo ominously), but the existential terror of isolation that makes her vulnerable to Vincent, to love as rescue fantasy, to the bargain of accepting care from someone who may be incapable of giving it.

A Chinese Lawyer Named Vincent

First-date chemistry with a man who mends his own socks

Max1 meets Vincent Chan2 on a dating app and agrees to dinner at a Japanese restaurant. He is fifteen minutes late, held up by a deal at his law firm. They bond immediately over shared heritage: both are part Chinese, both spent time in Hong Kong, both work in law.

Vincent2 is handsome, earnest, and refreshingly unpretentious. He admits he would still be a lawyer even if money were no object, but his real dream was playing clarinet in a jazz band. He mends his own socks, a detail Max1 finds unexpectedly moving.

She tells him about her poetry collection, Small and Humble, and he seems genuinely impressed rather than threatened. Back at her flat, they have sex. He stays over, leaves a handwritten note on a grocery receipt by her bedside. Max1 folds it and keeps it in her drawer. Something in her cautiously unfurls.

May contain spoilers
Analysis

Vincent represents safety and tradition, the very things Max has spent her adult life rejecting as unavailable to trans women. He is a Chinese lawyer, exactly the type her mother would approve of. He bakes, he mends socks, he leaves handwritten notes. The attraction is not electric but grounding. Max's internal conflict begins here: is choosing stability a betrayal of her queer, artistic self? Or has she simply been conditioned to believe that chaos and love are the same thing? The note on the receipt matters because it signals permanence. Pixels delete; ink endures. For someone terrified of being left, Vincent's small gestures of durability register as profound.

The Rooftop in Bangkok

A nineteen-year-old Vincent meets Alex while traveling alone in Thailand

In 2012, Vincent,2 19, arrives in Bangkok for his gap year, abandoned by his best friend Fred4 who has delayed his arrival to attend a silent meditation retreat in India. Alone and anxious, Vincent2 meets Alex5 on the hostel rooftop in the middle of the night.

She is 21, studying philosophy at UCL, traveling solo before an operation she describes only as lifesaving. They talk about bullying, racism, and their respective upbringings. Vincent2 is immediately drawn to her directness, her cool self-possession. When she asks him to accompany her to a gallery and floating market the next day, he agrees eagerly.

Over the following days, their connection deepens. They share meals, listen to Frank Ocean on the train, and Vincent2 finds himself imagining introducing her to his parents. On their last night in Bangkok, she invites him to her room. They kiss, but she tells him she only wants to kiss for now. He does not yet know why.

May contain spoilers
Analysis

The Thailand sections function as Vincent's origin wound. At 19, he is already learning to contort himself for others: for his parents, for Fred, for the other travelers at the hostel. His attraction to Alex is genuine, but so is his vulnerability to shame. The rooftop conversation establishes Alex as someone who sees him clearly, who understands what it means to navigate a world not built for you. Her mention of surgery, left deliberately vague, creates dramatic irony. Vincent's failure to ask what kind of surgery, his willingness to fill in the blanks with comfortable assumptions, previews exactly how things will unravel.

Bex's Cruel Revelation

Another traveler tells Vincent that Alex is trans, and everything curdles

After kissing Alex5 and agreeing to travel together to Koh Samui, Vincent2 goes to the hostel rooftop to clear his head. There he encounters Bex,14 a drunk British traveler who, with casual malice, informs him that Alex5 was born a man. She is here for the surgery, Bex14 adds.

Vincent2's internal response is immediate and panicked: he thinks about what his parents would think, about whether people will assume he is gay. He returns to his own dorm bed rather than Alex5's room. The next morning, he becomes cold and distant. On the overnight train to Surat Thani, Alex5 confronts him directly about his changed behavior.

He lies, claiming he is just not feeling well. She suggests that maybe getting together was a mistake. He agrees too quickly. The warmth between them evaporates into careful, guarded politeness. She does not know that he knows. He does not know how to process what he knows.

May contain spoilers
Analysis

Bex's revelation weaponizes disclosure. Alex did not owe Vincent her medical history, but Bex's outing transforms Vincent's perception instantly. His panic is not about Alex but about himself: what it means for his identity, his masculinity, his desirability. Dinan captures the specific violence of the closet's logic. Vincent is not homophobic in the abstract, but the threat of being seen as gay reorganizes his entire emotional landscape in seconds. His coldness is punishment for a deception Alex never committed. The train journey becomes a study in emotional cowardice, two people inches apart but separated by a wall Vincent erected in his own mind.

