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Content Warning: This section contains discussion of mental illness, illness, child death, death, violence, graphic sexual content, and cursing.
Kelly visits Olivia at the psychiatric hospital. Before she leaves, she mocks Hemingway and praises the contemporary romance author Nicholas Sparks.
Dr. Edmond Chevalier, Olivia’s psychiatrist, tells her she had “catatonic psychosis,” so she’s been at the center for three months—the same time frame as her fantasy about Paris and James.
Chris visits Olivia. He doesn’t work for the government, and he’s not attractive. His presence prompts Olivia to remember how Emerson truly died. Olivia’s car was in the repair shop due to an accident, and she had to use Chris’s car to buy groceries. The SUV lacked cameras, sensors, or quick brakes. As Olivia backed down the driveway, she ran over something that she thought was a trash can. Olivia assumed Emerson was inside napping, but she wasn’t. She was dead before the ambulance came, and her eyes were open.
The orderly, Ernest, helps care for Olivia. He and Olivia banter about the center’s bad food and rigid schedule. He puts up a poster of the 20th-century singer and actor Frank Sinatra, whose nickname, Ol’ Blue Eyes, connects to James’s blue eyes. Kelly brings Olivia a poster of Provence’s lavender fields.
Olivia compares the center to the tyrannical psychiatric hospital in Kesey’s novel One Flew Over the Cuckoo’s Nest, but the workers at Olivia’s center are nice. The other patients include Gigi, who has paranoid schizophrenia, and Gaspard, who has clinical depression and severe bipolar disorder. Gaspard “grunts,” while Gigi has “lusty screams.”
Olivia has ALS, and the diagnosis came after Emerson’s death. Olivia believes that the tingling, numbing sensation in her foot, one of the signs of the disease, is partly why she couldn’t brake right away. If she had, Emerson would be alive.
Dr. Chevalier tells Olivia that she can go home and live with her husband. Chris is a mechanic who makes enough money but lacks “ambition.” He’s also having an affair with the shop’s receptionist, who’s in her twenties. Dr. Chevalier believes Chris and Olivia might “reconnect,” and he also thinks it might help Olivia and others if she wrote a book. Missing James and the fantasy, Oliva wonders if she can induce her “psychotic state” again.
Dr. Chevalier recounts Olivia’s mental health history and the events that led to her stay at the center. She was approaching 40 and wanted another child, but she didn’t think Chris was a good father. Then the accident occurred; soon after that, Olivia was diagnosed with ALS.
Dr. Chevalier pontificates on the hazy boundaries between “hallucinations” and reality. There’s no way to prove reality, yet Dr. Chevalier confirms that reality exists. He compares Olivia’s fantasy about James and Paris to a “romance novel.”
Olivia hears gospel music, and Ernest tells her that they’ve played it every Sunday since her arrival. The singer’s name is James Blackwood.
Chris picks up Olivia in a wheelchair-accessible van. She meets her at-home caregiver, a forceful but compassionate German woman named Maria. Kelly visits and reads Hemingway to her. They drink, and Olivia describes how Kelly looked in her Paris fantasy. Kelly brings a tape recorder so Olivia can dictate her memoir, Until September.
One year later, Olivia sleeps in a hospital bed in the living room, as the ventilator makes it hard for Chris to sleep. Maria and Olivia hear Chris on the phone with the receptionist. He tells her he loves her, and he promises to sell the house once Olivia dies. Maria says she’ll smother Chris with a pillow if Olivia wants.
Olivia has published her book, and it is a bestseller.
Olivia tries to return to her fantasy of France and James. She looks at the poster of the Provence lavender fields, but it doesn’t work. However, Maria brings her a lavender bush, and the scent transports her to James. She hears him recite the Hemingway quote they shared earlier. As rain falls, they kiss and confess their love for each other.
The Epilogue is told by a third-person narrator and reveals that both the France fantasy and the psychiatric hospital are fictional. They are part of Olivia’s book, Perfect Strangers. In New York City, Olivia and Estelle playfully discuss the connection between her characters and their real lives. The women speculate on who might play them in a movie adaptation. Olivia compares her novel to the metafictional film Inception and describes her book as “a book within a book within a book” (556).
