50 pages • 1 hour read
A. S. A. HarrisonA 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 early September, Jodi Brett cooks dinner in her high-rise apartment in Chicago. The book’s omniscient narrator explains that, in spite of her sense of the permanence of her life, Jodi is about to experience a sharp “disintegration” that will make her capable of becoming a “killer.” At the moment, Jodi cannot imagine that kind of transformation, believing that murder and domestic violence are unimaginable events that happen to other people; her own partnership with Todd Gilbert is far from perfect, but certainly not intolerable.
As she prepares dinner, Jodi reflects on the car accident that led to her first date with Todd. She had been driving an unfamiliar moving van and hit his car; he blamed her and screamed but called a few days later to ask her to dinner. Jodi graciously forgave him for his behavior, understanding that a car accident could shake anyone up. After their date, he took her to the Gothic Revival house he was renovating. Jodi observed that he had sunk all of his money in the project but admired its ambition.
Todd arrives home and makes the martinis that are a part of their evening routine. Jodi serves dinner and the couple engage in casual conversation about their days. Todd’s attention seems to lapse. Jodi reflects on how these lapses have been more frequent lately, but that his mood has improved since a bout of depression he had around his 40th birthday, when he decided he wanted to have children. (Jodi brought home a puppy named Freud instead.) Todd announces that he is considering going on a weekend fishing trip with some male friends. Jodi knows he’s lying—he and his friends don’t fish—but she plays along and acts as though she believes him. Todd presents her with a gift, a small Rajput painting of a woman in a walled garden.
The next morning, Jodi takes her golden retriever for a walk on Navy Pier. She reflects on how she came to Chicago for college and fell in love with the city. After college, Jodi started her own small therapy practice out of the apartment she and Todd shared. After a year, one of her clients—a 15-year-old boy—died by suicide on the day they’d had a session. The event propelled Jodi to take more classes and more carefully curate her client list. One of her clients, who she calls “the judge,” is a married man who feels guilty about his sexual encounters with men. Another, “Miss Piggy,” also cheats on her spouse. Jodi herself is intimately familiar with the signs of infidelity, having observed them in Todd throughout their relationship, but she has convinced herself that she accepts them as part of his identity. The rest of her day unfolds in a seamless routine: seeing clients, exercise, a simple lunch, errands, and then home to make dinner.
Todd’s morning routine is brisk. On this particular day, he and his team are working on a six-unit apartment house, which, having been permitted and gutted, now awaits improvements. His assistant, Stephanie, arrives late. Todd likes to look at her crotch, thighs, and breasts, depending on what she’s wearing that day. They have a meeting about the toilets in the apartment building they are developing. Todd calls his young girlfriend, Natasha, and has a flirty conversation. He feels jealous of the younger men she could be going out with instead.
Todd calls Jodi on his way out of the office for the afternoon to remind her of his plans to have dinner with his friend Dean Kovacs that night. Dean is his oldest friend, a man he’s known since high school. Dean is also Natasha’s father. Todd is not sure how Dean will react when he finds out about the relationship, but he assumes it will be fine.
While driving to the building site to meet his foreman, Cliff, Todd reminisces about the accident that led to his meeting Jodi. He remembers the sight of her breasts under her rain-soaked t-shirt, but also how he was struck by her “bearing.” He calls Natasha again when he leaves the building site. Todd’s affair with Natasha feels different to him than his other affairs, not a “fling.” For this reason, Todd has agreed to spend the weekend away with her, at her insistence. To Todd, Jodi and Natasha are entirely separate and have nothing to do with each other. After going to the gym, Todd calls Natasha for a third time, then goes to meet Dean. Dean drinks quite a bit and makes lewd comments about women in the bar. Around midnight, when Todd and Dean part, Todd arranges to meet a sex worker at the Four Seasons hotel.
Todd being gone for the weekend upsets the rituals and routines that keep Jodi’s life moving. Jodi gets desperate enough for distraction to call her friend Alison, a peripheral friend that she met in a cooking class. Alison works in what Jodi implies is a gentleman’s club. They make plans to meet for dinner on Monday.