The Half Moon Assault

Jealousy drives Vincent to out Alex, and Fred turns violent

In Koh Samui, Fred4 has arrived, golden and charming. Vincent2 watches with mounting jealousy as Fred4 flirts with Alex.5 At the Half Moon Party, high on mushroom shakes and alcohol, Vincent2 leaves them alone briefly. When he returns, they are kissing.

Later, back at the hostel, Fred4 returns to their shared room and boasts that Alex5 sucked his dick but would not do anything else. Consumed by rage and jealousy, Vincent2 tells Fred4 that Alex5 is trans, that she used to be a man. Fred4's reaction is instantaneous and violent. He storms to Alex5's room.

Vincent2 follows and arrives to find Alex5 on the floor, bleeding from her nose, her shorts at her ankles. Fred4 is shouting slurs. Vincent2 tells Fred4 to leave. He then kneels beside Alex,5 cleans the blood from her face with a wet towel, and says he is sorry. He does not yet understand the full scope of what he has done.

May contain spoilers
Analysis

This is the novel's moral epicenter. Vincent's disclosure functions as a weapon, deployed not to protect Fred but to punish both Fred and Alex for desiring each other instead of him. The violence is doubled: Fred's physical assault is the visible harm, but Vincent's outing is the originating violence that made it possible. Dinan refuses to let Vincent off the hook, even as she shows him tenderly cleaning Alex's wounds. The scene captures how transmisogyny operates through intermediaries: Fred beats Alex, but Vincent handed him the justification. The blood on Vincent's hands is metaphorical and literal, soaked into the white hostel towel.

Abandoned Before Surgery

Vincent promises to stay, then packs his bags while Alex is on the operating table

After Fred4 leaves Koh Samui, Vincent2 stays with Alex.5 He books her a room, brings her food, watches Lost in Translation with her. They become intimate again. She cries at night from the hormone withdrawal required before surgery. Vincent2 tells her he will stay with her through the operation and recovery.

But as the surgery date approaches, his old panic resurfaces. The night before, they have mechanical, distracted sex. In the morning, Alex5 leaves for the clinic. Vincent,2 alone in the hostel room, packs his bags and leaves. He messages Fred,4 trying to pretend none of it happened.

He does not call Alex.5 He does not say goodbye. He simply disappears, a 19-year-old who decided, in the end, that someone else's transformation was too much weight to carry. The abandonment is total and silent, the kind of cruelty that leaves no visible marks but reshapes a person's capacity to trust.

May contain spoilers
Analysis

Vincent's abandonment is the novel's deepest wound, the act that haunts his relationship with Max a decade later. Dinan is careful to show Vincent not as a monster but as someone whose fear overwhelmed his decency. He wanted to stay. He intended to stay. But wanting and doing are separated by the body's panic response. The scene reads as a study in masculine failure: the inability to sit with another's vulnerability, the flight from care when care requires confronting one's own limitations. For Alex, Vincent's disappearance confirms what the world has always told her: that she is someone to be left, that hope for dependable love is irresponsible.

Surrogacy Leaflets on a Train

Vincent tells his mother about Max and receives pamphlets in return

En route to Edinburgh to meet Max1's parents, Vincent2 reveals he has told his mother about their relationship. Max1's response is not relief but dread. Vincent2 then produces the three surrogacy pamphlets his mother gave him, covering options in the UK and abroad.

He seems to think this is funny, progress of a sort. Max1 is devastated. She sees the pamphlets as proof that she will always be reduced to her reproductive incapacity, that Vincent2's family will always see her body as a problem to be solved. They argue.

Max1 points out that saying she is just like an infertile woman is not the reassurance Vincent2 thinks it is. The tension lingers through their arrival at her parents' large sandstone house in the Scottish countryside, where her father Peter8 and mother Melinda9 wait, alongside her brother Jamie,7 who is about to announce unexpected news.

May contain spoilers
Analysis

The surrogacy pamphlets crystallize the novel's central tension around trans reproduction and family. Vincent's mother, in her pragmatism, has already begun planning how to extract a biological grandchild from a relationship she has not yet accepted. For Max, the pamphlets are not about babies but about ontology: she is a problem requiring a workaround. Vincent's failure to understand why this hurts her reveals the gap between their experiences. His disclosure to his mother, which he frames as brave, lands on Max as yet another reminder that her existence must be managed, announced, accommodated. The train becomes a pressure chamber where Max's hopes for normalcy collide with the reality of being perpetually exceptional.

