59 pages • 1 hour read
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The narrator of this story is an 18-year-old aspiring actor who moves from Gunnison, Utah to Los Angeles, California with dreams of becoming a rich and famous actor. The narrator describes his daily life in Los Angeles, living in a rented room in a house owned by his landlady, Mrs. Honigbaum. The narrator buses tables in a pizza parlor at night and pursues auditions and acting opportunities during the day.
The narrator reminisces about his life in Utah and the reasons he wanted to leave. He had a strained relationship with his mother, who didn‘t understand his ambitions and frequently belittled him. He believes that Hollywood is the place where he can make something of himself and become a star. Before leaving Gunnison, his mother drives him to get a headshot taken at the request of a talent agent named Bob Sears, who, despite never actually seeing the narrator, assures him that he has the potential to succeed in the industry.
In Los Angeles, Bob Sears sends the narrator on a number of auditions that fail to result in work. Many of the auditions are in suspicious locations and end with casting agents taking pictures of the narrator shirtless. Mrs. Honigbaum offers the narrator comfort after his many rejections. He appreciates her kindness and attention and begins to see himself as her favorite tenant. Mrs. Honigbaum is becoming a kind of replacement mother for the narrator—one who offers him the kindness and encouragement he never received from his own mother. At the same time, she frequently encourages him to call his mother, sharing that she mourns for her own mother, who died in the Holocaust, every day.
As the narrator grows increasingly dejected, Mrs. Honigbaum gets him a big audition for a commercial. The narrator is initially excited, but the audition turns out to be a disaster. The director, a middle-aged and unkempt man, puts the protagonist through a series of unconventional and uncomfortable tasks during the audition. From reciting personal details and mimicking various actions to attempting to kiss two young girls, the protagonist feels increasingly out of his element. Eventually, he freezes up and fails to perform the requested actions, leading to his rejection for the part.
Following the rejection, the narrator seeks solace in Mrs. Honigbaum‘s office, needing her reassurance and understanding. Mrs. Honigbaum consoles him, dismissing the director‘s judgment and complimenting the protagonist‘s physical attributes, particularly his teeth and mouth. She caresses his face and prays over him. A few days later, she convinces the narrator to call his mother. Although his mother doesn’t answer, he leaves a message, which he finds upsetting. The story ends with the suggestion that, from that night on, the narrator and Mrs. Honigbaum sleep in the same bed, with Mrs. Honigbaum holding the narrator and praying over him as a mother would do.
Despite the latent sexuality in this story—from the girls the narrator doesn’t kiss to the shirtless photographs taken of him by casting directors—the central relationship is entirely sexless. Although the narrator isn’t “attracted to her [Mrs. Honigbaum] the way I’d been to the girls back in Gunnison” (204), he realizes that he makes her feel very special, and this in turn makes him feel special. The narrator’s reflections on “the girls back in Gunnison” suggest a youthful attraction and desire for physical intimacy: “The outer length of the thigh, where the muscles separated, and the inside, where the fat spread, were like two sides of a coin I wanted to flip” (204). This focus on the inner legs, a part of the body often associated with sensuality and physical intimacy, reflect the narrator’s unfulfilled desires for intimacy in his life. The narrator may desire a level of emotional closeness or a more profound understanding of her, which he feels is lacking or unattainable.
The theme of Social Isolation takes on a new and surprising form here: The narrator of this story is not necessarily isolated in the manner of Mr. Wu or Jeb from “An Honest Woman,” but he nonetheless yearns for a form of intimacy and connection he hasn’t been getting. As he reminisces about the girls from his hometown, the image of youthful sensuality is quickly contrasted by the narrator’s thoughts of Mrs. Honigbaum’s legs, which were always “covered in billowy pants in brightly colored prints of tropical flowers or fruit” (204). The narrator’s infatuation with Mrs. Honigbaum differs from his attraction to the girls back in Gunnison. While he was drawn to the physical allure of the girls’ legs, his connection with Mrs. Honigbaum goes beyond physicality. He describes feeling special in her presence, suggesting a deeper emotional connection and a sense of importance that goes beyond mere physical attraction. Mrs. Honigbaum is the ideal mother who, all his life, has existed only in his imagination. The fact that the story ends with the narrator and Mrs. Honigbaum lying in bed together, in conjunction with her surprising compliments about his teeth and mouth, suggests a troubling slippage between the maternal and the romantic or even sexual, and there is the suggestion that the pair are skirting the edge of a taboo that aligns with the collection’s interest in the porous border between desire and disgust. Ultimately, though, this relationship provides an emotional intimacy that is more important to the narrator than any physical intimacy he could hope to find in Los Angeles.
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By Ottessa Moshfegh