53 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of sexual content, cursing, substance use, graphic violence, disordered eating, suicidal ideation, illness, and gender discrimination.
One day, Bud’s supervisor, Allen, tells him that the team is concerned about him; they’re worried that something is “compromising” his work performance. Allen gives him some brochures on local programs that might be helpful, and—when it becomes clear that Allen is not giving Bud the chance to say “no”—Bud selects Lost Lambs Christian Guidance. Bud knows that Catherine is a “ten-out-of-ten,” but he frequently fantasizes about a “plump and dowdy” woman whose gratitude arouses him (78).
Lost Lambs meets twice a week, led by Miss Winkle. Her daughter, Perry, accompanies her mother. At his first meeting, Bud confesses that he’s having marital problems. He recalls that Catherine asked him to go to marriage counseling a couple of times, and he overheard her describing him as a lead weight on her, but he feels that their troubles are typical. After the meeting, Miss Winkle assures him that sharing will get easier.
That night, Bud tells Catherine that he’s joined a self-help group now that she’s decided to “dismantle” their lives; she refers to the change as broadening their horizons, but he derisively calls it “[f]ucking” others. She tells him that he’s “stuck,” and he impugns her mental health and her artistic aspirations. She calls him cruel. The fight is typical, though Catherine confesses that she hasn’t yet slept with Jim Doherty. That night, Bud drives to the pub Jim owns and gets tossed out. He sees a billboard with sheep on it and decides to call Miss Winkle. When he arrives at her house, Bud declares himself to be a lost (drunk) sheep. She makes him a cup of tea. She admits to feeling lonely, and when he tells her that he’s been sleeping in the car, which hurts his neck, she massages it for him. They begin kissing, and she says to call her Priscilla. Bud finds her beautiful, even “holy,” and when he slips his fingers into her pajama bottoms, she thanks him.
The town square contains an art installation consisting of six-foot cedar balls, though they have become termite dens, making the area unusable for the town. Harper believes that they are an apparatus by which Paul Alabaster, her father’s boss, spies on the town. She believes that Alabaster’s employees orchestrated the infestation when she got wise to the operation. Harper insists to Catherine that there’s a conspiracy and a cover-up happening in the harbor. The next day, Harper is called to the Mother Superior’s office at school. On the “free speech” bulletin board, Harper posted something about the cedar balls watching everyone, and she tells the nun that they are living in a panopticon. When Harper accuses the Mother Superior of censoring free speech, she is suspended again.
That Friday, Harper plans a sit-in, but only Perry Winkle shows up. Perry tells Harper that Bud comes over to her house at night. Later, Bud tells Harper that he is going to send her to the camp for kids classed as “troubled.” She continues to claim that there’s something nefarious happening at the harbor and asks if he’s sleeping with Miss Winkle.
Abigail’s friends are impressed that she’s dating a soldier, and they watch for him when he picks Abigail up from school. Wes tells Abigail to eat more, revealing that he has an autoimmune disorder that targets his bowels. Wes sends most of his earnings home to his family. She appreciates his maturity and feels that she’s in love. Her sisters know to cover for her, but it isn’t usually necessary because their parents are so wrapped up in their own problems. Abigail meets Wes’s roommate, Marshall, and she learns that Wes is smart and sweet. Her classmates think that she’s dating a “warlord,” but she sees that he is sensitive and gentle. About a month into their relationship, Wes’s demeanor changes. He starts staying late at work and stops picking her up at school. When one of her girlfriends suggests that Wes is cheating, Abigail punches the girl in the face.
Paul Alabaster is unpredictable. One day, Wes sees the girl who works for him panicking because the invitations for Alabaster’s upcoming party were printed in the wrong shade of black. She sits with the box of invitations open in front of her, and Wes thumbs through them, noting that they’re all addressed to men: all but one, which is addressed to Abigail. The girl tells him to ignore what he saw, but he decides to hire a private investigator. Marshall gives him the phone number for a man with “everything.” Wes meets this man and says that he needs intel on Alabaster. The man warns him that he might come across information that Wes wishes he didn’t know, but Wes assures him that he wants to risk it. When Wes gets home, he finds Abigail waiting. She says that she’ll die by suicide if he doesn’t tell her what’s going on, and he realizes that he loves her. He says that he has to protect her and that that’s why he’s keeping his distance. She tells him that she loves him, and he smiles. Then, he grimaces painfully and says that he has a stomachache.
Miss Winkle feels guilty about sleeping with Bud because he’s married, but he makes her feel happy. She thinks of the candy bar that mixes dark and milk chocolate, claiming that the bitterness makes it better, and she completely disagrees. Bud makes her think that the world might not be cruel after all.
