58 pages 1-hour read

Reel

Fiction | Novel | Adult | Published in 2021

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Chapters 17-29Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of illness, racism, and antigay bias.

Chapter 17 Summary: “Dessi Blue”

This chapter is an excerpt from the screenplay for Dessi Blue. Dessi and Tilda are preparing for their shift at the Savoy. In the coatroom, Dessi kisses Tilda and tries to persuade her that she will find a way to pay the rent and that Tilda doesn’t have to hire out for sex work that night. Tilda reminds Dessi that she’s been looking after herself since she was 14.


Dessi meets and dances with Cal Hampton, who is tall and well-dressed and flirts with her. He’s a trumpet player and invites Dessi to hear him play at the Radium Club after her shift is over. He waits for her outside the Savoy, and when Dessi sees Tilda leaving with a patron, Dessi goes with Cal. He says that Benny Goodman and Harry James were at the club a week earlier. Cal invites Dessi to come on stage and sing “Body and Soul.” The audience applauds.

Chapter 18 Summary: “Neevah”

Neevah sits with Evan discussing Trey’s screen test. They are at Open Air, a rooftop restaurant at a boutique hotel called The V in Los Angeles. Neevah thinks that everybody looks very glamorous, and she feels out of place. Evan tells her that the place is run by his stepsister, Arietta. Canon arrives with a beautiful woman on his arm, and Neevah is jealous until she realizes that the woman is Arietta.


The four converse, and Canon reveals details about his career, including how he met Monk by working on a music video for a terrible song that Monk co-wrote. Neevah reminds herself that she needs to act like a professional and resist her attraction to Canon. As they leave, Canon wonders how long Neevah will be able to keep her humility once everyone starts telling her how great she is. He says that what matters most is the story: “Always the story” (117). Neevah wonders what it would feel like to be important to him.

Chapter 19 Summary: “Neevah”

Neevah packs to move to Los Angeles for filming and tells Takira that she asked her agent, when negotiating her contract, to specify that Neevah have a hairstylist who knows Black hair. Takira is excited to be going to Los Angeles with Neevah. They discuss how Neevah’s doctor has set her up with a rheumatologist in Los Angeles whom she can check in with as needed.

Chapter 20 Summary: “Canon”

As the cast and crew of Dessi Blue gather for the table read, Canon establishes his expectations for behavior on set. He warns that they will work hard and says, “This is someone’s life we’re introducing the world to. I don’t take that lightly” (122). Evan warns them that Canon grows out a beard while filming and that it makes him look even grumpier.


The studio back lot has been transformed into 1930s Harlem. Jill Brigston, Canon’s cinematographer, congratulates him on finding Neevah, saying that “she’s the real deal” (125). Jill also guesses that Canon is attracted to Neevah, which he denies.

Chapter 21 Summary: “Neevah”

Takira applies Neevah’s makeup in Neevah’s trailer. Neevah enjoys the look she has for Dessi and the landmarks of Harlem that transform the studio backlot. Monk has worked the music of Duke Ellington, Jelly Roll Morton, and Louis Armstrong into the atmosphere as inspiration. Canon is intensely focused on the movie, and Neevah reflects that it’s getting harder to stifle her attraction to him.

Chapter 22 Summary: “Dessi Blue”

In an excerpt from the film, Dessi sits in a dressing room reading a letter from Tilda, who misses her. Dessi is traveling with Cal’s band. Cal enters and says that, with the recent race riots, the club manager is worried that Dessi is too light-skinned and that the audience members might think a white woman is on stage with Black men. Dessi notes that it’s hard enough to find a place to go to the bathroom and objects to wearing grease paint to darken her complexion. Cal asks, “[W]hat choice do we have? What choice do we ever have?” (131). Dessi agrees so that they can do the gig and get paid.

