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Content Warning: This section of the guide includes discussion of substance use, emotional abuse, and death by suicide.
Raymond receives an invitation to meet a friend, Charles Webb, for drinks. Eager for a break from the villa, he quickly accepts, and Cécile informs Elsa and Cyril. Elsa, who was once in a relationship with Webb, insists on coming along, believing his attention will rekindle Raymond’s interest in her. Cyril is indifferent to the outing and content to be near Cécile .
Anne drives Cécile and Raymond in her convertible. At the Bar du Soleil, they meet Webb and his wife. Raymond announces that he and Anne plan to marry in October, shocking their companions. The attention quickly shifts when Elsa and Cyril arrive. Webb enthusiastically praises Elsa’s appearance, prompting Raymond to respond possessively, though his tone falters. Sensing the shift, Cécile distracts Anne with a whispered comment about another man admiring her. Raymond responds jealously, taking Anne’s hand.
The situation becomes tense, and Madame Webb makes several pointed remarks toward Cécile. Anne intervenes diplomatically to prevent a scene, and the group agrees to dine together and leaves the Bar du Soleil. Over dinner and drinks, Cécile becomes intoxicated. Elsa and Cyril arrive at the second bar, drawing attention once again. Raymond tries to downplay the situation, calling it “just an infatuation” (104). Anne remains composed. Cécile drunkenly tells Anne that she is more beautiful than Elsa. In response, Anne takes her glass and tells Cécile to stop drinking.
On the drive home, Cécile drifts in and out of sleep on Anne’s shoulder. She listens as Raymond professes his love to Anne, who responds that hearing it too often “frightens” her. Cécile reflects on the differences between Anne and other women, briefly pities Elsa and Cyril, and muses on love, money, and aging before falling asleep.
Cécile wakes feeling well, and she reflects on the previous evening, including her declaration that Cyril is her lover, which she finds amusing in hindsight. As she recalls the conversations and behaviors of their companions—especially the Webbs—she contrasts their vulgarity with Anne’s composed and dignified manner. Though she acknowledges Anne’s superiority, she also notes her own continuing affinity with the lively, chaotic world of her father’s friends.
Anne comes to Cécile’s room with coffee. She critiques the behavior of their social circle, prompting Cécile to ask if Anne thinks she is intelligent. Anne assures her that she is and begins to question Cécile’s values and future, asking what she cares about. When Cécile responds that she cares about nothing and doesn’t like to think, Anne expresses concern that she and Raymond live without reflection or purpose. Uncomfortable, Cécile admits that Anne forces her to complicate her life and to confront feelings she would prefer to ignore. The conversation ends with Anne withdrawing and Cécile imagining a future in which her father ages into a charming and nostalgic figure—a future in which Anne is not present.
Cécile reflects on her father’s role in the events of the summer. She describes their relationship as deeply rooted, affectionate, and significant for both of them. Despite his flaws, Raymond has always prioritized Cécile over his romantic relationships. Though he is not intentionally cruel or selfish, he is “incurably frivolous.” Raymond’s attraction to Elsa resurfaces, not because he loves her, but because she represents the youth and freedom of his past. Although she is not overtly jealous, Anne expects Raymond to grow up and abandon his former lifestyle. Cécile wants Anne to discover Raymond’s infidelity and to be forced to accept the reality of their shared lifestyle.
Throughout this period, Cécile continues her relationship with Cyril and maintains the illusion of a romantic rivalry between Cyril and Elsa to provoke her father’s jealousy. She observes Anne’s happiness without remorse, feeling that she is in control of the unfolding events. However, she admits that dwelling on this time is difficult.
Cécile continues to orchestrate her plan by instructing Elsa to laugh whenever she and Cyril are spotted together. She notes how effective the tactic is. Despite having initiated the deception, Cécile experiences jealousy when she sees Elsa and Cyril together. Meanwhile, Anne remains unaware of the manipulation, experiencing a period of visible happiness and affection.
One morning, Cécile receives a note from Elsa announcing that Raymond has agreed to meet her. Elsa recounts the conversation proudly. Cécile is disturbed by Elsa’s admiration of her, suddenly overwhelmed by the consequences of her scheme. Seeking comfort, she turns to Cyril, who reassures her of his love.
That afternoon at lunch, Cécile notices Anne is tired, and Raymond appears pleased with himself. He announces casually that he will go into the village alone, which Cécile interprets as a planned meeting with Elsa. Later, Cécile sees Anne running toward the house, visibly distraught. She realizes Anne has discovered Raymond and Elsa, and she rushes to stop Anne, who is already in her car. Cécile begs her to stay, crying out “Anne, we need you!” (123), but Anne drives away. Raymond arrives shortly after, unaware of what has transpired. Cécile turns on him, calling him a “beast” before collapsing in sobs.
Cécile and Raymond avoid each other for most of the day. When they come together at dinner, they have no appetites. They agree they must try to bring Anne back, and Raymond confesses that Anne must have seen him kissing Elsa in the woods. Cécile, overwhelmed by guilt, recalls the expression on Anne’s face as she drove away.
