Scan barcode
A review by katharina22
Rouge by Mona Awad
challenging
dark
mysterious
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
Mirabelle is obsessed with skincare. The videos of her favorite beauty influencer are a constant companion in her life. Of course, as a child of a white and beautiful mother and an absent Egyptian father, her skin was never as light - no, no, no - as bright as her mother's. But her creams and tonics help her keep her skin healthy and glowing. When Mirabelle's mother suddenly dies, she travels to California, where her mother lived, to maybe sell the house. In her late mother's house, she discovers countless red jars that once held creams and walls of broken mirrors. Guided by red shoes, she discovers the beauty spa her mother went to, just a short walk away from the house. Here, she might find out why her mother died.
Rouge reads like a fairy tale. And indeed, Awad seems to draw inspiration from various myths and tales. She avoids explaining the motives and methods of the antagonists, shrouding them in mystery. There are several instances in which another author might have gone more into detail, focussing more on the plot and ultimately changing the story. As it is, Rouge is character-driven and preserves an almost dreamlike narration.
The story is told from Mirabelle's perspective. The narration style shifts with Mirabelle's development. Similarly to Bunny, at one point in the story, the protagonist's mind changes. She starts to speak of herself in the plural. Here, Mirabelle is at her most disassociated. But more impressive are the chapters written from the perspective of the ten-year-old Mirabelle. The narration is distinguishable from adult Mirabelle while maintaining key elements of her psyche.
The more Mirabelle's mind deteriorates, the more she starts to mix up words. Light instead of bright. Fascist magazines instead of fashion magazines. And lonely instead of lovely. Is it a bit heavy-handed? Maybe. Is it a good stylistic device? Definitely.
Finally, I loved that not-Tom Cruise is the villain. One could probably write an essay about how Cruise's role as a heartthrob in the late 80s and as Scientology's most famous member ties into the motives of the novel. Unfortunately, I lack both the time and skill.
Rouge reads like a fairy tale. And indeed, Awad seems to draw inspiration from various myths and tales. She avoids explaining the motives and methods of the antagonists, shrouding them in mystery. There are several instances in which another author might have gone more into detail, focussing more on the plot and ultimately changing the story. As it is, Rouge is character-driven and preserves an almost dreamlike narration.
The story is told from Mirabelle's perspective. The narration style shifts with Mirabelle's development. Similarly to Bunny, at one point in the story, the protagonist's mind changes. She starts to speak of herself in the plural. Here, Mirabelle is at her most disassociated. But more impressive are the chapters written from the perspective of the ten-year-old Mirabelle. The narration is distinguishable from adult Mirabelle while maintaining key elements of her psyche.
The more Mirabelle's mind deteriorates, the more she starts to mix up words. Light instead of bright. Fascist magazines instead of fashion magazines. And lonely instead of lovely. Is it a bit heavy-handed? Maybe. Is it a good stylistic device? Definitely.
Finally, I loved that not-Tom Cruise is the villain. One could probably write an essay about how Cruise's role as a heartthrob in the late 80s and as Scientology's most famous member ties into the motives of the novel. Unfortunately, I lack both the time and skill.