Chapter 23 Summary: “Neevah”

Neevah is upset after filming the previous scene, feeling stung by Dessi’s humiliation. She leaves the set, and Canon comes to her dressing room. Canon praises her performance, saying, “You are stepping into shoes that walked a hard road. Prejudice, disrespect, heartbreak—that was all part of Dessi’s life” (134). Gently, Canon wipes the paint off her face and reassures Neevah that she’s doing a fantastic job.

Chapter 24 Summary: “Canon”

Canon stands apart at the Halloween party at Evan’s house. Evan teases him about brooding. Canon notices that Neevah is talking and laughing with Trey. She and Takira are dressed as characters from the film House Party. Canon is terse with Neevah when she tries to converse and then takes her hand when she tries to leave and apologizes. Canon reminds himself of the unequal power between them as director and actor. They listen to Luther Vandross and discuss his music. Neevah admits that she was moved by Canon’s documentary about his mother, The Magic Hour. He’s fighting his attraction to her.

Chapter 25 Summary: “Canon”

Canon watches the dailies and reflects that Neevah is giving a brilliant performance, showing everyone that she was the right choice for Dessi. Jill catches him staring at Neevah on screen. She thanks Canon for accommodating working parents on his set. He declines an invitation to join her family for Thanksgiving, and she tells him about a restaurant she likes.

Chapter 26 Summary: “Neevah”

Neevah works on the dance numbers for the film and gets advice from Lucia, the choreographer. Lucia takes Neevah to the video village where Canon sits, watching the action on set. On display is a diagram of the ballroom of the Savoy, which sat on Lenox Avenue, what Langston Hughes called “the Heartbeat of Harlem” (150). Canon leaves, and Lucia advises Neevah to squash the crush she has on him, saying that it will only distract him and potentially ruin their working relationship.


Turning to their work, Lucia instructs Neevah to dance more like Frankie Manning and suggests that she watch Hellzapoppin’. Jill praises Neevah’s work and asks about her Thanksgiving plans. Neevah says that she’s planning to stay home and cook her mother’s apple cobbler. Jill gives Neevah the name of a restaurant to visit.

Chapter 27 Summary: “Canon”

Canon is wary that the restaurant advertises itself as Los Angeles’s most romantic. The hostess leads him to a private table on a gazebo overlooking the ocean. Then, she leads Neevah to a table beside his. Canon invites Neevah to share his table.

Chapter 28 Summary: “Neevah”

Neevah informs Canon that she didn’t set this up, and he believes her, telling her, “You’re as clear as glass” (160). In contrast, Neevah thinks he “is opaque glass frosted by his iron control” (161). They converse, and Canon mentions how his mother had multiple sclerosis. He tells her that his father lives in South Africa and has another family there. He notes his mother’s insistence on artistic integrity.


Canon asks about Neevah’s family, and she reveals that her sister cheated with her boyfriend. She recalls how Terry was her best friend and misses what they had. When Canon says he likes apple cobbler, Neevah invites him to her house for dessert.

Chapter 29 Summary: “Canon”

Canon reminds himself that he promised not to get involved with an actress ever again. Nevertheless, he’s drawn to Neevah because he feels “like she sees [him], and [he’s] not sure anyone ever really has” (169). She changes into a T-shirt with a slogan bearing a Schitt’s Creek reference. When Neevah climbs onto his lap on the couch, Canon thinks he’s not strong enough to say no and reflects that, aside from his movies, his life is empty. He enjoys their first kiss, savoring that it is special. They are interrupted when Evan calls Canon’s phone. Canon realizes that getting involved with him could jeopardize Neevah’s career. He tells her that they should wait until filming is over.

Chapters 17-29 Analysis

The alternating structure of the chapters between Canon’s and Neevah’s first-person points of view further develops the protagonists by delving into their backstory, their internal conflicts, and the obstacles they confront in their personal lives. All of this information moves the romance plot along its trajectory. The opening chapters introduced the initial “meet-cute” and the premise that ties them together, which is that Canon is casting Neevah as the lead actress in a film that means a great deal to him. These subsequent chapters establish the sexual attraction between them but also examine their barriers to pursuing a relationship.