Together, they write apologetic letters. Cécile believes Anne will forgive them and imagines a scene in which they are reconciled. Just as they are beginning to feel hopeful, the telephone rings. Raymond answers, and Cécile watches his expression fall. He learns that Anne has had a car accident on the road to Estérel—a known danger spot.
That night is a blur. Cécile rides with her father through the night to the clinic, where he refuses to let her see Anne. While waiting, Cécile reflects that even in death, Anne is unlike them. She thinks of Anne’s death, which may have been suicide, as “a gift.”
The following afternoon, they return to the villa, where Elsa and Cyril wait outside. On seeing them, Cécile feels detached. She realizes she doesn’t really love Cyril. Inside the house, the remnants of Anne’s presence remain. Raymond closes up the house and pours them each a drink. As their apology letters fall to the floor, Cécile notes that her father avoids stepping on them, a gesture she finds symbolic.
Anne’s funeral takes place in Paris on a clear day. Cécile and Raymond attend alongside Anne’s extended family and various acquaintances. Charles Webb appears to have shared news of Anne and Raymond’s engagement, and several people express condolences with that in mind. Cyril attempts to approach Cécile after the service, but she avoids him, admitting that she feels an inexplicable resentment toward him. Though uncertain whether Anne’s death was an accident or suicide, she is relieved that others seem to accept it as the former.
On the car ride home, Raymond takes Cécile’s hand, and for the first time, she begins to cry. Over the next month, they grieve together, sharing meals and recalling Anne. Eventually, life resumes its former rhythm. Cécile starts seeing a new young man, Philippe, while Raymond pursues a relationship with another woman—one who “is costing him too much money” (131). Although they are outwardly content and plan to rent another villa next summer, Cécile’s memory of Anne lingers.
These final chapters highlight The Fragility of Control. Cécile’s intricate manipulations unravel, and the consequences of her actions come into focus. What began as a detached, aestheticized narration of a summer by the sea ends in irreversible tragedy as Cécile’s illusion of control disintegrates. Her plans, once thrilling in their precision, start slipping beyond her grasp. For instance, Elsa and Cyril’s arrival at the Bar du Soleil spark a web of tensions Cécile can no longer contain. Raymond reacts with possessiveness toward Elsa, then suddenly recommits himself to Anne, exemplifying the volatility Cécile mistakenly thought she could predict and direct.
Cécile’s final efforts to manipulate events—such as orchestrating Raymond’s encounter with Elsa in the woods—serve as the breaking point. Though the plan works logistically, Anne’s reaction is far more visceral than Cécile anticipated. Seeing Anne running back toward the house “clumsily, heavily” and later driving away in visible anguish forces Cécile to confront, for a moment, the reality of her actions. In that instant, she is able to see Anne as a person, as she thinks: “Then I realised that I had attacked a living, sensitive creature, not just an entity” (123). Cecile briefly confronts that her attempts to script human behavior have real, irreparable consequences, though the insight is fleeting.
Rather than process her guilt, Cécile’s falls back on protective habits, highlighting the theme of The Comfort of Denial and Self-Deception. In the hours following Anne’s departure, Cécile and her father write letters of apology to her, convincing themselves that Anne will return. The act of writing becomes a form of emotional displacement—they are gestures of regret rather than transformation. When the phone rings with news of Anne’s accident, the fantasy of reconciliation collapses. Cécile reflects: “What was Anne up to, leaving us in the lurch like that, making us suffer for one moment of folly?” (126). The remark exemplifies the novel’s meditation on the characters’ rejection of responsibility. Even in the face of death, Cécile frames the tragedy in terms of what it has cost her and repositions herself as the aggrieved party, shielding herself from the consequences of her own actions.
The novel refuses to confirm whether Anne’s death was an accident or a suicide, echoing Cécile and Raymond’s avoidance. Cécile admits: “Anne had made us the magnificent present of giving us the chance to believe in an accident” (128). The phrasing reveals how both Cécile and Raymond are willing to embrace a convenient narrative rather than confront their complicity. By believing that Anne’s death was an accident, they avoid guilt and sustain a tolerable self-image. The image of Raymond sidestepping the apology letters on the floor reinforces their denial symbolically: They step around their guilt rather than confront it.
By the novel’s conclusion, Cécile and Raymond return to their familiar rhythms. She begins seeing a new young man, Phillipe. Raymond is dating another woman, “one who is costing him too much money” (131)—suggesting he can no longer rely on charm alone to secure companionship. Their mourning was brief, and their self-reflection was shallow. The emotional progression of these final chapters contributes to theme of The Consequences of Existential Ennui, showing that they are not explosive but cyclical. The events of summer do not result in transformation; instead, they are internalized without change and are absorbed into a pattern of avoidance.
Cécile’s closing reflections are, likewise, subdued but not redemptive. Lying awake at dawn, she recalls Anne and feels a presence she can name only as “tristesse.” The final line—“Bonjour tristesse,” which translates to “hello, sadness”—gives the novel its title and its cyclical structure. Cécile’s sadness is not transformative—it is ambient. It offers neither remorse nor resolution, and it marks a return to the emotional posturing of the novel’s opening. Her sadness is aestheticized and lightly worn, as it does not cause a disruption. It is simply the backdrop to a life that will continue unchanged.



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