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55 pages 1 hour read

Mona Awad

Rouge: A Novel

Fiction | Novel | Adult | Published in 2023

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Part 3Chapter Summaries & Analyses

Part 3, Chapter 14 Summary

Mira wakes up the morning after her free treatment disoriented. She finds Chaz and Tad in the living room but is slow to realize who they are. Chaz tells her that her mother’s debts have all been mysteriously cleared. She jokes that she cleared the debts with money from black pearls she found in the lagoon as “[a] pretty way to stay, Stop asking me ugly money questions on this lovely morning, please” (171). She notices all the mirrors’ cracks have disappeared, and she is glowing.

Part 3, Chapter 15 Summary

Mira continues to experience the mental fog and blanks. Her reflection begins to take on a life of its own, wandering away from her. Her boss from the Montreal dress shop, Persephone, calls her. Although she is still in LA, she tells her boss that she will be back at work in the next few minutes. She goes to Belle of the Ball and begins to assist a customer. She ignores Persephone’s repeated calls and tells Sylvia she works here, in LA. The customer asks for her opinion. She struggles, intending to tell her the lies she wants to hear, while the mirror version of her wants to tell the customer the truth. She becomes lost in thought and isn’t sure what she says.

Mira’s reflection syncs back up with itself, but doesn’t see herself in the Belle of the Ball dressing room—she sees herself outside La Maison de Méduse.

Part 3, Chapter 16 Summary

Mira goes to the house on the cliff, but the gate is locked. Her reflection goes in without her. She hears her mother’s voice at the bottom of the cliff and rushes down to the water. She goes into the water and starts to drown, and a man in a hat pulls her out. She wakes in a pink hotel room with the man, whom she realizes is Hud Hudson. He asks if she’s been “a bit scrambled lately” and suggests that it is worth it for her new glow (190). He asks about her treatment, saying that he is envious because she received it as one of the anointed Perfect Candidates.

Part 3, Chapter 17 Summary

Mira goes to the house on the cliff and learns she has been selected for another treatment. She sees that her jellyfish has grown, and the woman performing the treatment says they were able to complete a significant extraction with the previous treatment and asks if Mira is happy with the result. The others at the house compliment her on her beauty journey, and the woman in red tells Mira that she cleared Noelle’s debts. During the treatment, Mira again feels herself float up to the ceiling near the jellyfish tank, and a childhood memory begins to play.

Part 3, Chapter 18 Summary

In the memory, Mira is 10 years old and sitting in front of her mother’s mirror, waiting for Seth to arrive. She remembers asking Noelle if they could rent some Tom Cruise films but being told no. She rented them with her Grand-Maman instead. She was jealous during scenes in which Tom Cruise kissed or had sex with other women.

Mira speaks to Seth in the mirror while Grand-Maman is babysitting, even though Noelle has forbidden Mira from entering her room. She continues to call him Tom Cruise, which bothers him. They dance, and he talks about how Noelle is evil, “a vile bitch queen” (210). He remarks that Noelle is stealing Mira’s beauty and tells her there’s something she can do to stop her, after which he will take Mira to California with him. He kisses her forehead, and it leaves a mark like a bruise.

Noelle brings home a new man, and Mira is distraught, thinking it is Tom Cruise. Noelle introduces him as Bryce, an LA film producer. They have dinner together, and Mira remains unsure if he is Tom or not. She sneaks into Noelle’s room and moves the mirror to her room. In the middle of the night, Seth appears. He tells her he decided to get to Mira through her mother’s new boyfriend and that they must get rid of Noelle so he can take her away to California. She tells him she loves her mother but eventually promises to help. She sees red jellyfish floating through his body and around the room.

Part 3 Analysis

The defining characteristic of this section of the novel is Mira’s confusion after her second treatment. In first-person narration, Awad uses literary devices and stylistic choices to represent Mira’s mental state and the gaps she is experiencing. One of the primary literary devices Awad employs throughout this section is parapraxis or word slips. Mira has difficulty remembering the words for things, which is represented by slips in word choice within her narration. For example, she thinks, “I’m walking on the shadow side of the street. The shady side, I mean. Sometimes the words I think aren’t quite the words I mean” (174). Like Noelle’s confused speech toward the end of her life, these substitutions are usually a darker or more ominous word in place of a banal one. They therefore contribute to the novel’s increasingly uncanny and frightening tone.

Awad uses details from earlier in the novel to ground the narrative, even when Mira has forgotten a word or name. For example, when Mira first meets Noelle’s lawyer, Chaz, she reflects on how he reminds her of a goblin. After her treatment, she cannot remember Chaz’s name when she finds him in her apartment but thinks, “[B]riefcase man looks a little like a goblin” (168). Awad simultaneously shows Mira’s confused mental state and avoids confusion about who is appearing in the scene. Similarly, when Mira’s boss in Montreal calls her, she isn’t immediately clear who is calling her or why. She looks at the caller ID and thinks, “A name and number I recognize, but not off the bat. Persephone. Goddess of the underworld. Why is she calling me?” (176). Again, it is clear that Mira isn’t aware of her boss’s identity, but the presence of Persephone’s unique name on the caller ID means calls back to earlier details. In terms of tone, Awad includes black comedy throughout this section. While the “extractions” included in her treatments are clearly disorienting Mira, her confused antics are also bleakly comedic. Mira’s thoughts about Greek mythology are humorous but reflect the dark reality that something important is being taken from Mira with each treatment.

Awad blends contemporary film allusions and fairy tale allusions in this section. Because she believes Seth is Tom Cruise, she reflects on watching Tom Cruise films with Grand-Maman and experiencing jealousy over his love interests. The passages reference specific actors and films. Just after, Mira thinks about her envy, which is “what the evil queen feels” in “Snow White” (207). Pairing fairy tales and recent film allusions enhances the novel’s verisimilitude—realism—while also situating it with the tradition of cautionary, dark fairy tales. Awad thus suggests Seth’s actions, and those of Rouge, are villainous and outlandish but also close to reality. His resemblance to Tom Cruise, one of the most recognizable film stars in the 1980s, amplifies the sense of universality that Awad builds into the text as Mira experiences the common adolescent fantasy of dating a heartthrob.

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