Olivia lives in the suburbs of New York City with James, whom she met during a brunch with her girlfriends. He’s an artist, and they’re constantly renovating their home. James is a constant presence in Olivia’s novels, and she’s made him a rock star, a bodyguard, and other cinematic identities; now, she’s made him an assassin with a 12-inch penis.
At home, she puts on butterfly body jewelry, and they have sex, since James’s “regular-sized” penis works fine for Olivia. Emerson comes home from school and hears her parents having sex, but she’s used to such an occurrence.
Geissinger continues her exploration of genre in Parts 3 and 4, suggesting that literary fiction doesn’t shy away from flawed, unpleasant reality. After the twist in Chapter 29, the narrative reveals that Olivia’s true reality is neither romantic nor cinematic. She has ALS, not James, and she accidentally killed her daughter. Though the death alters Olivia’s identity, the death isn’t sensational—it doesn’t involve powerful people and lethal weapons from all over the globe, as the Paris narrative and its nod to the thriller genre indicated. The lack of drama doesn’t take away from Olivia’s pain, and Geissinger juxtaposes her ostensible humdrum actions (backing out of the driveway to go grocery shopping) with the powerful and tragic results (losing a daughter). However, the reasons behind her fantasy world become clearer: through the gripping Paris story, Olivia forms a material world that matches her powerful grief.
The narrative also reveals that many of the characters in Olivia’s fantasy come from the psychiatric center, juxtaposing their stereotypical characterization in Olivia’s manuscript with reality. Edmond Chevalier isn’t a turbulent womanizer but a gentle, pragmatic psychiatrist. Gigi and Gaspard aren’t a sexually voracious couple: They’re Olivia’s fellow patients. James, as the character in Paris, is an amalgamation of attractive characteristics. While his eyes come from the Frank Sinatra poster, and his name comes from the gospel singer James Blackwood, most of James’s identity connects to the stereotypical male characters of romance novels and erotica.
Dr. Chevalier uses standard medical diction to describe Olivia’s mental state, but the narrative uses her mental illness as a literary device. It becomes a way for Olivia to create a fantasy, and when her ideal world falls apart, it provides the primary plot twist. Olivia herself is rather flippant about her mental health. She notes, “I’ve only just returned from my trip to La La Land” (488). Dr. Chevalier portrays Olivia as “completely lost in [her] fantasy world and non-responsive to outside stimuli” (513). However, she does remain in control of her fantasy world as the author. She builds the “La La Land,” and it reflects her desires. The examination of this topic also hints at the further layer of narrative to be pulled back.
In the psychiatric hospital, the sexual desire and mystery that have been central to the narrative disappear entirely, highlighting how Olivia infuses her fantasy with what she lacks. Olivia states, “Daily routines at the Rockland Psychiatric Center are managed through an inflexible schedule” (502). To upend her predictable days, she imagines an intense affair with James and a life of freedom and The Pleasure of Mystery, highlighting the lack of mystery at the center. Her mental and physical health are exposed to all at the hospital, as Dr. Chevalier monitors her mental state, while Ernest helps her with her bodily functions. Olivia says, “[H]e cheerfully cleans my ass with a baby wipe as I lay on my side in the hospital bed” (494). In reality, Olivia doesn’t have a highly sexual man with an enigmatic backstory. What she has is Ernest, who’s just doing his job, and the juxtaposition emphasizes her need for fantasy.
The theme of Shaping Reality Through Storytelling moves to the foreground in the Epilogue, where Olivia and Estelle discuss her novel. Olivia explains, “I was going to go full Inception and make it a book within a book within a book and have another ending after the lovers meet again in the rain” (556). The quote highlights the multiple realities that appear in the novel: the reality of Olivia and James in Paris, the reality of Olivia in the psychiatric center, and the reality of Olivia and James in New York. The true reality is the last one, yet the richly developed worlds of Paris and the psychiatric center highlight the blurred boundaries between fiction and Olivia’s real life, from which she continues to pull inspiration for her work.



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