On a typical weekend, Todd spends his Saturday running errands, but Jodi still feels at loose ends with him being away. She takes a bath and falls asleep on the couch, then takes the dog on a walk by the lake. Back at the apartment, Jodi gets into bed and reads, distracting herself with the drama and tragedy of her novel.
Jodi reflects on her and Todd’s second date. After seeing The Crying Game, they walked in the cold for hours, sharing important truths from their lives. Jodi shared that her parents would sometimes go through long cycles of not speaking to each other; one lasted almost a year. Todd shared that his father had alcoholism and bullied his mother. Jodi told Todd that her father “wasn’t good at monogamy,” and Todd replied that “Monogamy wasn’t designed for men” (64). In hindsight, she thinks that this statement should have caught her attention, but it didn’t. That night they went back to the old house Todd was renovating and slept together.
After their weekend away, Todd drops Natasha off and goes home. He isn’t looking forward to spending the night in quiet comfort with Jodi. When he gets home, however, the rooms are full of fresh roses, Jodi has set out smoked oysters on crackers and white wine, and he finds her sunbathing half-naked on their balcony.
Todd reflects on the way he and Natasha had been treated at the inn over the weekend. Their obvious age difference had drawn disapproval from inn staff and the other guests. Over the weekend, Natasha also told Todd that spending the time together had changed things. She pushed him for a June wedding, though he could not remember having proposed in the first place. He put her off by saying he would need to talk to his lawyer first.
Jodi teasingly asks if Todd caught any fish. He likes that she isn’t going to punish him with the truth if she knows it. They go out to dinner and have sex that night for the first time in a month.
The next day, Todd discovers that the key to his office building is missing. He waits for the janitor, who is supposed to come in at eight o’clock, but arrives 12 minutes late. Todd is short-tempered and angry about the inconvenience. He berates the janitor, who quits without letting him into the building. Stephanie calls in sick. When Natasha calls to ask if Todd has spoken to his lawyer yet, he is short and dismissive with her. Natasha is upset by this, which Todd finds “wearing” in comparison to Jodi’s calm and poised behavior. Todd talks Natasha into meeting him for lunch. After the meal, she tells him that she’s pregnant. He is angry and says he thought she was on the pill. She seems confused by his reaction and says she thought he wanted to have children. She offers to have an abortion but reacts angrily when he asks if it’s still possible. He says that he doesn’t think she should tell her father, but she says she already told him. Todd asks what Dean said; Natasha tells him that her father was angry and threatened to “wring [Todd’s] neck” (80). Dean also said he was going to call Jodi. As soon as Natasha leaves, Todd calls Dean, hoping to calm him down and prevent him from telling Jodi. Dean is furious and threatens to have Todd arrested for sexual assault.
Todd paces in his office, trying to come to terms with the fact that his two lives—his official one with Jodi and his unofficial one with Natasha—will now be colliding. Things will have to change, and he feels out of control. When he goes home, Jodi’s parking spot is empty. She isn’t in the apartment, but Dean’s number is on their call log three times. Todd goes to the Drake Hotel bar and drinks, which relaxes him. He remembers that he does want a child. He tries to call Natasha to celebrate, but she doesn’t answer. He wants to preserve his good mood, so he buys a round of drinks for everyone at the bar.
Jodi begins her Monday morning by efficiently setting aside her misgivings about Todd’s weekend activities, feeling that stealing his office key has been enough revenge. She sees a couple of patients and then goes about her typical afternoon schedule. She has a message from Alison to confirm dinner and one from Dean Kovacs. She calls Dean back and leaves him a message. She drops off the dry cleaning, where the dry cleaner finds an object in Todd’s pocket.
At a professional seminar, she shows the object to a psychiatrist. It is a bottle of Eszopiclone, a type of sleeping pills, prescribed to Natasha Kovacs. Jodi wonders how they got into Todd’s pocket and tries to picture Natasha, who she has not seen in several years. She brings home the framed Rajput painting and admires its detail anew. Suddenly, with a “sickening” realization, she understands the connection between Natasha’s sleeping pills and Dean’s attempts to reach her. When Dean calls again, Jodi answers. At dinner, Alison tells Jodi all of the news from the Garnet Club, where she works, and Jodi happily lets her talk while she herself settles in. Before they get dessert, Jodi admits to feeling dizzy. Alison insists on escorting Jodi home, where Jodi confesses to Alison about Todd’s and Natasha’s affair and pregnancy. She tells Alison that, according to Dean, Todd plans to marry Natasha.
