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60 pages 2 hours read

Joyce Carol Oates

Blonde: A Novel

Fiction | Novel | Adult | Published in 2000

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Part 3Chapter Summaries & Analyses

Part 3: “The Woman: 1949-1953”

Part 3, Chapter 19 Summary: “The Dark Prince”

Norma Jeane has never believed she deserved to live. She gets the name of a man who may be her father. She drives up to his community, but she is turned away by security.

Part 3, Chapter 20 Summary: “Miss Golden Dreams 1949”

Otto wants to photograph Norma Jeane in the nude, but she has always resisted. Now she needs the money, and he relishes in her agreement, as many women swear that they would never allow nude photos, but they always find the need to. Norma Jeane thinks: “I was not a tramp or a slut. Yet there was the wish to perceive me that way. For I could not be sold any other way I guess. And I saw that I must be sold. For then I would be desired, and I would be loved” (225). After the photos are taken, Cass Chaplin comes out from where he was hiding in the studio.

Part 3, Chapter 21 Summary: “The Lover”

She believes she saw Cass hanging on the wall of her mother’s apartment, and he tells her that they are familiar, as they were both abandoned by their mothers and fathers. He promises to love her “as a brother. As a twin” (237).

Part 3, Chapter 22 Summary: “The Audition”

Shinn gets Norma Jeane an audition for a Goldwyn-Mayer film. The director has no plans to cast Norma Jeane. During her audition, however, Norma Jeane lies down on the ground because the character is supposed to start the scene asleep.

Part 3, Chapter 23 Summary: “The Birth”

Norma Jeane and Cass become lovers. He believes photographs of Hiroshima and Nagasaki are pornography.

Part 3, Chapter 24 Summary: “Angela”

After the screening of her film, men ask who the blonde actress is. Norma Jeane is upset that Cass has not come to the screening. He does not apologize and instead talks about his own relationship with his father. Shinn and Cass dislike each other. Norma Jeane wanted to invite Cass to a post-screening dinner, but Shinn advised against it because of Cass’s reputation as a drunk.

Cass and Norma Jeane’s love is fierce. She feels he gave her the strength to do her first legitimate film. Cass helps her rehearse, but he gets frustrated when she falls too deeply into Angela’s character. He believes movie acting is easy because a director will tell her what to do and lead her through the scenes. She starts to experience insomnia, and she hears mocking voices in her head. To Norma Jeane, failing at acting is the same as failing to “justify her wrongful birth” (254). Cass wants her to take barbiturates to help her sleep, but she says no. She believes he is the devil sometimes. She believes she is “Norma Jeane playing ‘Marilyn’ playing ‘Angela’—like a Russian doll in which smaller dolls are contained by the largest doll which is the mother” (256). After the film screening, Norma Jeane goes to Cass and finds Eddy G, another man, in bed with him.

Part 3, Chapter 25 Summary: “The Broken Altar”

Norma Jeane starts taking a poetry class, going by the name Gladys Pirig. Gladys is frequently silent in class. One day, she reads the poem “The Altar” aloud, and people are shocked by her voice and applaud her. She explains that the layout of the poem is an actual altar. One day, a fellow classmate comes to class with a copy of a magazine in which Marilyn Monroe is featured, and they realize that she is their classmate. She is confronted when she gets to class, and she leaves, never to return.

Part 3, Chapter 26 Summary: “Rumpelstiltskin”

Shinn asks Norma Jeane to marry him. He promises that he will divert all of his wealth away from his family and leave it to her if she will agree to be his wife. She hopes, secretly, to marry V, who has become a secret lover. She does not know if Shinn knows about V, and she never told Shinn about the excessive amount of barbiturates she took after seeing Cass with Eddy G.

Part 3, Chapter 27 Summary: “The Transaction”

Norma Jeane must go meet with W, a man who hates women but who is the leading man in a film she wishes to be in. She realizes that she still has to make him desire her even though he hates her.

Part 3, Chapter 28 Summary: “Nell”

Norma Jeane believes she is her role, Nell. Her costar gets frustrated because he feels he cannot act with her because she is too deep in the character. He also gets frustrated by the number of times she insists on redoing scenes to make them perfect. She tells the director that she wants to add lines because she understands Nell, and the character has taken night-school poetry classes. At the Studio, there is a doctor who wants to prescribe pills for Norma Jeane’s nerves, but she turns them down.