Lamma's Burning Carpet

Jamie announces a pregnancy, and Max reveals her father's alcoholism to Vincent

At her parents' house, Max1's brother Jamie7 dramatically announces that his ex-girlfriend Maria is pregnant. The family reacts with confusion, since Jamie7 and Maria broke up months ago and do not plan to reconcile. Max1 feels the sting of how easily reproduction happens for cisgender people.

That night, Vincent2 asks about the tension between Jamie7 and their father.8 Max1 finally tells him about Lamma: when she was 15, her alcoholic father fell asleep with a cigarette and set the living room carpet on fire. She discovered it, put it out, and kept the secret until Jamie7 returned from university.

Jamie7 erupted at their father8 and has never forgiven him. Their father8 got sober, but in the process became emotionally distant from Max,1 who mourns the affectionate drunk father she lost. Vincent2 holds her as she cries, but his response is muted. He does not know how to hold her history alongside his own.

May contain spoilers
Analysis

The Lamma fire is Max's origin story: the moment that split her family into before and after, that turned her father from an affectionate drunk into a sober stranger, that made Jamie into a permanent prosecutor of their father's failures. Max's confession to Vincent is an act of trust, but it also illuminates their asymmetry. He holds her secret but has not shared his own. The fire becomes a metaphor for the novel's broader concerns: how shame is passed through families, how sobriety can feel like loss, how children blame themselves for adult failures. Max has spent 15 years wondering if her father forgives her for telling Jamie. She does not yet know that Vincent is carrying a secret that will make her family's dysfunction look manageable.

The White Mass

Max's migraines turn out to be a meningioma from her hormone medication

Max1's persistent migraines lead her to Dr Pandya,13 a neurologist with perfect skin who delivers devastating news: Max1 has a sphenoid wing meningioma, a brain tumor likely caused by years of taking cyproterone acetate, her anti-androgen medication. The tumor is large, located behind her eye and above her ear.

It requires surgical removal with a 5 to 10 percent risk of major complications or death. Max1's first thought is of the CT scan she skipped on New Year's Day: could earlier detection have changed this? She tells Aisha6 about the tumor before Vincent,2 a choice that reveals her difficulty receiving care.

When she finally tells Vincent2 over the congee he has lovingly prepared, he crumbles. She finds herself comforting him, narrating her own tumor as manageable so that he will not panic. The surgery is scheduled for several weeks out. She will go to France first, then Emily10's wedding, then the operating table.

May contain spoilers
Analysis

The tumor is the novel's cruelest irony: the medication that allows Max to live as herself is also the thing that might kill her. Dinan makes this medical reality literal rather than metaphorical. The tumor is not a symbol of internalized transphobia or self-destruction; it is a meningioma caused by CPA. Max's body is not a metaphor, and this insistence on the material grounds the novel's treatment of trans experience. Her decision to tell Aisha before Vincent reveals how hard it is for Max to be cared for, to be the person in crisis rather than the person managing everyone else's reactions. The tumor accelerates the timeline. There is no more room for waiting.

Jamie's Lost Baby

Maria aborts, and Max tells her devastated brother about her tumor

Jamie7 calls Max,1 distraught. Maria has had an abortion. She decided she could not raise a child alone while Jamie7 prioritized work. Jamie7 is shattered, seeing the lost baby as his one chance to prove he could be a better parent than their father.8 Max1 goes to his flat and cooks him pasta while he screams into a pillow.

When she finally tells him about her brain tumor, he processes it with the same brittle rationality he applies to everything: near the optic nerve, we might be okay. Later, they take the spa weekend Jamie7 had booked for Maria.

At the luxury Somerset hotel, they are mistaken for a couple. Max1 is mistaken for pregnant when the spa books her into a mother-to-be massage. Jamie7 cries at dinner about the baby, about their father,8 about his fear that he will never be good enough. Max1 holds him. She does not tell him that Maria was probably right.

