46 pages • 1 hour read
Lisa UngerA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Throughout The New Couple in 5B, protagonist Rosie Lowan struggles to reconcile her rationalist worldview with the belief in magic and the supernatural that was ingrained in her at a young age by her family. At the beginning of the novel, she rejects her con artist father’s belief in magic and the supernatural, seeing it as part of a strategy of deception he used to exploit her and others. By the end of the novel, however, she has accepted that not everything she experiences can be explained by science. Rosie describes her mother and father as “tricksters, frauds, con artists, preying on the most vulnerable” in their small town in the Ozarks by pretending to be able to heal illnesses and tell fortunes (98). Rosie’s parents raised her and her sister Sarah to believe that they also had magic powers. Rosie explains that “my father called me a seer,” someone who “glimpses into the future, who receives messages or visions” (111). Similarly, her sister Sarah “was what my father called a dreamer, the visions she had while she slept very often coming to pass” (67). The repeated use of the phrase “my father called” in these passages suggests that, at this stage in the narrative, Rosie does not share her father’s belief in magic and the supernatural.
Rosie’s experiences while writing about and living in the Windermere help to change her belief in supernatural forces. Her research at the Windermere—a supposedly haunted building in which numerous suspicious deaths have occurred—aims to answer the question of whether “cursed or haunted places” really exist or whether the tragedies stem from a more pedestrian cause: “[B]roken people doing horrible things to each other” (17). Almost immediately after arriving at the Windermere, Rosie has visions of a young boy, later revealed to be her neighbor’s late son, who died tragically in the apartment. Rosie and her psychologist initially dismiss these sightings as “visual or auditory hallucinations” related to the trauma of her religious upbringing (158). However, Rosie’s visions persist and become more vivid, culminating in a vision of Willa Winter telling her that she is in danger. Rosie recognizes this vision as true, and she acts on it to ensure her safety. At the end of the novel, Rosie’s father asks her whether she still believes he “lied about the world out there” and about her role as a seer (378). Rosie responds that she believes “there’s more in heaven and earth […] than either one of us will ever know” (378), suggesting that she is no longer able to fully reject her father’s belief in magic and the supernatural.
The haunting of the Windermere Apartments is the mystery at the heart of The New Couple in 5B. The novel presents the haunting as fact: Multiple characters see the ghosts of Miles and Willa in the Windermere, and Willa’s final warning to Rosie about Chad ultimately saves her life. However, the novel also offers multiple perspectives on the haunting of the Windermere and other buildings, presenting it alternately as terrifying and comforting, depending on individual perspective. Rosie is especially disturbed by the haunting. Even before she learns about Miles’s death, she describes the elevator landing where he died as “cold” and “creepy” and suggests that she can physically feel “the building’s dark history, the terrible things that have happened” there (74). When she learns that Miles died in the building, she can’t imagine how the Aldridges “could stay there, ride that elevator day after day” after his death (282). For Rosie, the Windermere is a “cursed place” that has “absorbed” and trapped the spirits of Willa Winter and Miles Aldridge. The Windermere’s haunting has a tangible negative effect on her, so that “the farther I get from the Windermere, the lighter, more myself I feel” (275). Although initially hopeful that the “new energy” she and Chad bring to the building can “release Willa and Miles and every other dark thing trapped here” (328), Rosie ultimately decides to leave the Windermere because of the hauntings she experiences there.
Other characters, including antagonist Ella Aldridge and historian Arthur Alpern, interpret hauntings in a more positive light. Alpern believes that hauntings are “just memories lingering” (276): While these memories can sometimes be negative, they can also be positive. Alpern remains in the same apartment he spent 60 years with his wife in because “she lives on in every nook and cranny” in the apartment (276). Alpern believes that their family’s “memories dwell here like ghosts” and that to leave the apartment “would be to leave her behind” (276). A similar belief motivates Ella Aldridge to try to steal apartment 5B from Rosie and Chad. Ella believes that if her family can regain control of the apartment, “Miles would always have a home here […] He wouldn’t be alone after we were gone” (340). For Ella and Alpern, hauntings act “like a double exposure” in which “the past, the future, all dwell side by side” (192). This positive view of the Windermere haunting offers a stark contrast to Rosie’s experience of the ghosts.
The protagonist of The New Couple in 5B, like the author, is a crime writer, and Unger uses her protagonist’s anxiety about her work to explore the complex ethics of writing about crime. Rosie worries that the enormous popularity of the true crime genre is a result of callous and morbid curiosity about the worst of humanity, and that contributing to the genre can have a negative effect on both authors and readers. In the novel’s opening chapters, Rosie suggests that her first book on a serial rapist was popular because “the moment was right for that book, post Me Too” (14). The reference to the Me Too movement of the late 2010s is used to pin Rosie’s book to a specific moment in time, suggesting that its popularity arises from its timeliness rather than from any intrinsic value. Rosie voices a discomfort with the commodification of stories about violence against women. While it is important, in her view, for these stories to be told, she worries that she has participated in the repackaging of trauma as entertainment. Rosie later worries that her book about the extensive history of deaths at the Windermere has benefited from a similarly morbid fascination with other people’s trauma—in this case “the real-time scandal, the trial, my husband’s suicide” (377). Although the success of Rosie’s novel success allows her to regain control of her life, she worries that, like her father, she has succeeded by exploiting other people’s worst tendencies. It’s worth noting, however, that excessive worrying is a core part of Rosie’s character, and the fact that she agonizes about these questions can be taken as evidence of the seriousness with which she approaches her subject.
Despite the obvious popularity of the genre, the novel suggests that true crime can have a negative effect on the writers responsible. While writing her first book, Rosie had visual hallucinations of the horrors she was researching: “I kept seeing Mara Granta being strangled in front of her children. I heard Julia Dole, the recording artist, singing the song that would release and become a hit only after she was raped and stabbed fifty times by her killer” (161). The novel suggests that Rosie was traumatized by the violence she encountered while researching her book, unable to fully separate it from her daily life. Unger presents Rosie’s trauma as evidence of the dangers of true crime writing for authors, who “gaze upon disaster, murder, death” and attempt to make sense of it for their readers (26).
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