After Alison leaves, Jodi tidies up and goes through her nighttime routine. She does not confront Todd when he gets home, instead acting as though everything is normal. Todd asks if she talked to Dean, and Jodi says she hasn’t. She makes him a mug of Ovaltine, into which she has crushed all 11 of Natasha’s sleeping pills. He drinks it and tells her he loves her.
By the morning, Todd has not moved from the spot in bed where Jodi had left him the night before. Killing him was not Jodi’s intention. It had simply seemed logical to her that Todd should “be the one to ingest them” because he’d been “careless enough to leave them” in his pocket (111). Todd sleeps through the morning. Jodi doesn’t think that 11 sleeping pills would be enough to kill him, but she knows there will be questions if she has to call emergency services.
Todd wakes that afternoon feeling groggy and sick. He can’t believe that he slept so late. Natasha calls and asks if he’s told Jodi yet, but Todd says that he hasn’t. Natasha asks what happened after Jodi spoke to Dean, and Todd says she hasn’t. Natasha tells him that Dean told Jodi everything the day before. Todd reflects on Jodi’s self-possession, even though he acknowledges that she must suffer. He reflects on his tumultuous relationship with his father, including the night when Todd was 16 and finally fought back against his father for physically abusing his mother. He compares his mother to Jodi, but assures himself that he is not as bad as his father was. He goes to sit with Jodi and apologizes for ruining her afternoon. She tells him she will make him chicken soup and suggests he go back to bed.
Jodi feels vindicated by her success with the sleeping pills. With the emotional surge behind her, she now doubts Dean’s version of the story. She decides that Todd has no intention of marrying Natasha and must be in the affair for the short term. She congratulates herself for being “stable, mature, and loyal, capable of holding a marriage together” and credits her sanity to a happy childhood and a course of psychotherapy during her extended schooling (129). A professor of hers suggested psychotherapy as a way to build empathy for her own patients.
Jodi reflects on her experience with therapy; her therapist, Gerard Hartmann, was a big man who Jodi liked. When they began working together, they went through Jodi’s earliest memories, which Jodi now recalls in dialogue that reads like a script. Jodi explains that she’d seen psychotherapy as a calling since she was a child, when she had been the only one able to calm down her younger brother, Ryan, who “was prone to nightmares, tantrums, and self-biting” (135). Jodi did not have high hopes for therapy. She saw it as part of her education rather than as a method to solve problems—chiefly because she did not see herself as having problems that needed solving. Yet, in the same exchange, Jodi tells a story about finding out that her father was having an affair.
The first paragraphs of The Silent Wife establish its detached narrative voice, as well as the technique of describing the action of the plot in the present tense, with the past reserved for flashbacks. The third-person narrative voice presents itself as knowing more than either of the central characters—Jodi Brett and Todd Gilbert—by referencing the disintegration of the relationship that Jodi (the focus of the first chapter, all of the odd-numbered chapters in Part 1, and all of Part 2) does not see coming. More than that, the narrator announces what in many thrillers would be the final revelation: Jodi will commit a murder. The omniscient narrator’s economical sketch of Jodi’s personality and relationship, as well as her future trajectory, has the effect of presenting her as a specimen or case study, rather than a fully individualized character. Harrison employs the same detached, omniscient, third-person narrator for the even-numbered chapters that focus on Todd. This technique creates a sense of distance from the characters that belies the immediacy of the present-tense narration. It generates the illusion of objectivity while also calling attention to the limitations of both characters’ individual knowledge and perceptions, revealing the disconnection that will grow more pronounced over the course of the novel.
