The Senator is Black Water’s antagonist, a charismatic and powerful public figure whose private character is defined by privilege, entitlement, and moral cowardice. He’s a round but static character; while the narrative gradually reveals the depths of his corruption, his essential nature remains unchanged. Filtered nearly entirely through Kelly’s first idealistic and later terrified consciousness, he’s never given a name, a technique that elevates him to an archetype of patriarchal power and political hypocrisy. He’s physically imposing and wields his celebrity with practiced ease, greeting everyone with a “big gregarious hand” and an air of genuine interest (13). This charm is a political tool that he seamlessly adapts for personal seduction. He quickly identifies Kelly’s admiration and vulnerability, using flattery and physical intimacy to disarm her, such as when he grips her shoulders and kisses her forcefully in the dunes.

Beneath this polished veneer, The Senator is deeply cynical and self-absorbed. He himself reveals that his commitment to his liberal ideals has soured into a performance. He complains to Kelly about the emptiness of his public life, stating, “You hate yourself for your putative ‘celebrity’: for the very reason others adore you” (140). This confession, intended to create a sense of intimacy, also reveals his moral fatigue. In reality, his actions aren’t governed by principle; he’s motivated by immediate gratification and convenience. This is most evident in his decision to drive while intoxicated, impatiently taking a dangerous and unmarked “shortcut” despite Kelly’s trepidation, an act that also reveals his unconscious belief in his own infallibility. The rented Toyota becomes a symbol of his careless power, a temporary vessel for an illicit adventure that he controls completely; Kelly is a passenger in their interaction just as she’s a passenger in the car, while he decides their direction. His private behavior stands in contrast to his public persona, embodying the theme of the corruption of political idealism.

The Senator’s true character is irrevocably exposed both during and after the accident. In the submerged car, his instinct for self-preservation is absolute and brutal. He uses Kelly’s body as leverage to escape, kicking her away and abandoning her without a moment’s hesitation, and his actions following his escape confirm his cowardice. Rather than seeking help for Kelly, his sole focus is on protecting his political career. He avoids nearby people who might help, and in a panicked phone call to his lawyer friend Ray Annick, his first impulse is to invent a lie, claiming that Kelly “grabbed at the wheel” and caused the accident (147). This moment reveals that his main concern is the potential scandal that could destroy him and that Kelly’s well-being is secondary to his interests. He is the embodiment of a power structure that prioritizes self-interest above human life and accountability.

Buffy is a significant minor character who acts as a foil to Kelly and serves as the catalyst for the novel’s events by hosting the party where Kelly meets The Senator. As a flat and static character, Buffy represents a more worldly, confident, and perhaps cynical brand of modern femininity compared to Kelly’s introspective insecurity. Kelly describes her as more experienced and “adventurous,” comfortable with her body and sexuality in a way that Kelly isn’t. Buffy’s role highlights Kelly’s vulnerabilities; while Kelly is anxious about her appearance, Buffy is brash and confident enough to joke about cellulite in front of her lover.

Although she’s Kelly’s closest friend, Buffy’s friendship is complex. She seems genuinely fond of Kelly, expressing concern when Kelly decides to leave with The Senator. Yet she’s also capable of sharp, insightful comments that puncture Kelly’s idealistic view of the world. It is Buffy who delivers the pointed, politically charged remark, “Don’t forget, he voted to give aid to the Contras” (122), a fact that momentarily disrupts Kelly’s hero worship of The Senator. This comment suggests a pragmatism and awareness that Kelly, in her romantic haze, chooses to ignore. Buffy grounds the narrative in a social reality outside of Kelly’s internal world, providing a contrasting perspective that underscores the tragedy of Kelly’s choices.

Artie and Madelyn Kelleher exist entirely within Kelly’s memories and serve as functional characters who illuminate the origins of her psychological makeup. They are flat characters who represent the societal pressures and worldviews that have shaped their daughter. Artie, her father, embodies a traditional and domineering patriarchal authority. A conservative Republican and friend of a congressman, he’s prone to anger when his views are challenged, and Kelly perceives their political quarrels as being “really about Daddy’s authority unheeded” (52). His influence fosters in Kelly both a rebellious political idealism and a deep-seated desire for male approval.

Madelyn, her mother, represents conventional femininity and maternal concern. However, she also reinforces patriarchal norms, warning Kelly that “no man will tolerate being made a fool of by any woman” (99). Their shared parental anxiety over Kelly’s childhood strabismus and intense focus on her achieving “normality” reveal a preoccupation with social appearances and conformity. Together, they represent the conventional world of suburban success and conservative values that Kelly both rejects and, on a subconscious level, still seeks to fulfill. Their remembered voices contribute to Kelly’s internal conflict and her vulnerability to a powerful, father-like figure such as The Senator.