63 pages • 2 hours read
Jeanine CumminsA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In a flashback, Lydia ponders the trust at the core of her relationship with Sebastián: neither demands knowing everything about the other, each keeps certain personal matters to themselves, and Sebastián is rarely jealous. Keeping her friendship with Javier to herself makes sense in the context of a marriage based on mutual trust. Even after learning Javier is The Owl, Lydia hesitates to tell Sebastián about their friendship, but she confesses. They discuss Sebastián’s article, an exposé introducing the public to Acapulco’s newest drug kingpin. Lydia struggles to reconcile the violent picture Sebastián paints with the man in her bookstore. She defends Javier, prompting Sebastián to ask if she is in love. She confesses to loving Javier, but not to being in love.
Javier gives Lydia Russian nesting dolls, claiming the large ones represent him, and the smallest one her. She tells him she knows he is a narco. He presumed she already knew. He professes his love for her and claims she is his only true friend. He insists he would abandon his ways if he could, but that Acapulco would suffer a new cartel war. Lydia wonders what terrible crimes Javier committed to become a cartel jefe, but fear and sadness prevent her from asking. Her affection for him fades.
Chapter 8 comprises a series of flashbacks that elaborate on Lydia’s relationships with Sebastián and Javier. The first half of the chapter focuses on interactions between husband and wife. Lydia confesses to Sebastián that she and Javier are friends. Despite Sebastián’s patient explanations, Lydia is blinded by her feelings for the jefe, even questioning her husband’s research: “Is there any chance you’re mistaken?” (67). She makes excuses for Javier to reconcile the man she knows with the violent cartel boss Sebastián describes: “[P]eople are complex and whatever you say he is, he’s also this other person. This tortured, poetic soul, full of remorse. He’s funny. He’s kind” (68-69). She goes on to throw Sebastián’s words back at him to minimize Javier’s culpability: “But you said yourself, just last night, that he, that Los Jardineros, they aren’t as violent as the other cartels” (68).
Despite Lydia’s obvious feelings for Javier, Sebastián remains steadfast in his support of his wife. Lydia, on the other hand, behaves like the heartbroken protagonist in a romance novel. “I know him” (68), she insists when Sebastián warns her that Javier is dangerous. She has deluded herself into thinking conversations in a bookshop make her an authority on the man. She also believes Javier can change his ways, like the imperfect love interest in a romance: “[L]ike you say, he is smart. In a different life he could’ve been someone good […] Maybe things could still be different” (68-69). The subtext is that Javier could change his ways and become the man Lydia wants him to be instead of the man he is. Sebastián’s own blinders finally come down when he asks Lydia if she is in love with Javier.
Lydia and Javier’s confrontation in the second half of the chapter situates the novel firmly in the romance genre. Javier’s bold declaration of love, “I’m in love with you. I am in love with you” (73) is a common trope in romances, as is his flowery attempt to win Lydia over: “[W]hen I’m not with you, I’m lonely for you. You have no idea the light you provide” (73). The conversation takes a melodramatic turn when Javier tells Lydia he would leave the cartel if he could. “Then do!” (73) she responds with a well-timed slap on the counter.
The chapter ends on a dark note that foreshadows the violent turn in Lydia and Javier’s relationship. Cummins peppers the closing paragraph with imagery relating to death. She describes the love between Lydia and Javier as “a ghost in the room, vague and inanimate” (74). Lydia’s disappearing affection for Javier is “gone, leached out, like blood from a cadaver” (74). Last, when the two part ways, Lydia catches “a scent of formaldehyde” (74) and envisions Javier’s glasses “spattered with blood” (74).
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