Employing a reliable narrative voice to describe the thoughts and actions of unreliable and often self-deluding characters foregrounds the theme of The Tension between Perception and Reality, even as much of the “truth” of the plot remains unarticulated. The novel continuously displays competing versions of past and present events, as filtered through the perceptions of Jodi and Todd, without offering a third, objectively-true account. Still, the juxtaposition of the two perspectives, along with each character’s self-accounting of their intentions and desires, offers ample warrant for the fact that neither one of them is in exclusive possession of the truth. For instance, both Jodi and Todd, in Chapters 1 and 2, respectively, recall the car accident that led to their first meeting, but, other than the collision itself, they hold few significant memories in common. Jodi remembers Todd’s anger—which she excuses as the effects of the accident—that later turns to affection over their dinner date. Todd, for his part, remembers how Jodi’s breasts were visible underneath her t-shirt, as well as her self-possession. More broadly, the technique of narrating each protagonist’s separate actions over the same time period establishes the growing divide in their experience of the present, despite a shared commitment to building a common domestic reality. Jodi’s commitment to domestic tranquility, even and especially when it costs her some mental effort, is more deliberate, underlining her need to appear as perpetually in control. Todd’s approach is somewhat looser, his commitment to their shared life more intermittent. Still, even as he engages in multiple infidelities, he registers and appreciates Jodi’s commitment to seeming calm and collected and is not in the habit of probing further.
What is at stake in this play of appearances and reality is a privileged, if fragile, upper-middle class urban life. Locations and brand names—the Drake Hotel, the Gold Coast, Jodi’s Audi Coupe, and Todd’s Porsche—function as signifiers of social class and good taste; when Jodi occasionally indulges in a Starbucks Frappuccino, she does so in her neighborhood near Chicago’s famed Lake Shore Drive. These small details reinforce the appearance of understated luxury that surrounds Jodi and Todd; particularly for Jodi, they are important not because they allow her to brag but because they allow her to protect herself from inner and outer chaos. Todd’s behavior with Natasha comes to threaten this fragile luxury by upsetting the arrangement that has worked for so long. Moreover, it threatens Jodi herself: The act of grinding up the sleeping pills and putting them in Todd’s Ovaltine disturbs her because of its uncertain, potentially uncontrollable, outcome.
Among the many ways the first section deploys the notion of the tension between appearance and reality is in its handling of the legal status of Jodi and Todd’s relationship. The narrator first describes it as Jodi’s “twenty-year marriage to Todd Gilbert” (3), but by the end of the chapter, it is made clear that the pair is not legally married—a fact that largely has to do with Jodi, who values the “spaciousness” in their relationship. However, she is keenly aware of both The Drawbacks and Benefits of Marriage; she allows herself to be known by most people as “Mrs. Gilbert,” a convenient “shorthand” for a more complex reality. In contrast to Jodi, however, Natasha Kovacs has no reservations about marrying Todd. While on the trip to the country inn, she draws him into conversation about a wedding that he does not remember proposing; when she reveals her pregnancy, their eventual marriage becomes a foregone conclusion. Todd idealizes the more formalized, legal union that Jodi eschews, despite the fact that his own parents’ marriage was abusive.
Todd, moreover, is motivated by The Desire for Legacy and The Attractions of Novelty, two other main themes in the novel. Because he and Jodi decided not to have children, architecture has been the primary outlet for his desire to leave a mark on the city. When he met Jodi 20 years earlier, Todd was already engaged in modernizing a 19th-century Bucktown mansion; in his current job as a hands-on developer he proudly participates in revitalizing other Chicago neighborhoods with an eye for quality and detail. Natasha’s pregnancy, however, reawakens Todd’s desires for a more conventional legacy: fatherhood. As he sits at the bar at the Drake Hotel, reluctant to return home to Jodi, Todd gazes at other men and celebrates his newfound status as a “fellow procreator.”
Ironically, Natasha’s pregnancy and her insistence on marriage is at odds with what had drawn Todd to her in the first place: her novelty. Although he and Jodi never discuss it directly, Todd has cheated on her throughout their relationship, a habit that he rationalizes with his belief that men, as a group, “weren’t designed” to be monogamous. While Jodi and Natasha are his main partners, Todd’s eye wanders throughout the “Him” chapters. He openly ogles his assistant, Stephanie, and on at least one occasion visits women who are implied to be sex workers. Nevertheless, in comparisons between Jodi and Natasha, Natasha has the edge when it comes to her youth and her embodiment of the normative possibility of reproduction.
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