47 pages 1-hour read

Perfect Strangers

Fiction | Novel | Adult | Published in 2019

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Part 1, Chapter 8-Part 2, Chapter 13Chapter Summaries & Analyses

Content Warning: This section contains discussion of child death, death, violence, sexual content, and cursing.

Part 1, Chapter 8 Summary

Olivia and James return to the apartment and have sex. He throws her over his shoulder, and she feels like his prey. She admires his statuesque body and makes fun of her own. James compliments her body and uses his hand to pleasure her. He wants her to tell him what she wants, but Olivia can’t find the words. James tells her what to say, prompting him to perform oral sex on her while she considers consenting to spanking.

Part 1, Chapter 9 Summary

Olivia isn’t sure why she, a woman who’s almost 40, lets a man spank her, but the act brings her pleasure. He then spanks her vagina while telling her that he’s eager to have vaginal sex with her. Olivia has a violent orgasm and cries. James embraces her. His words provide Olivia with such comfort that she wonders if someone is relaying lines through an earpiece.


Olivia admits to feeling new and powerful emotions. Her passion now unsettles James, who admits that he’s “fucked up.” He assures Olivia that he’s not dangerous, and Olivia tells him that she’s on familiar terms with “fucked up.” Olivia considers ending their connection, but she boldly opts to see where it goes.

Part 2, Chapter 10 Summary

Olivia wakes up. James is gone, but he took out Estelle’s copy of Hemingway’s war novel For Whom the Bell Tolls and left a note near an excerpt that Olivia mocked during dinner: “Now, feel. I am thee and thou art me and all of one is the other. And feel now. Thou hast no heart but mine” (168). 


Kelly calls, and they discuss Olivia’s night with James and an array of sexual practices like “toe sex.” Kelly encourages Olivia to have sex with James again and demands recaps, which she now thinks of as an entertaining show.


James calls and quips about his prolonged erection and Olivia’s captivating body. Olivia calls him out for using a line from a Radiohead song, “Creep.” They discuss his Latin tattoo, which translates to, “Hard things are broken by hard things” (180). James tells her that he must travel to Germany, but he’ll return to Paris in a few days.

Part 2, Chapter 11 Summary

With James gone, Olivia concentrates on writing. For the first time in years, she feels a rush of inspiration. She identifies with the characters she creates, and they consume her.


James returns, and he and Olivia kiss passionately. Olivia tiptoes around personal questions concerning James’s work, and they agree to use “touchy subject” as a safe word. If the conversation becomes too personal, they can drop the phrase to stop it.


James takes Olivia to the prestigious independent bookstore Shakespeare and Company. Olivia likes the scent of the old books, and she skims Russian authors like Fyodor Dostoevsky and Leo Tolstoy. While Olivia reads from Dostoevsky’s novel The Brothers Karamazov in the story, James uses his fingers on her. She feels his erection and has an orgasm. Since she doesn’t care how she looks or if people see her, she feels like a different person.

Part 2, Chapter 12 Summary

James vows that he’s never brought another woman to the bookstore. Olivia suggests that she should help James orgasm, but James prefers “delayed gratification.” He takes her to a restaurant in the Eiffel Tower, where women gaze at him. Olivia admits that James unsettles and scares her. She worries she might develop long-term feelings for him, and James feels similar about her.


Suddenly, James receives a phone call that stiffens his body and tells Olivia he must leave for work. Olivia jokes about an “emergency portrait” appointment, but James remains serious. He takes her home and promises to return later. Upset, Olivia tells him not to come back, wondering if he’s a criminal or has a wife. James swears that he’s single and tells her to stay in the apartment until he returns. They take a cab back to the apartment, instead of the Paris Metro, and argue about the phrase, “You’ve got another thing coming” (219).

