43 pages • 1 hour read
Rachel YoderA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
When Nightbitch’s husband returns home, she tells him about the exciting week she has had, going to “Book Babies” and playing in the park with her son. Her husband notices how “her whole aura had changed” and how happy she seems (124). Nightbitch and her husband joke about how annoying their cat is, and how they want to kick her like a football.
On the Sunday of that weekend, Nightbitch’s son carries a raw steak in his mouth into the living room and drops it at the feet of his father. Inadvertently, he introduces him to the fact that Nightbitch and he have been playing “doggy games.” Later that evening, Nightbitch and her husband argue, with him saying: “I just think the dog stuff needs to stop” (127).
The next night, Nightbitch discusses the frustrations of putting her son to sleep, which is the one thing above all else that she cannot stand, and which her husband never helps her with. Her son waking and wanting to suck on his pacifier is one of the key problems she must contend with. However, Nightbitch is able to get her son to abandon the dummy by playing another “doggy game” with him, where he sleeps in a kennel in the corner of their bedroom. Nightbitch then manages to get a night of pleasant, uninterrupted sleep in an empty bed.
Nightbitch meets up for lunch with a mother that she knows from graduate school. The friend teaches in a university and produces art, yet for the first time Nightbitch feels no jealousy and is content with her life as a mother. Their conversation is interrupted when Nightbitch and her son run off to chase a squirrel. Later that day Nightbitch is invited to have dinner with that friend and another old graduate school friend who is now famous.
That weekend Nightbitch has animalistic sex with her husband. In a rare moment of post-coital bliss, she worries about what she might lose if she fully became a dog. Nightbitch tells her husband about White’s book but is reluctant to show it to him, as the book now seems “holy” to her. Nightbitch writes White another email asking whether she has “some sort of instruction manual” for women like her who are transforming into animals (140).
Nightbitch has dinner in a restaurant with her two graduate art school friends. She becomes frustrated with their pretentious discussion of their art projects and competitiveness. She also feels ignored, seeing herself as a failure in their eyes for not having continued with her art. Her frustration with the situation builds into a rage: She barks, knocks over the table, and shouts—“I could crush a walnut with my vagina!” (146)
Nightbitch then breaks down in tears and storms out of the restaurant, running into the woods and howling with anguish. Once back at her house, she trips over the cat, leading Nightbitch to hurt herself. This causes Nightbitch, in her frustration, to stab the cat with a knife before mauling and killing it with her mouth.
Nightbitch describes her childhood and how her mother had wanted to be an opera singer, even having the chance to study at a vocal school in Europe. However, her mother gave up this opportunity when she became a mother. Nightbitch also remembers her grandmother making a spell for her out of herbs to ensure a group of kittens remained at her home rather than following her to school and encountering potential danger. Nightbitch sadly reflects on how she has forgotten and repressed much of her past.
Nightbitch’s son sees the cat that she killed and lets out a howl of delight. They dig a hole together in the garden and bury the cat. Nightbitch fears that with the act of killing the cat “the doggy games had gone too far” and that she is out of control (168). She endeavors to be “sensible” from now on, cooking meat, eating vegetables, and doing other normal human activities.
Nightbitch cleans her house with the help of her son and worries about what she will tell her husband about the dead cat. She reads a chapter from White’s book about “the WereMothers of Siberia” (173). White discusses how this group of women use telepathy rather than language to communicate, and how she spent time in the den of a group of them after getting lost in the Siberian tundra. White recounts how, returning to the location of the den a year later, she could find no trace of the WereMothers.
To turn over a new leaf, Nightbitch agrees to attend Jen’s “herb party” and makes a list of 10 things that she wants to do before she dies. However, these things all end up being dog-related aspirations, such as “to stink” and “to hump legs” (178). Nightbitch’s husband tries to ring her. She ignores his calls, recalling all the occasions when he ignored her attempts at communication while he was away. When they do finally speak, Night tells him that their son has fallen asleep on his own for the first time ever.
Nightbitch spends the next day watching videos of foxes, dogs, and wolves on the Internet with her son, and looking at books about dogs borrowed from the library. She explains how she has stopped shaving any of her hair and has covered up all the mirrors in her house.
As Nightbitch says, things “seemed to be starting to come together” for her—she’s enjoying motherhood, getting more sleep, and having better sex (140). However, meeting her old art school friends provokes a crisis. She storms out of the restaurant, barking and crying. Her primal animalism emerges—she runs into the woods to howl, kills a rabbit and some rodents, and murders her own cat. On one hand, her bizarre, anguished behavior can be explained by jealousy and shame. While she feels stuck, her friends had “progressed in a reasonable and […] extraordinary fashion” (142.) In contrast, “she had punched her artist card and checked in to stay-at-home-mommy land” (142-43).
Despite feeling happier about motherhood, her regret is reawakened. Her anger about the loss of her career due to having a child reignites with a vengeance. Her perceived failure seems to cast her life in an abject light: “[S]he saw herself as these other women now saw her, a silent, flabby woman sipping wine without so much as a single exciting comment or opinion” (145). Her frustration triggers her transformation into a dog.
In its chaos, her behavior marks the beginning of her artistic project and vision, which stands opposed to her friends’ art. When marauding through the woods, “it was her goal to make havoc, to leave a mess, to wrest from her form all of the rage and sadness and insanity of these years since her son was born” (148). This ties into Nightbitch’s description of her proposed art project. As a performance piece, it would explore “the wildness of motherhood, the modern mother’s impulse toward violence, the transformative powers of anger” (142).
Through Nightbitch, the novel explores a key theme, Challenging Modern and Traditional Conceptions of Art. Nightbitch’s behavior in the restaurant and killing her cat and wood animals is a trial run for her performance. Though problematic, it is her attempt to express anger in artistic form by changing the world around her, an expression of both the rage of the modern mother and her primal creative power.
In contrast, the art projects Nightbitch’s friends describe do not touch on motherhood. Even though both of her friends are mothers with young children, motherhood does not feature in their work, and their family lives and art are kept neatly separated. Both of their art projects are vapid. Despite the fashionable and complex jargon they use to explain their art and its commercial success, their work is narcissistic and gimmicky. The Instagram art mirrors the superficiality of that platform. Meanwhile, the video of the other artist is literally about the artist being seen as an artist by others. In both cases, what really matters to each artist is not genuine self-expression or beauty, but the social prestige which comes with being acknowledged as an artist.
In contrast, Nightbitch’s performance project is intensely subjective. It is not concerned with the approval of others or with that of the art world, but with finding the truest voice for shame, despair, and love. Reflecting on her strange, improvised performance, “she hadn’t been thinking […] She had been pure emotion, pure yearning and rage” (168). In this way, Nightbitch’s project is a critique of the overly conceptualized world of contemporary art and its detachment from the artist’s emotional life.
At the same time, her project generates its own problems. The challenge is how such a subjective and spontaneous form of performance can be recreated for, and understood by, a viewing audience.