49 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of death and emotional abuse.
As Alice drives into Marnie’s neighborhood, she is surprised that Grant would allow his children and their mother to live in such a downtrodden area. In Marnie’s driveway, she again has the sensation of being watched. When Marnie lets Alice into the house, Marnie mentions again that Grant would not want his family to suffer financially after his death. Alice thinks that, up until today, she believed herself to be Grant’s only family, as he told her his parents were dead and he was an only child. This was why Grant had always been desperate to have children—Alice is just shocked that he would choose to do so with another woman.
Marnie shows Alice into the living room, where she is in for another shock: There are so many children that she initially has trouble counting them all. The eight children range in age from a teenager down to an infant. All look like Grant, and there are many family photos on the walls that feature these children with Grant. One of the youngest children complains about having gone to bed hungry the night before, and Marnie uses this to pressure Alice again about the money. Alice agrees that, if Marnie will have the children take a DNA test to prove they are Grant’s, she will give them part of Grant’s estate.
On her way home, Alice notices a green sedan following her. She drives around a block to see if the car will continue tailing her, and it does. When she stops at a light, she can see that the driver looks like Grant. As soon as the driver knows that Alice has seen him, he veers off and disappears into traffic.
Shaken, Alice decides to drive to the cemetery where Grant is interred. She finds the cemetery very pretty, but when she was asked whether she wanted to buy a plot for herself adjacent to Grant’s, she declined. She feels as if someone is watching her as she walks to Grant’s elaborate headstone. Alice carefully examines the plot to be sure that it has not been disturbed in any way. She wonders if it is possible that they buried an empty coffin, but she does not believe the funeral home employees would be involved in this kind of coverup. She fights the wild urge to get the shovel she keeps in her trunk and start digging. She tells herself that she is just being paranoid: Clearly, Grant is dead and cannot be following her around town. She is pleased by her certainty that Grant is dead, because, she explains, she is the one who killed him.
Alice recalls how, for a long while, her relationship with Grant seemed perfect. She found him handsome and witty, and she appreciated the life of comfort and security his wealth offered. Grant seemed to genuinely be in love with her, as well, and their physical relationship was passionate. When he proposed eight months after their first date, she was delighted. They married six months later, and for a time, Alice was happier than she had ever been in her life. Then she discovered that Grant was “a monster” (56).
Alice remembers the day that everything changed in her marriage. Grant showed her a picture of a dress on his laptop; people online were arguing about whether the dress was blue and black or gold and white. He asked her what color she believed the dress to be and she answered gold and white. This enraged him, and he verbally abused her, insulting her intelligence and insisting that she say the dress was blue and black. When she stuck to her own perspective, he threw his laptop down, shattering its screen, and stormed out of the house.
Two days later, Grant finally returned. He brought her flowers and a gift-wrapped box. Alice’s relief turned to horror when she opened the box to see a blue-and-black dress. Grant demanded that she acknowledge the color was blue and black; when she admitted as much but countered that the picture online looked white and gold, he began yelling at her again and pulled up the photo on his phone. He demanded over and over that she say the online picture was also blue and black. Finally, he told her to put on her new blue-and-black dress—if she refused, he said, he would use his money and influence to have her committed to a mental health facility. She ran upstairs and locked herself in their bedroom. Grant pounded on the door, but she refused to let him in.
Their marriage was never the same again. Grant replaced all of her clothes with blue-and-black dresses. Her next birthday cake was blue and black. Grant wanted Alice to have a baby, and he gave her a blue-and-black infant’s onesie. Alice had no intention of ever having a child with Grant, now, so she “took precautions to keep from getting pregnant” (62). She realized that Grant was a real danger to her—she knew he would never let her go, and she was even afraid he might kill her. She decided that she would solve the problem by killing Grant.
Alice recounts how, feeling uncertain of her capabilities as a killer, she decided to combine methods in order to make sure Grant died. She put poison in his food, left a banana peel on a step, and cut the brakes on his Mercedes. After the car accident that ended Grant’s life, Alice felt incredulous as she looked at his body in the morgue—she had trouble processing the idea that she had really been successful in killing her husband.
As soon as she got home, she threw away all of the blue-and-black dresses except for one. This one she kept as a reminder of what she had done, and why. She buried Grant in a white-and-gold casket.
