47 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of illness, mental illness, pregnancy loss, and rape.
A second-person narrator depicts Alice’s story. Alice is taking a fiction course with Abe. She fell in love with him the first time she read his writing. After class one day, she talks to him in his office, wearing the Chanel No. 5 perfume that her mother gave her. She tries not to sound obsessive but starts telling him everything she loves about his writing. He doesn’t respond to her flattery, so she starts asking questions about her own writing. He assures her that her writing issue isn’t the arc but the subject matter—she isn’t writing what she “want[s] to write” (65).
During the next class, Abe has his students write down a confession. Alice shares hers, but Abe still thinks that she’s writing around something. After class, she sits on her bed, reading Abe’s work and writing about him.
A few weeks later, Alice visits Abe during office hours and tells him that she’s finally working on the story she’s been wanting to work on. He says that he’s happy for her but seems distracted. She starts telling him about her estranged father, ex-stepfather, and mother instead.
The weeks pass, and Alice continues attending Abe’s class and visiting him during office hours. One day, she shares part of the story she’s been working on in class. It’s about a young woman who’s having an affair with an older married man. Abe applauds her work but encourages her to develop the male protagonist.
Afterward, she visits his office, but he gets distracted by a phone call with his wife. Alice realizes that he’s upset and touches his shoulder. The moment ends when they both notice a balloon drifting past the window. In the classes following, Alice feels like Abe finally sees her.
Alice visits Abe in his office again. They’re talking about language when Abe drifts into thought. She wonders if he’s thinking about his wife and child.
Alice and her roommate, Margaux, go lingerie shopping. They don’t discuss Abe, but Margaux knows that Alice has feelings for him. One day, Alice’s mother comes to visit because she’s gone through another breakup. Alice realizes that she can’t tell her about Abe but thinks her mother would approve because they’re making memories together.
One day, Abe invites Alice to take a walk in Central Park. They talk about books, family, and life. She tries asking about his wife, but Abe doesn’t respond. When she changes the subject to a book she read, Abe seems amazed. They continue walking and talking until dark, and Abe doesn’t want her to go. He studies her face and remarks on how special she is.
Over the weeks following, Alice can’t stop thinking about Abe. She imagines him by her side or watching her do mundane things. She buys new clothes and dresses carefully. She writes about Abe, listing everything she wants to do with him. Then, one day, Abe asks her to meet him at Grand Central Station, where he gives her a stack of napkins to commemorate her recent story.
Alice is elated but soon grows despondent when she doesn’t see Abe outside of class for several weeks. Then, one day, she runs into him on the street. They get a coffee and talk about their writing. In his office afterward, Alice notices the framed photo of his wife. She tries to ignore it and starts imagining a life with him instead.
Alice stops seeing Abe outside of class. The semester ends, and he goes on sabbatical. Feeling lost and alone, Alice visits the Museum of Natural History one day and sees Abe’s wife. Alice follows her through the museum until Jane says hello. Panicking, Alice flees.
The months turn into years, and Alice tries to forget Abe. She meets and marries a man named Fred, and they have twins and build a life. Alice stops writing altogether. Sometimes, she googles Abe but reminds herself that she has a good life with Fred. The only time she contacted Abe after their kiss, she left her finished short story about their relationship in his office mailbox. Months later, the school mailed it back to her. There was a cut on the page that described the picture of Jane and two annotations at the story’s end. Alice wonders if she actually loved Abe and if any of this would’ve happened without writing.
The third-person narrator describes all the people and activities in Central Park.
A third-person narrator depicts Max’s story. Max works as an art dealer in New York. He makes good money and sleeps with countless women. He never wanted to be an artist like his mother or get married like his parents. The only woman he really loved was his late grandmother Bubbe. One day, he meets Jaclyn at an art show. He introduces himself, but she seems disinterested. Throughout the following weeks, he continues sleeping with other women and thinking about Jane’s illness, but Jaclyn stays on his mind. He starts running into her around the city. Meanwhile, he ignores calls from Abe about Jane’s condition and attends yoga classes.
One evening, Max and Jacyln finally go out on a date. They have dinner and walk in Central Park. Over the following weeks, they continue seeing each other. In the meantime, Max silently talks to his late grandmother; puts off visiting his parents outside the city in Orient, New York; and attends yoga. One day, Max finally calls Jane, but she is distant on the phone.
Max and Jaclyn continue dating. Max feels attached to her but doesn’t understand his feelings. He decides not to invite her to the Biennial because his parents will be there, and he assumes that she’s going anyway. He feels uncomfortable seeing Abe and Jane and annoyed that Jaclyn doesn’t show up. The next time they see each other, Max and Jacyln pass a woman with a stroller, and he asks if she wants children. She admits that she can’t have children, and Max feels relieved. Not long after, however, Jaclyn reveals that she was in a car accident that damaged her uterus.
Jaclyn goes overseas with her boss. She doesn’t call Max while she’s away and doesn’t contact him for weeks afterward. Feeling lonely one day, Max digs through his closet and finds an old card from Bubbe encouraging him to be kind. He’s overcome by guilt.
Not long after, he sees Jaclyn eating ice cream in sweatpants in Central Park but walks past her without saying hello. A few days later, he sees her there again and realizes that she’s talking to her stomach. He panics and flees.
Max talks to Jane on the phone one day, but she’s on morphine, and the conversation is confusing. A few days later, Jaclyn calls, and they meet up. She reveals that she’s pregnant but says that it probably won’t be viable. Not long after, Max accompanies Jaclyn to her appointment, and the doctor confirms that the fetus isn’t healthy. Max sends her flowers afterward, but they stop seeing each other. He goes back to ignoring Abe’s calls and sleeping with various women. During one encounter, Max rapes his yoga instructor.