May contain spoilers
Analysis

Jamie's grief is a mirror for Max's own. Both siblings are trapped in patterns inherited from their parents: Jamie in his father's emotional unavailability, Max in her mother's performative competence. The spa weekend, with its absurd couple-presumptions and pregnancy-hole massage tables, becomes a space where they can finally be tender with each other. Max's restraint is notable: she does not tell Jamie that Maria made a rational choice, does not remind him that he missed the twelve-week scan. She simply lets him cry. This is the care she is learning to give and, she hopes, to receive. The tumor makes time precious; there is no space left for old resentments.

Hash Cake Detonates the Present

Overdosed on edibles in Provence, Vincent exposes Fred's hidden violence

Max,1 Vincent,2 Simone,3 Fred,4 and Aisha6 holiday at a friend's house in Provence. Fred4 bakes hash into a lemon drizzle cake. Everyone eats it on full stomachs; when the high hits hours later, they are incapacitated. The next day, still recovering and irritable, Vincent2 lashes out at Fred.4

The argument escalates. Fred4 tries to position himself as Max1's defender against Vincent2's bad behavior. Vincent,2 enraged, snaps. In front of everyone, he reveals that Fred4 beat up a trans woman5 in Thailand a decade ago. The room goes cold. Aisha6 is silent; she already knew.

Max1 stares at the two men, trying to process what she has just heard. Vincent,2 still talking, adds more: he was there. He told Fred4 she was trans. The secret that has bound Vincent2 and Fred4 together for ten years, the unspoken pact of silence, has just been incinerated by a homemade edible.

May contain spoilers
Analysis

The hash cake functions as a truth serum, but also as a reminder that the body keeps score. Vincent's irritability is not just the drugs; it is the accumulated pressure of his father's heart attack, Max's tumor, and the decade of silence about Alex. The Provence section stages a collision between the novel's two timelines: Vincent's past erupts into his present, and Max becomes the unwilling audience for a confession that was never meant for her. The scene exposes how male friendship can be built on shared guilt, how silence functions as both protection and prison. Fred and Vincent have spent ten years not talking about Alex, and it has rotted the foundation of their friendship.

You Left Her Alone

Max learns Vincent abandoned Alex during her bottom surgery

Max1 retreats to her bedroom. Vincent2 follows and, under her interrogation, the full story emerges. He did not just out Alex5 to Fred.4 He dated her afterward. He promised to stay with her through surgery. And then, on the morning of the operation, he packed his bags and left.

She woke up alone. Max1 sees herself in Alex5's position: on an operating table, waking to the chalk outline of a boyfriend who could not handle what her body required. Vincent2 insists he has changed, that he was only 19, that he would never leave her. But the parallel is too sharp.

Max1 goes to sleep in Simone3's hut. The next morning, she and Simone3 leave for Emily10's wedding in Bordeaux without saying goodbye. Max1 tells Simone3 she should break up with Vincent.2 Simone3 says yes, absolutely, but adds: you are not me. The question of what Max1 will do hangs in the air.

May contain spoilers
Analysis

Vincent's abandonment of Alex recodes everything Max thought she knew about him. His care for her during the tumor now reads as potentially compensatory, an attempt to atone for Alex by getting it right this time. The parallel between the two trans women, both facing surgery, is devastating. Vincent's defense, that he was 19, is factually true but morally insufficient. Dinan raises a genuinely difficult question: if people can change, what does accountability look like? Is Max obligated to forgive Vincent because he has suffered enough? Or does forgiveness belong to Alex, and Max's role is simply to decide what kind of man she wants to build a future with? The novel refuses easy answers.

A Wedding Dress For Simone

Bridesmaids in Bordeaux navigate femininity, friendship, and the future

At Emily10's wedding in Bordeaux, Max1 and Simone3 wear dusty pink bridesmaids' dresses. Simone3 is miserable. The dress is not her, and the entire ceremony feels like an indictment of her single, queer life. During the reception, Max1 is drawn to David,15 a groomsman who flirts with her.

She goes so far as to kiss him, then pulls back and returns to her room, where she finds Simone3 weeping in the bathroom. Simone3 is not crying because she wants to get married; she is crying because this environment makes her feel like she has nothing, despite her successful career, despite her independence.

They sit together in the bathtub, still in their dresses, passing a bottle of wine. Max1 confesses she almost cheated on Vincent.2 Simone3 asks if Max1 is going to die. Max1 says she is not. Simone3 makes her promise never to move to the countryside or get a whippet. They laugh, and Max1 thinks about what memory she would take to the afterlife.