When Alice gets home from Marnie’s, Poppy is waiting, Alice is relieved to see that she is not carrying another casserole. Alice tells Poppy about her visit to Marnie’s. Poppy offers to make her some tea, which Alice refuses. Poppy is skeptical about the idea of sharing Grant’s estate with Marnie’s children; she finds it hard to believe that someone as wonderful as Grant might have had a secret family.
Alice finally confesses to Poppy that Grant was not all he seemed to be from the outside. She tells Poppy about the dress, and Poppy weeps as Alice describes Grant replacing all of her clothing with blue-and-black dresses. When Poppy asks why Alice did not tell her about this when it was happening, Alice explains that she was worried that Poppy might also think that the original dress was blue and black. Poppy loyally assures her that it was white and gold.
When Poppy suggests that they steady themselves with a drink, Alice finally tells Poppy that she is pregnant. She complains about getting pregnant despite having installed LED lights in her closets, and Poppy is confused until she realizes that Alice has mixed up “LED” and “IUD.” Poppy explains the difference and then heads home. Alice takes a shower. Just as she is stepping out afterwards and wrapping up in a towel, she hears the doorbell ring. Peeking through a window, she sees that it is the police.
The officer at the door is Detective Mancini, who is in charge of Grant’s case. He is an older man in a trench coat who greets Alice cordially, tipping an imaginary hat to her. She offers him tea and casserole, but he refuses both. Mancini tells Alice that he has received an anonymous tip that Grant’s car accident was deliberately caused. He explains that the police did not follow protocol following the accident: Grant’s car was not checked out before being scrapped, and so it is now impossible to collect any evidence from it.
When Mancini asks whether Grant had any enemies, Alice volunteers that Grant never trusted Willie, their housekeeper. She is pleased when Mancini’s response makes it clear that the police are aware of Willie’s prison record, because she hired Willie with the sole purpose of making sure that there would be someone suspicious in the household if the police had questions about Grant’s death. The detective agrees that Willie’s background indicates that he is a terrible person, and Alice expresses shock that anyone would be villainous enough to have “over thirty overdue library books” (72). She says that Willie is “a monster” (72).
Unfortunately for Alice, it turns out that Willie has an alibi for the time of Grant’s death: He was engaged in a Quidditch match in Vermont all day. She is relieved when Mancini seems ready to leave without further questions, but he pauses at the door to ask one final question. He takes out a photo that shows the inside of Grant’s wrecked car. He asks what color the dress in the picture is. She says that it is white and gold, and he expresses surprise, saying that he was sure the dress was blue and black.
Looking for a painkiller to ease the headache she has developed, Alice opens one of Grant’s prescription bottles. Inside are not pills but a key. She thinks of the attic room. Now that Grant is dead, there is nothing preventing her from investigating the mysterious room. Using her phone’s light because the overhead lighting has burned out, she heads up the steep, rickety stairs to the attic. She moves cautiously, holding the loose banister carefully because she is aware that, should she fall, no one would be around to help her. She can hear thumping noises coming from above, but they stop as she finally reaches the attic door. Terrified about what she will see when she opens the door, she puts the key into the lock.
Beyond the attic door, Alice finds the source of the mysterious noises: a cat riding a Roomba. The cat, surprised by her entrance, takes off through an open window. There is nothing else in the attic aside from some boxes and a few items of furniture. On a rocking chair, Alice finds a notebook that she thinks is Grant’s diary. She resolves to read a few pages each day, so that she will eventually discover the truth about who is following her.
The middle section of the novella continues to exploit well-known thriller tropes and reveal dramatic plot twists as it develops the theme of Repetitive Tropes and Arbitrary Plot Twists in Thrillers as a part of its parody of the genre. Alice reveals that Grant’s “accident” was not an accident—and that she is, in fact, his killer. Because this reveal does not happen until Chapter 12, and because Alice has previously been characterized as a contented but naive and easily overwhelmed wife, this plot twist seems to come out of nowhere.
As in many other domestic thrillers, Alice’s beautiful home turns out to secretly have been a kind of prison and Grant turns out to be a secret monster. Like many protagonists in these novels, Alice does not share this information with her best friend until it is too late, noting that she “[wishes she] had trusted [Poppy] enough to come to her sooner,” because “Maybe if [she] had, [she] wouldn’t have had to kill Grant” (67). Her reluctance to trust Poppy completely also helps to develop the story’s theme of The Difficulty of Genuinely Knowing Others.
