55 pages • 1 hour read
Melanie BenjaminA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
As much as the swans present the appearance of beauty, wealth, and fame as if it comes to them effortlessly, the novel continuously exposes the costs of remaining in this world. Nearly all of the swans, along with Truman and Ann Woodward, have engaged in shrewd self-invention and social climbing to get to their positions, and it is not always as fulfilling as they thought it would be. Elegance is effort, but it also means erasing the signs of that effort, as Babe possesses “bottles of makeup devoid of any trace of fingerprints or smudges” (50).
Beauty, wealth, and fame bring the swans and Truman together. Truman once asks Babe:
[W]hat’s wrong with beauty being noticed? What’s wrong with attraction based on appearance, if it leads to so much more, as it has done with us? Would you have wanted to know me if I’d not been famous? If I’d not looked interesting? (410).
Truman concedes that “appearance” brought them together, but he claims the superficial connection created a deeper link. Truman’s thoughts and feelings counter his claim. While he makes a deep bond with Babe, beauty, wealth, and fame don’t fulfill him or the other swans. Truman admits, “[I]t wasn’t enough […] [b]ut there was always more. More beauty to be seen, more places to travel, more acclaim to be won” (76). Beauty, wealth, and fame don’t bring harmony but an insatiable pressure to acquire “more,” with the threat of a precipitous fall from grace always looming in the background. This fall arrives in one form or another for all the central characters. For Truman, it comes suddenly with the publication of “La Côte Basque, 1965.” For Babe and Slim, it comes gradually, as the passage of time renders them less desirable and less relevant in the eyes of a culture obsessed with youth, beauty, and glamor. Babe feels the pressure and wants to be someone else. At the Black and White Ball, Gloria confronts the myth: This is “[t]he party of the year! The decade! The century” (336), but it only makes her feel exhausted. Jack detects the myth immediately and scolds Truman for courting beauty, wealth, and fame.
With “La Côte Basque, 1965,” Truman reveals the myth to the public. He shows that rich people can be as vulgar and unthoughtful as anyone else. Even more offensive to the swans, he reveals that their glamor is a performance that demands constant effort. This revealing of the magicians’ tricks may be a gift to some of his readers, puncturing the myth of effortless, natural beauty and elegance. If so, the gesture comes at a personal cost to Truman himself, destroying his closest and most important relationship.
Much of the novel’s drama centers on Truman and Babe’s relationship, as well as the broader dynamic of friendship and betrayal. The two elements are in constant tension, and often become inextricable from each other. Truman’s betrayal in the form of “La Côte Basque 1965” is foregrounded at the beginning of the text, and it looms over the scenes from earlier days of his friendship with the swans. The immediate presence of “betrayal,” turns friends into “friends.” Truman betrays the swans, but he doesn’t betray his friends—they weren’t his friends in the first place—or so he thinks later. While watching Babe’s funeral, Truman hisses, “You were just material. And I fooled you. I fooled you all” (494). In this moment of profound frustration, Truman depicts the swans as objects he has exploited to expand his fame. It is clear, however, that Truman is lying to himself. In the high-society world of the swans, friendship is inherently competitive, aspirational, and acquisitive. Whatever their genuine feelings for each other, they are always also angling to increase their own social capital, sometimes at the expense of the others. Truman has finally lost this game, and his callous proclamation of victory is meant to shield him from the pain of defeat. They were his friends, but he let his endless craving for fame lead him to betray them. Rather than admit his weakness, he tells himself he never cared about them as friends.
In some ways, Truman is simply representing what he has witnessed. He did not invent the dynamics of friendship and betrayal in this group of women, and the stories he shares in his Esquire piece were told to him by other people. The most scandalous anecdote in “La Côte Basque, 1965” concerns Bill Paley’s sexual affair with Slim Keith. The circulation of this particular bit of gossip, even prior to the publication of Truman’s story, makes it nearly impossible to tease apart friendship and betrayal. Slim loves Babe, but she betrayed her by sleeping with Bill—and then even went so far as to tell Babe about it, without revealing the identity of her partner. Bill also loves Babe—though it took the cancer to make him realize how much—and slept with Slim and many other women. Truman loves Babe, but he absorbs the new information about Bill without planning on revealing it to Babe, even though it later appears in his story.
In the world of the swans, gossip is a source or power. To share a juicy story—even while leaving out the names of those involved—is to show that one has privileged access, insider knowledge. This knowledge is a form of capital, and Truman’s mistake is that he tries to use that capital outside of the narrow arena in which its use is sanctioned. By publishing the swans’ secrets in a national magazine, he breaks the most fundamental rule of their charmed circle, revealing the ugliness underneath the glamorous surfaces of their lives for all to see. This is the one betrayal for which he cannot be forgiven.
Much of the novel is taken up with tracing the self-invention, self-concealment, and mutability of the main characters. Truman spins stories about himself that enable him to take control of social situations, and many of the swans reveal backstories of transformation that they would sometimes prefer not to advertise. Yet, as the novel goes on, the swans find that they cannot transform themselves as fully as before. As the swans age, they become increasingly aware that they don’t have the same range of choices they did when they were younger, nor are they as relevant and stylish as they once were. When Babe chronicles the lives of her friends, as they stand in the summer of 1975, there is a certain stagnation in the group. Slim is divorced again and living on the generosity of her friends, having settled into a “kooky aunt” role despite her early promise. Marella has pulled away from Truman, so Truman has started talking incessantly about Marella’s husband—a ploy that seems worn out, no longer as charming. Gloria and her husband still see Truman, but less often and with less enthusiasm. C.Z. remains “as ever,” intermittently “prissy” and liable to both worry about Truman and forget that he exists. Pamela has remarried, this time to a much older man, and hosts parties in Washington. Even for her, this is less an act of self-invention than a return to type. Whether they like it or not, their experiences coalesce into more stable identities, and their bodies constrain their powers.
Importantly, Benjamin’s novel does not seek to pathologize the act of self-reinvention or the refusal to conform to a stable identity. The inner reflections, displayed through free indirect discourse, display the necessity of a certain flexibility, especially for women such as Gloria and Slim. Moreover, these passages show the characters—even Truman—to be aware of and at least partially in control of their performance. Like Slim, they are all “survivors,” and part of survival means not holding too tightly to any one identity.
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