May contain spoilers
Analysis

The wedding functions as a pressure test for both women's life choices. For Simone, the dress is not just fabric but a costume of conformity that makes her body feel alien. Her breakdown is not about jealousy of Emily's marriage but about the accumulated weight of living in a world that measures women by their proximity to the altar. Max's near-infidelity with David is a test she passes: she does not actually want revenge or escape, she wants to know if she still has choices. The bathtub scene is the novel's most intimate moment of female friendship, two women in satin and tears, refusing to perform the roles they have been assigned. Simone's question, Are you going to die?, is answered with a promise that is also a prayer.

Dad Quotes My Poetry

Max asks her father if he forgives her for telling Jamie about the fire

Instead of returning to London and Vincent,2 Max1 flies to her parents in Scotland. She asks for a moratorium on tumor talk. On a walk with her father8 through the Scottish countryside, she finally asks the question she has carried since she was 15: does he forgive her for telling Jamie7 about the fire?

Her father8 is confused. He tells her there is nothing to forgive. He quotes her poetry back to her: No person is fewer than two things. He has read her collection many times. He says he struggled to express affection after getting sober, that alcohol had opened a door he could not find again without it.

Max1 cries into his shoulder. She apologizes for telling Jamie.7 He apologizes for everything else. They walk back to the house where her mother9 has prepared lunch. Later, Max1 receives keys to Simone3's flat in the mail. She decides to return to London. She does not know yet what she will say to Vincent.2

May contain spoilers
Analysis

The reconciliation with her father is the novel's quietest and most radical scene. Max has spent 15 years believing she broke her family by telling Jamie about the fire. Her father has spent 15 years believing his sobriety cost him his daughter's love. The misunderstanding is devastatingly ordinary: two people who love each other, each assuming the other's distance is punishment. When he quotes her poetry, it is the proof she needed that he sees her, that her art matters to him. The novel suggests that forgiveness is not a single act but an ongoing practice, a decision to stop punishing yourself for the ways you survived. With this resolution, Max can finally go home.

Epilogue

Max1 lies on the operating table. The masked surgeon asks about her job, and she thinks about how she pretends to be a robot at work, about how poetry shares something with surgery: precision, attention, the hope of repair. When she surfaces from anesthesia, Vincent2 is beside her, holding a vomit bowl as she retches.

The nurse remarks that vomiting happens when you are skinny; Max1 reminds herself this is not a compliment. She imagines a future: hosting New Year's Eve with no drugs and no staircases, where disappointment may still visit but no more than promise. A future where she lets another person hold the bowl. Where she lets herself be held.

May contain spoilers
Analysis

The epilogue reframes everything that came before. Max has survived; the worst fear did not materialize. But survival is not triumphant. It is vomiting into a bowl, being told you are skinny like it is another diagnosis. The image of Vincent holding the bowl reverses his earlier abandonment of Alex: he stayed. Yet Dinan refuses a clean redemption arc. Max imagines a future where she still feels disappointment but no more than promise. This is the novel's final offer: not happiness without complication, but the decision to let someone else hold what you cannot. Forgiveness not as a moral judgment but as a practice of the body, a bowl passed between two hands.

Analysis

Disappoint Me examines the architecture of forgiveness through the lives of two people carrying very different forms of shame. Max,1 a trans woman, has spent years feeling like a disappointment: to her family, to the literary world, to her own body. Vincent,2 a cis man, has buried a specific, actionable guilt: he outed a trans woman5 to his best friend,4 triggering an assault, and then abandoned her before surgery. The novel asks whether the past can ever truly be past, or whether it simply waits for the right catalyzing moment (a hash cake, a brain tumor, a wedding) to erupt into the present.

The book's dual structure mirrors its central question. Vincent2's Thailand chapters are not merely backstory but an active gravitational force pulling at the present timeline. The reader experiences Max1's gradual discovery of Vincent2's secret alongside her, making the betrayal feel both shocking and inevitable. Dinan is less interested in whether Vincent2 has changed than in whether Max1 can live with what he once was.

Trans embodiment saturates the novel. Max1's tumor, caused by her own medication, literalizes the way trans healthcare simultaneously sustains and endangers trans lives. Her body is constantly under scrutiny: from Vincent2's doctor friend asking about her sperm storage, from strangers apologizing for mentioning children, from her boyfriend's surrogacy-pamphlet-wielding mother. The question of what kind of future a trans woman is allowed to imagine (marriage, children, survival itself) runs beneath every scene.

