- All's Well That Ends Well
- Antony and Cleopatra
- As You Like It
- The Comedy of Errors
- Coriolanus
- Cymbeline
- Hamlet
- Henry IV, Part 1
- Henry IV, Part 2
- Henry V
- Henry VI, Part 1
- Henry VI, Part 2
- Henry VI, Part 3
- Henry VIII
- Julius Caesar
- King John
- King Lear
- Love's Labor's Lost
- A Lover's Complaint
- Macbeth
- Measure for Measure
- The Merchant of Venice
- The Merry Wives of Windsor
- A Midsummer Night's Dream
- Much Ado About Nothing
- Othello
- Pericles
- The Rape of Lucrece
- Richard II
- Richard III
- Romeo and Juliet
- Shakespeare's Sonnets
- The Taming of the Shrew
- The Tempest
- Timon of Athens
- Titus Andronicus
- Troilus and Cressida
- Twelfth Night
- The Two Gentlemen of Verona
- Venus and Adonis
- The Winter's Tale
Nicole, finally yielding to Francis’ insistent questioning, admits that while she may not be perfect, she is adapting to her life after her trauma. In this, Nicole shows that she is perhaps the most mature character in the novel, capable of seeing the world with nuance. She no longer thinks in the simple dichotomies of childhood (i.e. “all right” vs. “not alright”) like Francis seems to, unable to ask any other questions about her life after she was raped.
Of all the characters who lost their childhood in the novel, Nicole adapts best to her violent entrance into the adult…