One day, she goes to the church for the Lost Lambs meeting and finds a sign saying that it’s closed for fumigation. She decides to hold the meeting in the garden. That night, Perry tells her that something bad is going to happen, and Miss Winkle tells her not to think such scary thoughts. When Perry asks what’s happening in the church, Miss Winkle tells her that it’s being fumigated because of the gnats, and Perry starts sobbing. Miss Winkle thinks that Perry might be right: They may be playing God by deciding what gets to live and what dies. In the Bible, she reasons, God sends insects as punishment. She wonders if Perry has insight into something everyone else has lost.
Harper thinks that she’s been sent to Saint Peter’s Nature and Wilderness Retreat because she got too close to the truth. A busload of kids is dumped in the wilderness and told that their belongings, which have been confiscated, are a luxury they must earn. They can earn these luxuries, and others, through manual labor and emotional vulnerability.
Around the campfire at night, the girls are encouraged to share. When Harper confesses that her family is being surveilled by a billionaire, she earns nothing. When she confesses that her married parents are dating other people, she earns a brownie. The next morning, she gets her period for the first time. After several days, she sees her reflection in another camper’s mirror, and for the first time, she thinks that she is pretty.
Throughout the text, an unnecessary and silent “g” is added before the “n” in some words; this “g” calls attention to the gnats in the church and helps to develop the novel’s satirical tone and absurdist mood. The first part of the text incorporates words like “dognated,” “gnatural,” “carbognated water,” and “imagignative,” while, in the second part, Cash sprinkles in “combignation,” “explagnation,” “inclignation,” and “extermignation.” No attention is ever drawn to these misspellings, but they appear suddenly, like an unexpected gnat in a church might. These gnats heighten the atmosphere of satire surrounding the church, Father Andrew, and even Miss Winkle. After all, the church is also home to rogue parrots; Miss Winkle has no training in how to lead a support group and tells Louise that she cannot win an “inner beauty” pageant; and Father Andrew is oblivious to his own shortcomings at best and a sexist, wrong-headed, potential danger to his parishioners at worst. Every word that is injected with the silent “g” reminds readers not only of the nuisance the gnats pose but also of the absurdity of their appearance in the church and thus of the ludicrous conversations and situations that take place there: Rather than a place of sanctuary, the church is a space thoroughly permeated by the incongruities of contemporary life but also incapable of addressing its concerns.
Nor is that failure limited to the church. Across the board, the Flynn daughters must cope with parents and authority figures, like Father Andrew, whose ineptness drives them to take matters into their own hands, emphasizing the theme of Adolescent Agency Under Institutional and Parental Failure. On a basic level, no one makes sure that the girls are eating or that they aren’t being preyed upon by older men, and when Abigail punches a “friend” at school, she is suspended without anyone questioning why a usually nonviolent student suddenly lashed out. Abigail, especially, struggles with feeling misunderstood, and she finds someone who helps her to feel seen when she meets War Crimes Wes, who is also perceived in ways that contradict his real character. Meanwhile, the adult Flynns are so engrossed in their problems that they often fail to notice Abigail’s absence: “Her sisters knew to cover for her if their parents asked, but often the cover was unnecessary; their parents didn’t seem concerned with where Abigail was or where she’d been” (109). Likewise, Louise is involved with someone online who seems to be grooming her to perform some act of violence, something she misses because she is so relieved to finally feel “seen” by someone. When the girls don’t get the emotional, physical, or spiritual sustenance they need from the typical figures—parents, teachers, and mentors—they find it elsewhere.
Further, the deterioration of the relationship between Bud and Catherine Flynn characterizes Open Marriage as Both Liberation and an Engine of Domestic Collapse. The “arrangement” isn’t based on agreement but rather on Catherine’s dissatisfaction with Bud’s failure to understand her; Catherine only turns to the idea of an “open marriage” rather than engaging in an affair because such an “arrangement” sounds progressive and satisfying instead of morally questionable and blameworthy. However, the ethical dubiousness of this “arrangement” surfaces in their argument, when she refers to opening the marriage as “expanding [their] horizons” while he refers to it as “[f]ucking other people” and insists that she’s “decided to dismantle [their] lives” (87). The juxtaposition of their perspectives reveals the underlying problem: What feels potentially freeing for Catherine feels like being abandoned to Bud because their relationship fundamentally isn’t fulfilling for either person. This becomes clearer still when, in an ironic twist, Bud instigates an extramarital relationship before Catherine herself does. In exposing the relationship’s shaky foundations, the opening of the marriage precipitates its collapse without being directly responsible for it.



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