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65 pages 2 hours read

Maud Ventura

My Husband

Fiction | Novel | Adult | Published in 2021

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Part 2Chapter Summaries & Analyses

Part 2: “Tuesday”

Part 2, Pages 17-23 Summary

Ariane wakes up to find her husband fast asleep, his hand near his face and his wrist bent at a right angle, just like hers when she sleeps. She has always found this commonality between them heartwarming. Despite the joy she derives from his presence, something troubles her. Last night, her husband did not wish her good night, so she refuses to cuddle with him now. She also notices that he has slept through the light streaming from the shutters she opened earlier, despite claiming for years that he needs total darkness to sleep. His sound sleep now suggests he lied to her. 

It is easy for her to think such thoughts on a Tuesday, the color of which is black. Tuesday is a day for quarrels, since it is the day of Mars, the Roman god of war. Later, Ariane dresses for the day, applying a perfume she hopes her husband will find sexy. However, she knows that on her the scent is sweet rather than sensuous. As if to confirm her suspicion, her husband gives her a perfunctory kiss before he leaves for work.

Part 2, Pages 23-31 Summary

When Ariane was a child, she could not have imagined living in a beautiful 1930s house in a posh neighborhood like hers. She only visited such a neighborhood on Wednesdays to play with her more affluent friends. Her grandfather was a housepainter; she wonders if he could have painted the house in which she lives. 

Ariane begins her second job at her desk, translating a novel from English to French. The first book she was offered to translate was one on Copernicus. Since then, she has had a steady stream of assignments. As she works on the current novel, she notices the preponderance of the phrase “let you go” (29). She wonders if one day, her husband will let go of her. Ariane knows that no matter which work she may be translating, it always reminds her of her husband. When she was working on the Copernicus book, she imagined learning that the sun, and not the earth, was the center of the solar system, which would be as devastating as her husband, her center, vanishing from her life.

Ariane is a meticulous translator, maintaining vocabulary books in different categories, such as a blue book for English plant names. A yellow book, which contains terms related to medicine and science, is currently missing, vexing Ariane. 

As the time for her husband’s return approaches, Ariane wraps up work on her computer, and curls up with a large book. She knows her husband loves seeing her read and write by hand. Ariane also thinks of an unopened letter she has stashed in the book. She has left the book in the open, hoping her husband finds the letter, but in vain.

Part 2, Pages 31-33 Summary

Before heading out for the evening, Ariane repeats child-minding instructions to Zoe, the babysitter. Ariane tells Zoe that they’ll be home before 12:30 AM. Ariane notices the lamp she has never liked in her lounge, and asks Zoe if she would like to take it. Zoe politely refuses, as the lamp is too big for her attic room. Worrying how to discard the expensive lamp, Ariane leaves without kissing her children goodbye. She wonders if other mothers are as careless as she is and if Zoe judges her for her preoccupation.

Part 2, Pages 33-39 Summary

Ariane’s first stop is the hair salon, where she gets her hair highlighted a pale blonde every month. The truth—which Ariane never admits to her friends—is that she is naturally dark-haired. When she met her husband, she was going through a blond phase; he liked her hair so much that she has maintained it ever since. At the time she first dyed her hair golden, Ariane was trying out a Grace Kelly persona, pretending to the stylist that she was divorced and child-free. She has kept up the story to the stylist over the years, expanding it to include a remarriage and sadness at not having children. 

After her hair’s been rinsed a lighter shade of gold, Ariane goes to the florist to buy a congratulatory bouquet for their hosts for the evening, new parents Nicolas and Louise. She buys peonies, which the seller tells her are wedding flowers. Ariane worries about choosing the wrong kind of bouquet. She meets her husband outside Nicolas and Louise’s building. Her husband compliments her hair, but the kiss he gives her is again perfunctory.

Part 2, Pages 39-55 Summary

Nicolas is a childhood friend of Ariane’s husband. A high-flying finance executive, he lives in an impressive, large apartment downtown. Ariane has heard her husband speak wistfully about Nicolas’s lifestyle, and feels her husband resents their suburban existence. She comforts herself by thinking that she is at least more beautiful than Nicolas’s wife, Louise

Although Ariane’s parents did not give her much in the way of financial inheritance, they did give her good looks. Ariane is tall and slender, and resembles Nicole Kidman, the actor. After she met her husband, who is from a wealthy family, Ariane polished her beauty by dressing expensively and acting sophisticated. The change did not happen overnight: In the beginning, she used to feel out of place with her husband’s family, who judged her for what they considered her bad manners, such as mopping up her plate with bread. Over time, she purchased a book on manners and practiced the dos and don’ts of the manual.

As the four friends settle into the evening, they admire the first photos of Violette, Nicolas and Louise’s daughter. Ariane notices how Nicolas and Louise seem far more attuned to each other than she and her husband are. Her husband tells all their stories using an “I,” whereas Nicolas uses the collective “we” to describe his and Louise’s life. 

Three incidents from the evening jolt Ariane. The first is her husband’s account of the first few months of their son’s life. While Ariane remembers the period as one of togetherness, her husband calls it exhausting and sleepless, since their son had health issues at the time. The second is her husband’s funny recounting of a power outage after his birthday party three months ago. He describes the event as if Ariane had been absent, even though it was Ariane who had organized his party and guessed the code to silence the blaring security alarm during the power cut. 

The incident that Ariane hates the most is a party game, where the four of them list the fruits which best represent the others. Her husband chooses exotic pineapple for Louise, and modest clementine for Ariane. The choice fills Ariane with bitterness. She lists all these incidents in her diary when she gets home. Writing in her journal always helps calm her and enables her to find a solution to her problems.