Yet the novel resists easy moralism. Fred,4 who committed the violence, is not a monster but a man who has spent a decade trying to be good. Vincent2's abandonment of Alex5 is despicable, but his devotion to Max1 during her illness is genuine. Dinan suggests that people contain multitudes, that no person is fewer than two things. Forgiveness becomes not an absolution of the past but a decision about the future: not whether someone deserves to be forgiven, but whether you want to live in a world where they are not. The epilogue offers the novel's final, fragile answer: Max1 lets Vincent2 hold the vomit bowl. She chooses to stay. Not because he has earned it, but because she wants to see what comes next.

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Review Summary

3.97 out of 5
Average of 8k+ ratings from Goodreads and Amazon.

Disappoint Me has received mostly positive reviews, with readers praising Dinan's writing style, complex characters, and exploration of themes like forgiveness, identity, and modern relationships. The dual narrative structure and the author's ability to balance heavy topics with humor were appreciated. Some readers found the book emotionally impactful, while others felt it was forgettable. The novel's portrayal of trans experiences and queer culture was generally well-received. Overall, reviewers recommend it for those seeking a contemporary, character-driven story about love and personal growth.

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Characters

Max

Trans poet and tech lawyer

A 30-year-old trans woman in Hackney, Max works four days a week as legal counsel for a tech company, impersonating their AI contract software to clients. Her fifth day was meant for poetry; her collection Small and Humble published to mixed reviews, leaving her feeling like a failure. She grew up on Lamma Island, Hong Kong, with her British father, Chinese mother, and older brother Jamie7. Max is fiercely judgmental yet self-aware, carrying deep shame about her body, her stalled art, and a family secret. As a teenager, she discovered her alcoholic father had set a carpet on fire while drunk; telling Jamie7 shattered the family. She craves stability but fears traditional domesticity, having long believed it was not designed for someone trans. Beneath her sharp wit, she is terrified of dying alone.

Vincent Chan

Corporate lawyer who bakes

A 30-year-old Chinese-British corporate lawyer, Vincent grew up in Ely and studied law to please his immigrant parents. He is pragmatic, dependable, and genuinely enjoys his job, though he secretly dreams of playing clarinet in a jazz band. He bakes elaborate cakes, mends his own socks, and approaches relationships with earnest devotion. His parents' approval weighs heavily on him; he has rarely introduced them to romantic partners. A decade ago, during his gap year in Thailand, Vincent was involved in an incident with a trans woman named Alex5 that left him with unresolved guilt. The secret has gone undiscussed, even with his best friend Fred4. With Max1, he sees both a chance at happiness and an echo of his past failures. He wants to prove he has changed.

Simone

Fashion agent and best friend

Max1's best friend since school in Hong Kong, Simone is a charismatic and beautiful fashion agent who scouts new models and helps them sign with major agencies. Half-Filipino, gay, and fiercely confident, she wields her opinions like weapons. She is Max1's fiercest defender but uses her sharpness to keep people at a distance. When a model publicly posts her cruel emails, she faces professional ruin. She despises traditional femininity, feeling physically uncomfortable in dresses, yet resents that her rejection of convention can look like bitterness. She broke up with her girlfriend Eva16 because Eva16 was boring, but worries she cannot handle the boredom that long-term love requires. Beneath her armor, she is terrified of being left behind.

Fred

Best friend with hidden shame

Vincent2's oldest friend, Fred is a golden-haired, muscular startup COO who radiates charm and competence. He is married to Aisha6, a brilliant Singaporean woman whose parents disapprove of him. Fred does a lot for others: he sends traditional Chinese medicine to Vincent2's ill father, hosts elaborate birthday picnics, dispenses advice with confidence. Beneath his capable exterior, he struggles with depression and a sense of inadequacy. He and Vincent2 share an unspoken bond over a terrible incident that occurred during their gap year in Thailand, a secret they have never discussed. Fred wants children, wants to be good, wants to believe he is not the person he once was.

