46 pages • 1 hour read
Lisa UngerA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In the prologue, titled “Overture,” an unnamed narrator (later revealed to be Chad) speaks directly to an unnamed second person (later revealed to be Rosie, the novel’s protagonist). Chad is standing on the ledge of a tall building, and Rosie is begging him to step back. Chad feels that their whole relationship has been leading to this moment and that there is no option except for him to jump and set them both free. From the moment they met, Chad thinks, he knew that he wasn’t good enough for her and that he would somehow destroy the life they have built together. Chad’s thoughts are interrupted by the sound of someone pounding on a door and sirens in the distance. Rosie assures the narrator that he’ll be okay. He tries to decide whether to step off the ledge.
As “Act 1” begins, Rosie, a true-crime writer living in New York City, meets with her stylish editor, Max, a friend from college, to discuss her newest book proposal. Although Rosie’s first book was a success, her profits are running low, and she needs her next to sell well. The proposal is about an iconic apartment building that has a reputation for being haunted: The building’s famous residents, including Rosie’s uncle-in-law Ivan, tend to die in the building. Max suggests she boost the supernatural elements of the story, focusing on why the building is believed to be haunted. Rosie is inspired by the meeting. The lunch is interrupted when a car hits a cyclist immediately outside the restaurant, splattering blood onto the window closest to Rosie. She is shaken and leaves immediately. As she travels home, she thinks of the pregnancy test in her bag and hopes for a positive result.
At home, Rosie nervously takes the pregnancy test. As she is waiting for the results, she receives a surprise visit from Ivan’s daughter Dana, whom she has never met. Dana angrily reveals that her father left his apartment in the Windermere to Rosie and her husband, Chad, as a thanks for caring for him in his final months. Dana claims that Ivan was abusive toward her and her mother. Rosie’s complicated relationship with her own father prevents her from arguing with Dana. When Chad arrives at the apartment, Dana demands that the couple sign the apartment over to her. Chad refuses and tells her to leave. As she does, Dana warns Rosie that Chad is a bad man. When the couple is alone, Chad encourages Rosie to be happy about the inheritance. The pregnancy test is negative.
Rosie works on revising her new book proposal all night and into the morning hours. The next morning, Rosie learns that Chad told their current landlord they planned to move just a few days after Ivan’s death, suggesting he knew that Ivan would leave them the apartment. Sophie wonders why Chad didn’t tell her. She receives a call from her younger sister Sarah, who still lives with their abusive family in Tennessee. Sarah warns Rosie about a dream she had in which a monster devoured Rosie. Later, the Windermere’s doorman Abi gives her a formal tour of the building. In the basement, the lights go out, and Rosie briefly sees a young boy with his eyes gouged out. Abi and a neighbor assure Rosie that there are no children in the building. Rosie finds an article about Paul and Willa Winter, a couple who lived in the apartment—5B—in the 1960s.
The narrative transitions to 1963, and the first-person perspective of Will Winter, an aspiring dancer. Willa waits for her husband Paul to fall asleep before sneaking out of their Windermere apartment. Willa never dreamed that she’d be an unfaithful wife, but she has grown bored with the safe, quiet life that Paul has provided for her. In the small town where she was raised, Willa was a star; in New York, however, she struggles to find success. Her off-Broadway show recently closed, and although she has auditions lined up, she is not hopeful. She has planned to meet a man who asked to visit her dressing room after a performance Paul did not attend. When Willa reaches the bar, she briefly considers going home. When she sees the man, however, she can’t resist him.
Rosie attends the opening night of Chad’s play, a musical take on Shakespeare’s Macbeth, with Max, who always accompanies her to opening nights. Max tells her the other editors loved her new proposal, and that her book is moving forward. He is shocked to learn that Rosie and Chad plan to move into the apartment rather than sell it. Max’s reaction reminds Rosie of his surprise when he learned she planned to marry Chad. Although Rosie had been hurt, their friendship outlasted the fight. Before the show begins, Rosie notices a woman with dark shadows under her eyes staring at her. During Chad’s scene, Rosie becomes disoriented by his monster makeup and a smoke machine, and she has a panic attack. She flees the theater, and both Chad and Max follow to comfort her. She watches the rest of the show in a daze.
