The Seven Husbands of Evelyn Hugo

Chapters 10 and 11 explore the themes of The Oversexualization and Commodification of Women’s Bodies and The Cost of Fame to convey the toxicity and abuse in Evelyn and Don’s marriage. Even at their wedding, there is the sense that Don only values her physical form and her fame; when she asks if he loves her, he replies: “I love your eyes, and your tits, and your talent” (73). Evelyn’s naivete comes through here; she doesn’t see this as insulting or even concerning because she has been conditioned to accept this from men. Their shared ambition also nurtures the attraction between them. Evelyn is drawn to the power of Don; as the most popular actor in Hollywood, she knows that being associated with—but especially being loved by—him contributes to her popularity. Don seems to understand the same power in Evelyn, though he sees it as an extension of his own. When his success wavers, he endeavors to control or hurt her to reclaim power in their relationship.

The easiest way for him to keep her, control her, and ruin her career is for her to become pregnant. Don recognizes that in the 1950s, women are less likely to reclaim their star status after motherhood. Moreover, Don’s obsession with this topic suggests that he understands fathering children as further proof of his masculine power and assertion of his domestic dominance. The novel makes a study of violence against women in these two chapters; Evelyn was hit by her father and now, being hit by her husband, is no stranger to the lack of resources she has to protect herself. She was taught to believe that even the men who love her will harm her, but she is urged by society to protect them. This is represented by her encounter with the director’s assistant, who doesn’t attempt to question Evelyn about the mark on her face. This, then, critiques an entire culture that forces women to endure their own abuse and be complicit in the abuse of others.

The symbolic presence of Little Women is introduced through Chapters 12 and 13 to articulate the difficulty women face in asserting and maintaining their independence. As Harry discovers Evelyn’s abuse, they both must accept a reality in which Evelyn has virtually no choice but to accept it. Like Little Women, the text here demonstrates the few choices women have in determining their own life; while Jo struggles to be taken seriously as a writer and navigate an unmarried existence, Evelyn understands that her position as an actress is predicated upon her relationship to men, which could be destabilized by a smear-campaign from Don.

Chapter 12 also alludes to the significance of Celia: Evelyn’s immediate obsession with the younger actress suggests a forthcoming connection, particularly because the women are immediately pitted against each other in vying for critical acclaim. This is only reinforced in Chapter 13 as they have their first encounter. However, Reid immediately undermines the trope of pitting women against one another by making Evelyn unable to resist Celia’s charms. The two actresses’ similarities fortify the novel’s subtle assertion that women—in the toxic and dehumanizing climate of Hollywood—have much more to gain by seeing one another as allies rather than enemies. This sentiment is juxtaposed by Evelyn’s maid; Paula’s not-yet-revealed decision to betray Evelyn is presented as especially cruel because she knew of the abuse that Evelyn suffered. Just like in Chapter 11 with the director’s assistant, those around Evelyn fail to protect her from the violence they know that she endures.

Chapter 14 shifts the focus back to Monique and offers more characterization to the semi-present narrator. The novel does this every few chapters to remind the reader that this is as much Monique’s story as it is Evelyn’s, though it spends a great deal of the narrative in Evelyn’s past. The chapter’s revelation that her father died suddenly when she was only eight explains the consistent presence her father holds in the story; he influenced the trajectory of her entire life. Furthermore, Monique’s desire to remain connected to her father represents her desire to remain connected to her Black identity, exemplified by her childhood decision to be friends with the only other biracial girl she knew despite them having nothing else in common. However, her time with Evelyn seems to have had another significant effect on Monique: She stops seeing herself as two halves, but, instead, as wholly “loved”, highlighting the theme of Reconciling with One’s True Self. This discovery is powerful for her sense of self, which Monique appears to have an increasing hold on the more she interacts with Evelyn. Therefore, the two women are positioned to be irrevocably linked by this experience.