Alex

Woman from Vincent's past

A trans woman Vincent2 met while traveling in Thailand in 2012, when she was 21 and he was 19. Alex was studying philosophy at UCL and traveling alone before her scheduled gender confirmation surgery. She is self-possessed and direct, with a quiet confidence that draws Vincent2 to her. She reads Hemingway, takes photos on film, and navigates the world with a clarity Vincent2 lacks. She chose to undergo surgery alone, despite her mother's wish to accompany her, because she felt she needed to face this transformation on her own terms. Alex represents Vincent2's first real encounter with transness and the site of his deepest, most formative regret.

Aisha

Fred's accomplished wife

Fred4's wife of Singaporean Indian heritage, Aisha is a former McKinsey consultant turned rug-maker who was a Kennedy Scholar at Harvard. Her parents disapprove of her white, non-Muslim, startup-employed husband. She projects composure but is quietly unraveling, engaging in an affair with a neighbor she watches through the window. Her beautiful Mughal-inspired rugs are dismissed by her mother as things that will not keep her warm at night. She and Max1 develop an unexpected intimacy, trading confessions about their respective crises over flat whites and mackerel salads.

Jamie

Max's anxious barrister brother

Max1's older brother, a London barrister who works obsessively and struggles with anxiety. He has never forgiven their father8 for the alcoholism and the fire on Lamma that endangered Max1. He gets his ex-girlfriend Maria pregnant accidentally and, when she aborts, is devastated, seeing the lost baby as his one chance to prove he could be a better parent than their father8. He is stubborn, righteous, and protective of Max1, but his rigidity makes intimacy difficult. His anger at their father8 has calcified into a permanent estrangement.

Peter

Max's recovering alcoholic father

A recovering alcoholic of many years, Peter is gentle, withdrawn, and struggles to express affection since getting sober. He lives in rural Scotland with his wife9, cooking, cleaning, and tending the garden. He carries guilt for the fire he caused while drunk and for the emotional distance it created with both his children, particularly Jamie7. He has read Max1's poetry collection repeatedly and can quote it from memory, though he has never known how to tell her what it means to him. His quietness is often mistaken for indifference.

Melinda

Max's posh Hong Kong mother

Hong Kong-born and raised in colonial privilege on The Peak, Melinda is a retired lawyer who performs her Chineseness through Cantonese idioms she likely Googles. She is practical to a fault, sending Max1 traditional Chinese medicine recipes for post-surgery recovery and maintaining her own correspondence with Vincent2 about Max1's health. She wants Max1 to marry a nice Chinese man, but her love is genuine, if clunky. She worked long hours while Peter8 raised the children, and she drinks only when he is not around.

Emily

Bride and old school friend

Max1's old school friend from Hong Kong, now getting married in Bordeaux. She is a wealthy, polished white woman living in New York, whose wedding demands reveal the growing distance between her and her former friends. She makes Max1 and Simone3 bridesmaids despite their estrangement, dresses them in dusty pink, and enforces a one-year rule that excludes Vincent2. Her mother Julie wears a wedding dress to the ceremony. Emily represents the traditional path Max1 both fears and, on some level, wonders about.

Carla

Trans provocateur painter

A trans woman painter in Max1's London queer social circle. She is confrontational and unapologetic, telling Max1 hard truths about jealousy and self-acceptance. She once slept with Max1's ex, Arthur12, and reveals it with casual cruelty at a New Year's party. Her gallery show features nude portraits of trans women, which she insists are not brave but simply bodies. She earns extra income from a man who pays her to smoke vapes from her body. She represents an alternative model of trans womanhood: combative, sexual, unsentimental.

Arthur

Max's disappointing writer ex

Max1's ex-boyfriend, a writer who broke up with her a year before the novel begins. During their relationship, he told Max1 he only supported her transition because he wanted her jawline surgery to look more feminine. He now writes terrible poetry about the refugee crisis and appears at the same literary events as Max1. Running into him at King's Cross, Max1 sees him clearly for the first time: not monstrous, just disappointing, a man who has started therapy and is learning, slowly, to account for his failures.

Dr Pandya

Neurologist with perfect skin

The young consultant neurologist who diagnoses Max1's meningioma. She has flawless skin that distracts Max1 during the consultation. She delivers the diagnosis with professional empathy, explaining the surgical risks and the tumor's likely cause: Max1's anti-androgen medication.

Bex

Traveler who outs Alex

A British traveler at the Bangkok hostel who, drunk and spiteful, tells 19-year-old Vincent2 that Alex5 is trans and in Thailand for surgery. Her casual, cruel disclosure sets in motion the events that will haunt Vincent2 for a decade.

