53 pages 1-hour read

The Wife, the Maid, and the Mistress

Fiction | Novel | Adult | Published in 2014

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Themes

Content Warning: This section of the guide includes discussion of gender discrimination, sexual violence, and illness and death.

Female Solidarity as a Means of Empowerment and Survival

In the seedy world of the novel’s early 20th century New York City politics, women cannot rely on the men in their lives to treat them as independent adults and equals. Upper-class women like Stella Crater are beholden to their husbands, their reputations determined by their husbands’ choices for better or for worse. Working-class women like Maria Simon and Sally Lou Ritz have even less power than their elite counterparts, often vulnerable to both economic and sexual exploitation. As a result, female solidarity becomes their only avenue to personal empowerment and, sometimes, even survival.


Women in the novel tacitly understand their shared vulnerability, leading them to spontaneously help one another in small, relatively mundane ways. For example, when Joe Crater yells at and threatens Maria for catching him in bed with Ritzi, Ritzi sticks up for her, saying, “‘It’s not her fault. She was just doing her job.’ [….] Maria started at the protective note in [the young woman’s] voice” (17). Ritzi’s actions persuade Maria to reciprocate. Though Maria “felt no loyalty to [Crater] and didn’t care to guard his secrets […] there was a depth of sadness in the girl’s hazel eyes that she could not turn from. An unspoken agreement passed between them” (18). Maria will not stay silent to protect Crater’s reputation, but she will for Ritzi’s sake. 


Stella even steps in to persuade Joe to advocate for Jude’s promotion, something both Stella and Maria initially believe will benefit him. When Maria asks about the “back channel” Stella references, Stella says, “‘The political wives, dear. Chances are, I’ll know something before Joe.’ Maria smiled, bright and grateful” (19). Further, Vivian Gordon routinely tries to help Ritzi, though she says, “I didn’t want a roommate, you know [….]. But I’m glad you’re here, Ritz. I really am” (47). She even promises to help Ritzi escape the city after she gets custody of her daughter. In return, Ritzi names her daughter “Vivian” after Vivian gets murdered. 


The women also work together to get Joe Crater killed, a move that would make each of their lives infinitely better. At the party the Craters throw after he becomes a state justice, Ritzi and Maria witness Joe’s dismissal of Stella’s concerns, and they “jumped when Stella’s seething voice broke the silence. Her eyes bored a hole into the office door. ‘I wish he were dead.’ ‘So do I,’ the others answered in unison, their voices little more than a whisper” (287). It is precisely because, in their society, women are viewed as weak and incapable that they believe they’ll be able to pull off the murder. Thus, Stella whispers, “‘We could end this misery […]. We could do it together [….]. Perhaps […] the reason we would get away with it is because no one expects women to do such a thing’” (287-88, emphasis added). 


Men’s behavior throughout the novel emphasizes their underestimation of women. When Crater threatens Maria, he says, “I wonder what would happen to a pretty girl like you if there was no one around to protect her?” (222). When Ritzi threatens to tell the police about Owney’s involvement in Crater’s disappearance, he says, “No one would believe you, Ritz. Say what you want” (237). In short, the only way for women to exert social power is to work together, while the men underestimate them to their own detriment.

The Corruption in Politicized Power Dynamics

Many of the male characters in the novel are vying for some form of power. Owney Madden manipulates everyone from the police commissioner to showgirls so that he can maintain control of the city’s inner workings and line his pockets, while Joe Crater—who is under Owney’s thumb—uses his power to manipulate the police and live a life of vice without suffering any social consequences. New York society thus becomes rife with corruption as people scheme to acquire the power they lack and keep the power they have.