Detective Mancini’s character presents another new trope. His investigation of Grant’s murder follows the domestic thriller convention of inexplicably incompetent police work—a fact that Alice herself draws attention to when she expresses her relief that “they never bothered to check the brakes in the car after the accident for some reason” (73). The narrative’s characterization of Mancini, however, hints that Alice may be in more danger than she realizes and that Mancini’s apparent incompetence may be an act.
Mancini’s characterization alludes to the well-known television detective Columbo, who originated the trope of the investigator who uses charm and the appearance of incompetence to lull his suspects into making mistakes. Columbo, like Mancini, constantly wears a trench coat. Columbo’s characteristic fedora is alluded to when Mancini tips an imaginary hat to Alice as he enters her house. As Mancini leaves, he uses a hallmark move of Columbo’s—pretending to have finished the interview and then, hand on doorknob, turning to ask “Just one more question,” a paraphrase of Columbo’s signature phrase “Just one more thing” (73). Of course, in The Widow’s Husband’s Secret Lie, this final question does not turn out to be the springing of a clever trap for the killer—it is simply a callback joke about the blue-and-black dress. Mancini’s resemblance to Columbo is yet another of the narrative’s red herrings.
One of the most dramatic plot twists in Chapters 10-19 is, similarly, a red herring: the sequence in which Alice discovers the key to the attic and opens its door for the first time. The moment when Alice finds the key hidden in the pill bottle feels very significant, as both thriller conventions and the narrative’s earlier allusions to Jane Eyre create an expectation that the attic will reveal important secrets. The story builds tension steadily from this moment, using gothic imagery to describe the danger of the dimly lit, rickety attic stairs and using Alice’s own thoughts to foreshadow a potential fall down these stairs—a fall that will actually never happen. All of this tension evaporates in the moment when Alice finally opens the attic door to the sight that comically reverses her anticipation of a momentous discovery: a cat riding on a Roomba.
The narrative uses a similar strategy with the revelation of the notebook that Alice believes to be Grant’s diary. The secret diary containing the solution to a mystery is a well-worn trope in domestic thrillers, and an audience familiar with the genre will be expecting significant revelations from this supposed diary. Alice’s commentary on her plan for the diary—instead of reading it quickly to find the solution to the mystery, she will read just a few pages a day—parodies the way these diaries are often handled in other thrillers, being parceled out bit by bit in order to prolong suspense. Although it will not be revealed until Chapter 20, this “diary” is actually a terrible fantasy novel that Grant has been working on and contains no valuable information of any kind. It is just another cat on a Roomba—a red herring and an amusing reversal of expectations that pokes fun at the plot conventions of thrillers.
The ridiculous revelations in the attic are characteristic of this section of the text, which has an increasingly absurd tone in keeping with the spirit of parody. Alice hyperbolically claims that Marnie’s eight children are so numerous that she has “trouble counting them all” (42). One of the children delivers a comically stiff speech to his mother about the family’s lack of food and electricity; he has obviously been coached in order to manipulate Alice’s feelings, but Alice, characteristically, falls for the tactic. Alice’s general obliviousness and incompetence are again lampooned when she reveals the preposterous mix up between “LED” and “IUD” and when she recounts the many methods she used to try to murder Grant—including, farcically, a banana peel left at the top of the stairs.
Questions arise in this part of the story about Alice’s reliability as a narrator. Alice calls Grant a “monster” several times (56, 63, 68) and then uses the same word to describe Willie (72). Her conversation with Detective Mancini reveals that Willie’s terrible crime was unreturned library books. This absurd detail, juxtaposed with the word “monster,” calls into question Alice’s judgement about Willie—and by extension, her judgment about Grant. This idea is emphasized when Alice is talking to Poppy and the only evidence she can muster to defend her characterization of Grant as a “monster” is that he was “such a jerk about that dress” (66).
If Alice’s fixation on her own perspective and her tendency toward hyperbole make her an unreliable narrator, her motivations for killing Grant become more ambiguous. Just as the dress appears different in different light and to different viewers, Alice’s murder of Grant can be seen as both a flight from the mundane burdens of domestic life and a flight from emotional abuse. The “solution” of murder as an escape from relentless marital arguments about an internet meme helps to support the idea of Thrillers as an Escape from the Mundane.



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