David

Groomsman who flirts with Max

A tall, bearded groomsman at Emily10's wedding who works in futures trading in Singapore. He recently broke up with his girlfriend after cheating on her. He flirts with Max1 during the reception, and she nearly goes to his room before pulling back, recognizing she does not actually want revenge on Vincent2.

Eva

Simone's boring ex-girlfriend

Simone3's ex-girlfriend, a fashion videographer who talks excessively about Crocs and whose dullness Simone3 initially found grounding. After their breakup, Simone3 questions whether she simply cannot tolerate the ordinary rhythms of long-term love.

Plot Devices

The Brain Tumor

Mortality catalyst and bodily irony

Max1's meningioma is a benign brain tumor caused by cumulative exposure to cyproterone acetate, the anti-androgen she has taken for years as part of her hormone replacement therapy. Located above her ear and behind her eye, it requires surgical removal with a 5 to 10 percent risk of major complications or death. The tumor literalizes the novel's central irony: the medication that enables Max1's trans life also threatens to end it. It accelerates every unresolved tension in the plot, forcing Max1 to confront her mortality, her relationship with Vincent2, and her family history. The diagnosis also creates an echo of the CT scan she skipped on New Year's Day, raising the haunting possibility that earlier detection might have changed her prognosis.

The Missed CT Scan

Haunting symbol of self-neglect

After falling down the stairs at the New Year's party, Max1 is taken to Homerton Hospital where doctors recommend a CT scan to rule out concussion. Overwhelmed and feeling melodramatic, she removes her own IV and leaves before the scan can be performed. This seemingly minor act of self-neglect haunts her months later when the brain tumor is discovered. Dr Pandya13 never confirms whether the scan would have caught the tumor earlier, but Max1 cannot stop wondering. The missed scan becomes a symbol of Max1's tendency to flee from care, to refuse the medical gaze, and of the self-destructive impulse that sits alongside her desire to be responsible.

The Surrogacy Pamphlets

Symbol of reproductive pressure

After Vincent2 tells his mother about his relationship with Max1, his mother responds by giving him informational pamphlets about surrogacy options in the UK and abroad. For Vincent2's mother, the pamphlets represent a practical solution to the problem of Max1's infertility. For Max1, they are devastating evidence that she will always be pathologized as a body to be worked around. The pamphlets encapsulate the fundamental tension in Max1 and Vincent2's relationship: Vincent2 sees progress in disclosure, while Max1 feels the weight of needing to be disclosed at all. They raise the question of what kind of family a trans woman is permitted to imagine.

The Hash Cake

Truth serum that collapses past into present

During the group holiday in Provence, Fred4 buys hash from a French teenager and bakes it into a lemon drizzle cake. The entire group eats it on full stomachs, delaying the effects. When the high finally hits hours later, everyone is incapacitated: vomiting, hallucinating, panicking. In the aftermath, still affected by the drug, Vincent2 becomes irritable and lashes out. The altered state strips away his inhibitions, and in front of everyone, he reveals the secret he and Fred4 have buried for over a decade: that Fred4 once assaulted a trans woman5, and Vincent2 was complicit in outing her. The cake functions as an accidental truth serum, collapsing the wall between past and present.

Small and Humble

Artistic identity and self-worth

Max1's debut poetry collection, titled Small and Humble (a Shakira reference about breasts), was published to a small audience and mixed reviews. One reviewer suggested she crowdfund for breast implants to stop writing poems about her small chest. The book's modest reception left Max1 feeling like a failure, and by the time the novel begins, she has largely stopped writing. The collection represents her artistic ambition, her complicated relationship with her trans body, and her hunger for recognition. Throughout the novel, the book serves as a touchstone for how other characters see her: Vincent2 finds it impressive, her ex Arthur12 dismissed it, and her father8 can quote lines from memory.

About the Author

Nicola Dinan is an emerging literary talent who has quickly gained recognition for her compelling storytelling and nuanced exploration of contemporary themes. Born and raised in Hong Kong and Kuala Lumpur, Dinan now resides in London. Her debut novel, Bellies, received critical acclaim and numerous accolades, including the Polari First Book Prize. It was also shortlisted, longlisted, and nominated for several other prestigious literary awards. Dinan's work often delves into complex issues surrounding identity, relationships, and the human experience, drawing from her multicultural background to create rich, authentic narratives that resonate with a diverse readership.

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