Part 2, Pages 56-59 Summary

When Ariane joins her husband in their bedroom, she asks him if they can sleep with the shutters open. As always, he refuses. Ariane feels she gave her husband a chance to make amends for the clementine incident, but he has blown the chance. She begins to cry, her back to him. Over the years, she has identified the two kinds of tears she sheds. One are tears of anger and frustration, which arrive in an outburst and leave her face red; the others are quiet tears of sadness, which simply pour out of her eyes, as they do now. 

Behind Ariane, her husband falls asleep. She is hurt that he did not even notice her crying. She breaks out into a nervous itch, something that happens to her very often. She screams in anger, waking her husband. After he gets up, Ariane tells him she was screaming in her sleep during a nightmare.

Part 2 Analysis

While the first section establishes Ariane as an unreliable narrator, this section introduces the possibility that a reason for Ariane’s volatile tone is her husband’s manipulation of her, adding a new dimension to The Thin Line Between Love and Obsession. When Ariane notes that her husband has slept through daylight streaming into their bedroom despite consistently claiming he cannot, it hints at a larger power game at play. Her husband alters his behavior to enrage Ariane and make her doubt her own reality, an abuse tactic known as gaslighting. Other hints of emotional manipulation appear throughout this section, such as Ariane husband’s dismissive behavior toward her during the dinner at Nicolas and Louise’s home. 

Ariane notices her husband’s dismissive way of treating her, such as his refusal to use the pronoun “us” when recalling incidents that involved both of them, or leaving her entirely out of his narrative of the power-outage story. While Ariane sometimes appears to exaggerate things, her apprehensions are also at least partly right. Thus, Ventura shows how a gendered lens can affect one’s reading of a character or a person: Since Ariane is indeed a highly sensitive woman, her observations may appear hyperbolic, but the truth is that they are valid.

Ariane’s husband’s comparison of her to a clementine, and Ariane’s recording of the incident, highlight the troubling dynamics of their marriage. While her husband is deliberately insensitive towards Ariane, she bottles up her response to this insensitivity, letting it out only in obtuse, secretive ways. Ariane’s secrecy—such as her noting her husband’s transgressions in a notebook or leaving around a purported love letter for him to discover—shows the extent to which their domestic dynamic has become warped. 

While the relationship between Ariane and her husband is sometimes exaggerated for satirical effect, it also serves as a commentary on the potential for psychological manipulation in a domestic relationship. An important aspect of the dynamic between Ariane and her husband is the intensity of her love-hate relationship with him. At the beginning of this section, Ariane rhapsodizes about her husband’s dandruff on the pillow. A few lines later, she is outraged at him for sleeping through the morning light. Ariane alternates between loving and resenting her husband, which shows that her affection for him may have turned destructive. 

The dinner party sequence is also a satire on the performative aspect of contemporary social dynamics and relationships, illustrating Appearances Versus Reality. In preparation for the evening, Ariane colors her hair blonde, as she has throughout her marriage. She notes that she has never admitted that blonde is not her natural color, though she has told her friends she gets a “balayage” (35) or a rinse. Ariane wants to project an appearance of effortless or so-called natural beauty at all times, hiding her “overpriced” (35) hair-lightening products from her husband. 

The pressure to appear perfect is so great on Ariane that she nearly cries when she discovers she has ordered the wrong flowers at the florist. She imagines Louise is going to judge her for carrying a large bouquet of bridal peonies, rather than baby-appropriate daisies. At Louise’s home, Ariane relentlessly judges her own appearance against Louise’s, and she calms herself by making an unkind list of Louise’s flaws. She notes, with unintended irony, that Louise is not a natural beauty like her but someone who “pays to be pretty” (42), ignoring the fact that she herself spends a lot of money and time in maintaining her hair.

The Oppressive Nature of Gendered Expectations is also evident throughout Louise’s own remarks during the evening. Louise declares she cannot understand women who do not breastfeed their babies, knowing well that Ariane chose to formula-feed her children. While Ariane thinks that Louise is just being blunt rather than hurtful, it is clear that such comments make Ariane feel she is not doing enough in her role as a mother. Along with gendered expectations, Ariane also feels the pressure of performing class. Since Ariane hails from a working-class, rather than upper middle-class background, she often feels inadequate in her husband’s milieu. She notes that she has practiced table manners for years, since her husband’s family judged her for “unforgivable errors” (47), such as taking off her shoes when she arrived at their house. Thus, the narrative shows how the pressures of fitting into gender and class norms drive Ariane to constantly put on a performance.

Ariane’s other career as a French-to-English translator highlights the central motif of words and meanings while also revealing insights about her as a character (See: Symbols & Motifs). When Ariane immerses herself in translation, such as with the Irish author’s novel, she shows her keen attention to language and its nuances. Despite the evident fact that Ariane is good at her work, she downplays her achievements. For instance, she notes that she is suited to her work as a translator, “because I don’t have much imagination” (27). Further, it is because she sees herself as an interpreter rather than a creator that she refuses to write her own novel. Ariane explains herself with a quote from The Lover, in which the protagonist states that she only thought she had written, but never did. 

Ironically, Ariane is, in fact, writing her story, which showcases the gap between her actions and her self-image. Ariane may downplay her work as a translator and think of herself as a non-writer, but she writes in her notebooks all the time, and uses one language to recreate another. Ariane’s difficulty with translating the title of the English novel illustrates how translation is never a literal exercise; in fact, it requires creativity to ensure little is lost in translation. The translation motif also serves as an analogy for the communication gap between Ariane and her husband, where what is expressed differs from the complete picture.

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