The characters in the novel are constantly aware that power and money are a matter of connections and pulling strings, not merit. When Stella tells Maria that she’ll have Joe put in a good word for Jude’s promotion, Stella assures her that, “Everything in this city is based on favors” (19, emphasis added). Later, as Leo insists to Jude, “You think Owney didn’t know [Maria] worked for the Craters? That this was all some coincidence? [….] Nothing in this town happens on accident” (43). The ties between organized crime and the police force become obvious, with ordinary people like Jude and Maria finding themselves ensnared in dangerous power games they were previously unaware of. The circle widens even more when Ritzi tells the reporter, George Hall, “I happen to know that Joseph Crater is just one of the men who paid a year’s salary for the privilege of wearing a jurist’s robe” (74). In revealing how even a judgeship is awarded via bribery, Ritzi highlights how even the legal system cannot be trusted to uphold the law. 


This corruption infiltrates even the most intimate of relationships, just as it does in the worlds of business, law enforcement, and the entertainment industry. Joe, for example, “expected [Stella] to accept that a man of his position would have a mistress” (10). He is invested in making sure that he maintains the power in their relationship and beyond, so he forces Stella to appear to be the perfect political wife while he enjoys substantially more freedom. Ritzi, who dreams of being a Broadway star, finds herself entrapped by Owney Madden, who arranges her auditions and forces her into sex work with the powerful men he wants to spy on and manipulate. These corrupt power dynamics ensure that even matters of love and sex become part of the struggle for influence and prestige. 


Most telling is Joe’s list of people and organizations who owe him money, the one Owney forces him to make before he kills the judge. Joe “listed twenty companies and individuals who owed him money—a roster of every person who had bribed [Stella’s] husband since he took office. Proof of his corruption” (94). Joe’s personal corruption is also evidence of the layers upon layers of wider corruption that provide the foundation of every relationship anyone with any modicum of power, or the desire for it, has.

The Importance of Appearances Over Truth

In such a corrupt world as that of Tammany Hall, filled with “frame-ups” and mob bosses, integrity and authenticity are scarce. Virtually all of the characters are aware that they must play a careful role to keep themselves safe or to achieve the success that they dream of, exposing the importance of appearances over truth. 


Ritzi spends much of her time pretending to be the vivacious seductress or the willing accomplice due to Owney’s control over her. When Owney gets Ritzi a leading role in a show, she knows she must look grateful even though her dreams of fame now appear hollow to her: “She remembered to smile and give thanks, to look pretty and charming and delighted [….]. It was only when Shorty led her down the dark hallway again that she let her face crumple into dismay” (50). Ritzi is forever under pressure not to reveal her sorrows or resentments, knowing that Owney will harm her if she betrays her real feelings. The same rule applies to her sex work: Ritzi does not want to have affairs with men like Justice Crater, but she knows that being honest with her lovers will reveal to them that Owney is using her to spy on them. 


Likewise, when he’s up for judge, Joe isn’t the least interested in maintaining his professional integrity or the success of his marriage. Stella must make the right friends and shop in the right stores because, he says, “You’ll be seen there—that’s why it’s important [….]. It’s the only way we’ll be taken seriously” (96). In short, Joe’s ability to be “taken seriously” as a judicial candidate is not based on his credentials or his experience, let alone his love of justice: It is simply a matter of being “seen” in the right way by the right type of people. Joe’s willingness to pay a bribe for his judgeship reinforces how little he cares for upholding the law, even when he seeks to be the public face of justice. As Ritzi says, the point of Crater’s entire existence “[is] to appear knowledgeable” (184), even though he is not the trustworthy, upstanding judge he appears to be.  


Ultimately, the three female protagonists choose to reject this world of appearances in different ways. Stella chooses to pursue an ordinary career as a switchboard operator after Judge Crater’s murder, turning her back on New York City high life to have a life that feels truly her own. Maria keeps her involvement in Crater’s disappearance quiet, but she recommits to her marriage and the emotional authenticity that comes with it. In a similar vein, Ritzi chooses to return to her humble life in Iowa and her husband, realizing that a life of appearances is no longer worth the cost.

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