Finally, Max visits his parents in Orient. He’s overcome with childhood memories upon seeing Jane. Everyone thinks that he’s lucky to have her as his mother, but they’ve never been close. She was sick when he was a baby and was diagnosed with cancer when he was young.
After returning to the city, Max visits Jaclyn. She apologizes for their misunderstanding. She didn’t think that he’d want to be a father because of his relationship with his parents.
Max goes about his life but starts imagining Jaclyn’s future with another man. One day, he hangs out with a friend, Todd, who shows him a story that Jaclyn published about her pregnancy. Todd tries to sympathize because his wife lost a pregnancy, but Max is offended.
Shortly thereafter, Max returns to Orient to see his parents. Watching Jane sleep, he remembers how she would talk about art. Max realizes that the best memory he has of Jane is when he woke up one night to find her staring at him with love.
The third-person narrator describes more sights and scenes from Central Park. Animals, tree carvings, and litter fill the park. While it seems like an ordinary park, it means something different to everyone.
These chapters introduce Alice’s and Max’s points of view, which widen the narrative scope and further the novel’s themes of The Role of Art in Shaping Identity and The Evolution of Love and Relationships. Soffer writes each of their sections from a unique point of view, a technique she uses to highlight Alice’s and Max’s distinct emotional experiences and ways of processing the world. By incorporating their storylines into Abe’s and Jane’s, Soffer also nuances her overarching themes by broadening their scope. Her explorations of love, relationships, art, and identity aren’t limited to one couple at one moment in time. Alice’s and Max’s sections present an alternate perspective on intimacy, creation, and self-discovery from more youthful points of view, contrasting with Jane’s and Abe’s more retrospective viewpoints. Alice and Max parallel Abe and Jane, but they’re decades younger, and their youth inspires them to interact with and perceive the world in ways that contrast with Abe’s and Jane’s outlooks. Alice’s and Max’s chapters thus formally augment the narrative tension and propel the narrative forward.
In Alice’s sections, a second-person narrator (using the pronoun “you” instead of the first-person “I”) depicts her evolving attraction to Abe. Her estrangement from herself is illustrated through the use of this second-person point of view to describe her experiences. The second-person perspective is a literary device that can convey a character’s insecurity, fear, shame, or confusion by creating a distance between the character’s narration and themselves that isn’t present in the more intimate first-person perspective. The second-person point of view that Soffer uses also has an instructional bent—the second-person narrator employs the imperative mood that gradually mutates over the course of Alice’s chapters. At the chapters’ start, the narrator is telling Alice what to do as she tries to get closer to and seduce Abe: “Meet him after class. Wait until the room has emptied out” (61). Throughout her chapters, the tense and mood mutate as the “you” pronoun gradually becomes a supplement for the “I” pronoun. This formal evolution suggests that Alice has been talking to herself the whole time. However, she feels incapable of narrating her account in the first person because she still feels uncertain about who she is, both inside and outside the context of Abe. While allegedly in love with Abe, she regards herself as a budding writer of fiction; when Abe pushes her away, she casts off this artistic identity but is left with a vacant sense of self. If she isn’t a writer, she feels that she can’t be in love with Abe, and if she isn’t in love with Abe, she can’t be a writer. Her identity hinges on her relationship to her artistic practice and to the man who has fueled it, highlighting the role of art in shaping identity. This connection between identity, art, and relationships also parallels the exploration of this same topic through Jane’s experiences.
In these formal and narrative ways, Alice’s chapters stylistically recall Lorrie Moore’s 1985 short story “How to Be An Other Woman.” Moore’s story is also written from the second-person point of view and imitates the style and mood of a how-to manual. Throughout Moore’s story, the second-person voice and tone change, moving toward the first person. Soffer embeds this subtle literary allusion into Alice’s chapters to complicate her explorations of the evolution of love and relationships. Like Moore’s narrator, Alice is involved with a married man and feels simultaneously excited by and ashamed of this relationship. The near affair is initially exhilarating and validating, but over time, it becomes invalidating and ends up estranging Alice from both her identity and her artistic aspirations. Through Alice’s story, Soffer deepens the novel’s commentary on the mutability of certain connections and their impact on identity. Time doesn’t deepen Alice’s bond with Abe the way it does with Jane, but it changes how she perceives herself as a woman and an artist in the world.
In contrast, Soffer writes Max’s chapters from the third-person limited point of view, a stylistic choice that illustrates Max’s confusion about his relationship with Jaclyn and his unresolved childhood trauma surrounding his relationship with Jane. Not unlike Alice, Max is reluctant to thoroughly self-reflect. Because he’s afraid to own how Jane has disappointed him and complicated his relationships with women in the present, he can’t claim his experience in the first-person point of view. The limits of the third-person perspective create distance between the narrator and Max, showing the distance between him and the truths he is unwilling to confront and grapple with.
Furthermore, Max’s chapters present an alternate perspective on the evolution of love and relationships over time. Through Max, Soffer analyzes the role of maternal love in an individual’s sense of self as he comes of age and enters adulthood. Max has never had a close relationship with Jane, but he thinks about her constantly. In particular, when he’s with Jaclyn, Max can’t help remembering his mother—whether it’s her condition in the present, his inability to talk to her, her artistic career, or her perennial absence in his life. Decades have passed since Jane’s postpartum depression and cancer diagnosis. However, time hasn’t fully healed Max’s relationship with Jane. His memories of her imply that he loves her, but the third-person limited point of view simultaneously conveys his fear of the vulnerability of trying to accept this maternal connection.



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