Part 2, Chapter 13 Summary

At Estelle’s apartment, Olivia googles the phrase and discovers that James is correct: The older version used “think” not “thing.” She texts Estelle about the phrase, but Estelle changes the topic to Olivia’s writing. She calls Olivia and talks about the failings of Olivia’s ex-husband, Christopher (Chris) Ridgewell. Oliva defends Chris, reminding Estelle that his absences relate to his job as the United States ambassador to the United Nations. The conversation alludes to Emerson’s funeral and, for the first time, the word “murder” comes up.


The phone call and concomitant memories disquiet Olivia. She throws her phone across the room, and it breaks. She drinks bourbon and listens as Gigi and Gaspard have sex. She falls asleep and wakes up to James sitting in a chair. He tells her that she left the door open, but he will leave if she wants. Olivia wants him to stay. She admits that she masturbated to him, and he admits that he masturbated to her in a cafe bathroom. He takes off his suit, and she feels electric. After she recites her masturbation fantasy, he orders her to perform oral sex on him while he spanks her.

Part 1, Chapter 8-Part 2, Chapter 13 Analysis

In these chapters, the book continues to mix humor, graphic sexual content, and romance, resisting easy genre classification. The spanking scene also establishes a link to erotica by echoing the action of well-known erotic novels like Pauline Réage’s Story of O (1954) and E. L. James’s 50 Shades of Grey (2011). However, the tone of these scenes, with lighthearted dialogue in which James and Olivia stay communicative and playful, counters the severity of O and Grey. When discussing the topic of spanking, James asks, “So you just object to it in theory, then?” (141). Olivia replies, “Of course, I object to it in theory! What kind of person enjoys pain?” (141). Her aside about “in theory” offers a moment of comedy with its intellectual tone. The development of their relationship also highlights that it is not entirely based on sex—they are vulnerable to traditional romance. Olivia concedes, “[I]t’s not only a physical attraction. I’m drawn to everything about him” (209). While sex is at the forefront, sex isn’t the sole enticement. The scene of sexual intimacy at the bookstore supports this more three-dimensional depiction of their relationship by establishing a link between their sexual relationship and their intellectuality.


These chapters also continue to develop the theme of Exploring the Intersection of Feminism and Sexual Desire as Olivia retains her empowered humor, frankness, and contemplative nature while exploring sexual experiences. In the bookstore, Olivia states, “This isn’t me. This woman, so reckless and overtaken by desire, isn’t anyone I recognize. She’s wild and uninhibited and doesn’t care who might see her” (201). Olivia feels like she’s someone else, so she describes herself in the third person—“this woman.” While having sex with James, she finds it difficult to speak, as her passion for James undercuts her composure. Olivia says, “[H]e kisses me, deeply, until I’m making desperate noises and pawing at him” (138). With James, Olivia becomes an unrestrained, primitive creature. The transformation isn’t degrading. The surrender brings her pleasure, and she consents to it. The terms “wild and uninhibited” further the undomesticated depiction of sex. Olivia’s desire prompts her to discard societal norms by expressing her sexuality in public at the bookstore with James. However, while sex makes her less self-conscious, it doesn’t change her personality. Olivia shows how people can engage in different types of sex without losing their core sense of self. 


The Pleasure of Mystery remains central to Olivia and James’s relationship. The ban on personal details incites their passion. Unencumbered by their histories, the characters experience a fiery liberation. Olivia says, “This casual summer fling has the potential to burn the whole city down” (157). The quote is paradoxical, with the unimposing word “casual” conflicting with the forceful imagery of Paris on fire. Ultimately, Olivia and James aren’t in a “casual summer fling.” What defines their connection is a mystery, which creates the “burning” intrigue.


The narrative also continues to explore the theme of Shaping Reality Through Storytelling with character comments that hint at a larger truth about the story that is yet to be revealed. At one point, Olivia quips, “Someone’s feeding you lines through an earpiece, aren’t they?” (159), highlighting James’s perfect mixture of masculinity. He’s too good to be true, she implied, so someone must be making him up. Comments like these foreshadow later revelations: Someone is inventing him, and it’s Olivia. James isn’t a real person but a character in her story, and she’s telling him what to say.

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