Part 3, Chapter 29 Summary: “The Death of Rumpelstiltskin”

Shinn calls Norma Jeane screaming about the nude photos that Otto sent to Golden Dreams that have reappeared. The next day, he dies. The studio is furious about the pictures. The last words Shinn spoke to Norma Jeane were “‘Marilyn’ was mine, you dumb broad. ‘Marilyn’ was beautiful, and she was mine; you had no right to despoil her” (306). 

Norma Jeane goes to the studio, summoned by a group of angry executives. After she goes home, she takes a razor blade, but she fumbles it when the phone rings. Where she once turned to prayer, she now uses medication to get her through her troubles. She takes three pain pills. The person on the other end of the phone tells her that Mr. Shinn is dead. Eventually, she takes 15 more pills.

Part 3, Chapter 30 Summary: “The Rescue”

Norma Jeane is scared because she knows that she is not Rose, her character. She is back on better terms with the Studio, as the men increased her salary and forgave her after she performed sexual acts on them. She moves her mother to a smaller mental-health-care facility so that people do not find out that her mother struggles with mental-health issues. Norma Jeane is lonely because Shinn was the only one who ever really looked out for her. Cass and Eddy G watch Norma Jeane. She loves V even more than she loved Cass, but she wonders if he cares for her at all. Someone called the Sharpshooter is outside in the night with his rifle, watching the party unobserved. He works for the US government. He keeps Norma Jeane in sight. She tells V she wants to leave. Misters Z, S, D, and T touch Norma Jeane intimately and wink at V to let him know that they have all been with Norma Jeane. He leaves, and she goes after him saying she had not really been with them, but she is unconvincing. Cass and Eddy G take her hands. Cass tells her to come with them because she does not belong with all of these people who have no feelings for her.

Part 3, Chapter 31 Summary: “That Night”

Norma Jeane believes that this is the first night of her new life. She wonders if three people can be in a relationship like two people can. Both Cass and Eddy G Robinson Jr. are “despised sons of famous fathers” (321).

Part 3, Chapter 32 Summary: “Rose 1953”

Norma Jeane feels energized without V. She loves both Cass and Eddy G, but she loves Cass more and wants him to father her baby. Norma Jeane believes that Rose, her character, had a baby who died. Some people claim that Norma Jeane does not have to act to play the promiscuous Rose, but others claim she is a genius. When she has to leave town to go on location, she wants her lovers to join her, but they refuse. One day, Norma Jeane believes she is pregnant, but then another excruciating period comes, and the doctor gives her a large dose of painkillers and warns her not to drink. While away, Norma Jeane realizes how devastated she would be if Cass and Eddy G were with another woman, as her power lies in the fact that she is the woman in the relationship. Their laughter at her, however, is sometimes similar to that of older brothers and other times is crueler. Sometimes, being with them sexually is so painful that she has to take painkillers. The lovers occasionally call her Fish, which refers to a stink of being female.

Part 3, Chapter 33 Summary: “The Gemini”

When Norma Jeane returns, Cass and Eddy G look different. News reports write about the three being seen out in public together. The three discuss the celestial stars, and Norma Jeane remarks that human stars, like celestial stars, must have some substance. Cass has started drinking more. The three call themselves the Gemini and swear to always love each other. It is that night that Norma Jeane believes their baby is conceived. 

Norma Jeane is happy because she believes she is a real actress because Rose was her creation. When she finds out she is pregnant, she cries out of happiness and then calls her lovers. She believes that once a woman has a baby, she becomes part of the club of women. The men know that she would never have an abortion. The three go out drinking, and when Norma Jeane sees a stuffed tiger like she used to own, Eddy G breaks the window and steals the tiger from the toy store.

Part 3, Chapter 34 Summary: “The Vision”

Eddy G decides to stop using substances. Norma Jeane is the first woman he and Cass really love.

Part 3 Analysis

The photographer Otto, who has “[a] cruel unsparing gaze,” represents commodification and the desire to sexualize Norma Jeane and women in general, which speaks to the theme of The Trauma of Sexual Assault, Abuse, and Exploitation (191). Otto has no respect for women, particularly those posing for his photographs; be believes that women’s bodies exist to be exploited and shared, and his language is deeply sexist and abusive. Further, he believes that he has a right to photograph women in the nude as if they have no right to keep their bodies to themselves. His camera finds people when they are desperate and need money, embodying a deep exploitation of women’s pain. As such, Otto evokes memories of Bucky, who also photographed Norma Jeane for his own ambitions, and captures the spirit of most men who meet her. Indeed, this is what the entire film industry attempts to do to Norma Jeane throughout her career—a career that is originally put into motion by Otto when he insists on photographing her against her wishes. Norma Jeane becomes a commodity, and this act of commodification is personified specifically through Otto and his camera.