The most significant obstacle is the power dynamic in their working relationship, reflecting The Challenges of Preserving Personal and Artistic Integrity. Neevah’s dependence on this job to advance her career puts her in a vulnerable position, in which she could potentially feel pressured to accept Canon’s sexual advances to keep her job. Canon also feels pressure not to let his attraction show. His history with Camille serves as a lesson for why he shouldn’t get involved with actresses in his movies. He also recognizes that pursuing a sexual relationship with Neevah could be interpreted, to outside eyes, as her leveraging a personal connection to gain access to career opportunities for herself. If nothing else, as Lucia points out, an attraction between them endangers a professional and productive working relationship. These valid reasons for not pursuing a relationship heighten the sexual tension and attempt to build momentum for the moment when they finally connect.


The chapter in screenplay format describing Tilda and Dessi’s relationship as something they have to hide from others provides another example of a relationship that might be frowned upon by those around them, if not forbidden. The segments from Dessi’s story enrich the novel with the addition of another narrative that amplifies and comments on certain themes of the contemporary story while providing stylistic variation in the screenplay and personal-letter formats.


The moment when Dessi is compelled to sing in blackface because of fears that she might be perceived as too light-skinned by her audience provides a moment of emotional gravitas that shows how much Neevah is investing in this performance. Dessi’s life provides an opportunity for Ryan to illustrate the racism that impacted Dessi’s life. Tilda’s reference to how managers of the Cotton Club preferred “yellow” performers refers to a prejudicial preference for lighter skin colors over darker tones (55). “Yellow” was slang to refer to a Black person with relatively lighter skin tones, potentially someone who could “pass” for white. Darker skin tones were considered less desirable, by this ranking, but made social divisions clearer.


Performing in blackface was a common technique in earlier vaudeville acts in which white performers would apply makeup to darken their skin and pretend to be an African American or Black character, usually in conformance with extremely derogatory stereotypes. To most modern audiences, blackface is now considered insulting and inappropriate due to its associations with these stereotypes. This is why it bothers Neevah that her character is coerced into changing the color of her skin to comply with the preference of the white audience. Prejudice against Black Americans, as Ryan shows here and elsewhere, was a significant obstacle in the historical past and continues into the present day. One of Ryan’s goals within the novel is to make the reader aware of these historical attitudes and the impact they had on the emotional lives of the Black people who weren’t awarded full and equal rights to participate in public spaces.


The theme of The Importance of Recognizing and Celebrating Black Artists continues with more allusions to Black creators, both historical and modern. One such allusion is Hellzapoppin’, which began as a musical revue—a combination of comedy sketches, song, and dance numbers—that ran for three years on Broadway between 1938 and 1941. The film version of Hellzapoppin’ was released in 1941 and features Whitey’s Lindy Hoppers, a dance group that performed at the Savoy Ballroom and were widely admired for their energy and technical skill.


The Lindy Hop is a type of dance that evolved among Black performers in Harlem beginning in the 1920s. The Lindy Hop combines elements of swing, jazz, and tap in both partnered and solo dances. Frankie Manning performed in and choreographed many routines for the Lindy Hoppers. When his group disbanded in the 1950s, Manning began a career with the US Postal Service until he was invited, in the 1980s, to return to dance instruction. In 1989, Manning received a Tony Award for his work on the musical Black and Blue.


Allusions to these Black performers, along with mentions of musicians like Duke Ellington, Jelly Roll Morton, and Louis Armstrong, who innovated the musical tradition of jazz, add texture to Neevah and Canon’s world and ground their work against a backdrop of other significant cultural contributions made by people of color. Other allusions to pop culture, like the comedy House Party (1990), which features a largely Black cast, and the sitcom Schitt’s Creek (2015-2020), which normalized LGBTQ+ romance as part of its storyline, contribute to the sense that Neevah is tuned into and adept at navigating a variety of cultural influences and traditions.

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