55 pages • 1 hour read
Mona AwadA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Parapraxis is a slip of the tongue. It occurs when someone uses a word other than the one they mean. Also called a Freudian slip, parapraxis is often understood to reveal subconscious thoughts (e.g., accidentally calling a new lover by an ex-lover’s name). Awad uses parapraxis throughout Rouge to characterize the confusion and ominous effects experienced by spa-goers at La Maison de Méduse. When Mira recalls her last conversation with her mother, the main cause of concern is Noelle’s parapraxis. She says “I’m wearing a dread—a dress made of stars” (26). Throughout the novel, parapraxis is almost always the substitution of an innocuous word, like dress, for an ominous one, like dread.
After Mira’s Rouge treatments, parapraxis begins to appear in her first-person narration more and more often. It becomes increasingly ominous and pervasive as the narrative progresses. When she is speaking to Lake as they go toward the dining room, they wonder why they have serving trays if they are the honored guests: “Almost like we’re the severed ones, isn’t that right, Lake? Serving ones, I meant to say” (327). The word choice “severed” is particularly menacing foreshadowing because they are about to learn that the jellyfish are extracted souls severed from their owners’ bodies.
Allusion is a reference to another real book, real person, or real event in fiction. Awad uses allusions to fairy tales throughout the novel, inviting comparisons between the themes of those stories and Rouge. References to “Snow White,” for example, evoke the damage caused by vanity (represented by mirrors). Some other alluded-to fairy tales in this book are “The Red Shoes” and “The Snow Queen.”
Along with references to classic fairy tales, Awad includes allusions to their contemporary and Disney iterations. For example, Mira worked at Disneyland as Princess Jasmine: “It always comes so easily. […] Giving them their dream of themselves. I did it in a spangled bra for ten years beneath the arch of Sleeping Beauty Castle. Aren’t you as pretty as a princess? I’d say, even to the homely ones” (50). References to Disney versions of fairytales relate to the novel’s focus on the insidiousness of beauty standards. Even things that initially seem innocuous, like a beautiful princess telling a “homely” child she is pretty, indicate the omnipresence of a prescribed set of beauty standards, even from childhood.
Sentence fragments are incomplete sentences. A complete sentence requires a subject, verb, and object, and sentence fragments are missing at least one of those elements. Awad uses sentence fragments to represent Mira’s state of mind. The novel is in first person, so it features her interiority and stream of consciousness. Sentence fragments are used to indicate moments in which Mira is in a heightened or distraught emotional state. For example, the morning after Mira’s first visit to La Maison de Méduse, Awad uses sentence fragments to emphasize her confused state: “The red silk sheets bearing the ghost of violets and smoke, a scent of flesh and sweat. Achingly familiar. And then I remember. Mothers bedroom. Must have slept here” (87). The use of sentence fragments speeds the pace of the passage and replicates Mira’s confusion.
By Mona Awad