Norma Jeane’s Struggle to Find an Identity is further shown in her view of herself as a nesting doll. Throughout the novel, she associates deeply with her characters. This is a large part of her acting technique, but it also causes her distress when she begins to associate with them to the point where she loses herself. Taking the name Marilyn Monroe has hindered Norma Jeane in her attempt to find her own identity. To her, Marilyn Monroe does not really exist at all, which advances a dangerous form of disassociation. Norma Jeane sees Marilyn Monroe as just another role she plays, part of the nesting doll she encompasses through her characters. While she pursues acting in part to justify her existence, it also takes on an oversized role in her life and in her persona when she effectively erases herself as she takes on roles. Moreover, roleplaying has been a part of her life and survival skills since childhood; Norma Jeane once felt like an extension of her mother, so her identity has never been all her own. Her mother also taught her that to exist requires safety, and that safety can only be found with a man. As a result, Norma Jeane has spent her life trying to please men in order to find protection, but she simultaneously holds views about modesty that actively work against the role she must play as a seductress. These factors create a tense setting within the text, as these inconsistencies seem to point to an inevitable identity crisis.

The experience that Norma Jeane has in her acting class mirrors the way much of the world treats her. She is shy and quiet, and as such, nobody expects much of her in class, just as the world does not expect much substance from her. When she finally does speak, people applaud her because she does such a wonderful job, and this relates to the way she steals the screen in the movies she performs in. Finally, when the teacher and her classmates find out that she is really Marilyn Monroe, they all become fascinated by her and do not treat her the same way as they did before. This scene illustrates the degree to which she cannot be seen as a normal or intellectually competent person either in the world, which is represented by her class in this instance. She is reduced to what people expect her to be rather than what she is, which speaks to The Difficulty of Understanding the Truth of Norma Jeane’s Life.

Throughout the novel, Oates slowly draws out the mental-health consequences that Norma Jeane faces after she experiences trauma, as well as the self-destructive acts she engages in because of these traumas, which highlights the theme of The Trauma of Sexual Assault, Abuse, and Exploitation. For example, Norma Jeane is heartbroken when she finds Cass cheating on her with a man. She believed she and Cass were twins and that he would protect her. His betrayal of her, therefore, hurts her deeply, and she never fully recovers. The effects of this are not explained in the chapter of the novel; rather, the effects are revealed after Shinn proposes to her. When Oates draws out these repercussions throughout different chapters of the novel, she illustrates how trauma is not a one-time feeling. Instead, it continues to be present in the victim’s mind over days, months, and years, often building patterns of thinking and behavior.

Norma Jeane’s descent into drug addiction slowly develops in this section. The Studio’s doctors press drugs on Norma Jeane, and she has lost faith in her Christian Science religion. Further, with neither Cass nor Shinn in her life, she no longer has anyone to rely on or talk through her major decisions with. Therefore, she begins to rely on drugs to help her cope with the trauma she experiences. Importantly, one of the benefits of fictionalizing the character of Norma Jeane is that the author is able to delve into and assign motivations and causes to factual elements in the character’s life. Oates is able to draw cause and effect more easily than she could have done through a straight biography, and this level of fictionalizing allows for greater comprehension of the character of Norma Jeane.

The Studio’s reaction to Norma Jeane proves how much Marilyn Monroe is used in order to make them money. The Studio is not concerned with the exploitation of Monroe; instead, they make their money actively exploiting her. The Studio’s heads are also not concerned with her sexual purity, as they make her perform sexual acts on all of them after the nude photos are revealed, aligning women’s sexuality with duty. All the executives care about is presenting Norma Jeane as a sex symbol to the public without making her sexual enough that they cannot market her. Even when her perceived debasement is made known and could cost them some money, they still try to get what they can out of her by having her partake in sexual acts with them. These acts committed by the studio executives, and by other men throughout Norma Jeane’s life, help the author explore The Trauma of Sexual Assault, Abuse, and Exploitation as it plays out through Norma Jeane’s life. She is taught contradictory lessons about sexuality and self-value, as she is punished for sexuality by being forced to engage in further sexual acts. This creates an air of confusion and deceit, both of which contribute to Norma Jeane’s sense of self and her overall health.

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