On moving day, Rosie is exhausted from a lack of sleep. Nightmares have been keeping her awake. She dreams about chasing the boy she saw in the basement through a labyrinth, and about Chad in his monster costume drinking her blood. She blames her nightmares on her sister’s phone call about her dream. Rosie struggles to determine what is real and what is simply fear, a feeling she remembers from living with her father, a fire and brimstone preacher. She and Chad reminisce about their memories in the apartment, which was the first they shared together. The last thing removed from the apartment is a small charm given by Rosie’s grandmother and designed to ward off evil. At the Windermere, the couple is greeted by their new neighbors, an older couple named Ella and Charles. Despite the building’s history, Rosie feels hopeful.
The opening chapters of The New Couple in 5B establish a violent, supernatural atmosphere that carries throughout the rest of the novel. In the prologue, titled “Overture,” an anonymous narrator (later revealed to be Chad) stands on the edge of a building, feeling a “dark entity hovering” inside him (10). The supernatural image of possession is followed in the next chapter by a violent bike accident, which is described in explicit detail. As Rosie and Max are eating lunch, a cyclist is hit by a car directly outside their window. After “the horrible crunching of metal and glass” (18), their window is covered with a spray of “red-black and viscous” blood (18). The tactile nature of these multisensory descriptions—which evoke sound and touch—establishes a physical sense of danger and violence in the novel.
The novel uses its protagonist’s work as a crime writer to raise metafictional questions about The Ethics of Trauma as Entertainment. Rosie worries that her previous novel—about a serial rapist and murderer—was only a bestseller because “the moment was right for that book, post Me Too” (14). This dismissive comment frames the book’s success as less valid because it came at a moment when popular culture was interested in grappling with the prevalence of sexual violence against women. Underlying this ego-driven worry, however, is a deeper concern with the commodification of trauma. Rosie understands that violence against women is far too common in the real world, and that fiction can be a powerful tool to address it. At the same time, she is uncomfortable with turning trauma into entertainment. By placing these worries in the mind of her writer protagonist, Unger raises the same questions about her own work.
Subsequent chapters expand on the supernatural imagery introduced in the prologue. In Chapter 3, Rosie’s sister Sarah calls to tell her that she had a dream that Rosie was “trapped in a castle, and that there was a monster drinking [her] blood” (40). Rosie dismisses her sister’s belief that her dreams are “prophetic.” Having been raised to believe in prophecy and magic by her fundamentalist parents, Rosie has rejected these beliefs in adulthood and dedicated herself to rationalism. Throughout the novel, mysterious events will challenge that rationalist worldview, forcing her to wrestle once again with Belief in Magic and the Supernatural.
In the same chapter, Rosie herself sees a disturbing vision while touring the Windermere. When the power goes out in the basement of the Windermere, Rosie sees a young boy whose “eyes are gouged out, and his throat a hideous blue-black” (49). From the “darkness swirling” in his mouth a “horrible shriek” emerges that “electrifies every nerve ending in [her] body” (49). As in the earlier description of the car crash, this passage contains references to multiple senses, including touch and sound, which help to build suspense and terror. The fact that the basement is “crisp and white and unscary as a place can look” when the lights are on suggests that the vision is supernatural (50). The violent, supernatural atmosphere established in the opening chapters continues throughout the novel.
The central narrative featuring writer Rosie and her actor husband, Chad, is intertwined with a secondary narrative about the couple who used to live in their apartment, Paul and Willa Winter. The couples share several similarities. Rosie is a writer whose “resting worried face” reveals her anxious, introverted nature (22). Rosie spends her nights working, explaining that her “creativity peaks when the day is done and others sleep” (33). Paul is similarly described as a “quiet” writer who is “always thinking about the stories in his head” (56). Like Rosie, he prefers to “watch [life] from the windows of our safe and lovely home” rather than seeking adventure himself (56). Rosie and Paul are united in their quiet, pensive natures and their desire to seek refuge in their homes.
Similarly, Chad and Willa are both presented as ambitious creatives who tend to outshine their quiet spouses. Chad is “in constant motion, always hustling from this thing to that” in order to satisfy his ambitions to be an actor (33). Willa has come to New York to “reach for stardom” as a dancer (55) and longs “to be seen, discovered” (57). In addition, both Chad and Willa have recent parts in off-Broadway shows. Chad and Willa offer a stark contrast to their more subdued writer spouses. The parallels between the two couples heighten the mystery of their shared apartment.
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