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57 pages 1 hour read

Alex Michaelides

The Maidens

Fiction | Novel | Adult | Published in 2021

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Part 2, Chapters 11-18Chapter Summaries & Analyses

Part 2, Chapter 11 Summary

After the lecture, Zoe points out the six Maidens, who are aloof, well-dressed, and display “an obvious air of confidence, even superiority” (139). They are intelligent and “highly privileged” daughters of wealthy celebrities, including a Russian oligarch, an Indian prince, an American politician, and a famous actor. Zoe claims to be terrified of them. Mariana marches over and introduces herself against Zoe’s wishes. Zoe disappears, leaving Mariana with Edward and the women, who stare at her stonily. When she asks Edward to “borrow some of [his] students” (142), claiming the dean has asked her to informally assess how students are coping, he instructs two of them—Veronica and Serena—to speak with her after their class. 

Part 2, Chapter 12 Summary

Mariana takes Zoe for a drink with Veronica and Serena. They claim that Tara and Edward were not close; he “was kind to [her]—but she just used him” (145). Both women corroborate Edward’s alibi, saying they were with him the whole night except for a 10-minute cigarette break that he took alone. Neither is friendly toward Zoe. Mariana is convinced they are lying but is unsure about what specifically.

Part 2, Chapter 13 Summary

A first-person narrator describes sifting through a basket of personal letters, which he describes as a “Pandora’s box” (148). He is seeking an explanation and answers from his past.

Part 2, Chapter 14 Summary

Mariana meets Fred at the Eagle, “the oldest pub in Cambridge” (150). Clumsy and eager, he invites her to team up with him to solve the murder; he does not believe Conrad is guilty. Mariana is tempted but declines. He gives her his number in case she changes her mind. As they leave, he asks if she has been to Naxos, saying he visited the previous year and enjoyed diving there. Shocked, she walks away in tears, leaving him confused.

Part 2, Chapter 15 Summary

Walking back from the pub, Mariana is sure that a man is following her through the dark, foggy night, but after she makes it back to campus, she begins to doubt herself. Once inside, a portrait of Tennyson in his youth, a few years after Hallam’s death but a decade before completing In Memoriam, catches Mariana’s eye. Its “stillness, and glacial beauty” mesmerize and disappoint her (160), providing none of the comfort she seeks. Returning to her room, she finds an invitation from Edward to meet for a chat.

Part 2, Chapter 16 Summary

The first-person narrator describes his childhood, wondering if his fate was written even then. His mother, who had him when she was 19, would dismiss these thoughts on the grounds that life had no meaning, but he knows there was “more than one of her” (162)—she wasn’t always so nihilistic. She had once written poetry and pressed flowers, but marriage to a man she barely knew changed her. Their life on a farm was hard work; the ceaseless butchering of animals distressed her, but her husband seemed to “relish it.” When the narrator misbehaved, his father threatened to bury him in a pit of leftover animal parts, filling him with terror.

Part 2, Chapter 17 Summary

When Edward and Mariana meet, he attempts to identify with her and is annoyed when he fails to charm her. Switching tactics, he informs her that he checked with the dean and knows that she lied about working at his request. Mariana challenges his relationship with the Maidens, and Edward becomes defensive, asking her why she is “determined to dislike” him (168). She feels anger and is unsure whether it is his or hers. He invites her out again and then kisses her on the lips before walking away, leaving her furious.

Part 2, Chapter 18 Summary

After her meeting with Edward, Mariana impulsively phones Fred, and they meet. He apologizes for seemingly having upset her, and Mariana reveals that her husband died on Naxos. Fred appears shocked, though Mariana is unsure whether to believe him. The topic moves to Edward, whose parties, Fred says, are “infamous” for being “pretty wild” and restricted to his students only (173).

They visit Tara’s room and find a white-filtered cigarette—the kind Edward smokes—outside her window. Mariana notes that Edward’s alibi only leaves 10 minutes unaccounted for: not enough to commit the murder and return. Fred muses that he could have used a punt to travel quickly by river. As they ponder trying and timing the route, Zoe calls: Another body has been found.

Part 2, Chapters 11-18 Analysis

Atmospheric descriptions of the campus, pub, and landscape saturate this section, drawing attention to the cycle of nature and the university as a constant around which life and death revolve. These eternal cycles mirror the mythical world that the narrative repeatedly invokes. In addition, the romantic descriptions echo Mariana’s emotional state: fragile, fragmented, and slightly removed from reality.

This section includes two chapters from the killer’s point of view that reveal information about his background and upbringing. This information invites cross-referencing with the male characters that readers have already met. The details the killer provides correspond with the experiences of different male characters, keeping multiple options open while distracting readers from the murderer’s real identity. This point-counterpoint also engages the reader and creates suspense around which of the men presents the biggest threat to Mariana.

The killer implies that his father physically and mentally abused him, and that his mother did not protect him. The killer describes the latter as having two sides, saying there was “more than one of her” (162)—a phrase he also described himself with in a previous letter. In another reference to Greek mythology, the killer compares his childhood memories to Pandora’s box. Hesiod’s Theogony narrates the story of Pandora, whom Zeus creates to punish men for accepting Prometheus’s gift of fire. Since men will desire and experience pleasure with women, the punishment is paradoxical, described as sweet pain or pleasing agony. As with life and death in the Demeter and Persephone myth, pleasure and pain in the Pandora myth exist in mutual dependence.

Mariana’s interactions with Edward’s Maidens confirm them as privileged and emotionally distant. When Mariana asks to speak with them, they respond only when Edward essentially approves a conversation. Notably, he asks Veronica and Serena, the two women who will later turn up dead. This serves as both a red flag and a red herring for readers, incorrectly heightening suspicions that Edward is indeed the killer.

Despite Mariana’s nervous descriptions of Fred, his behavior suggests he is benign—besotted with Mariana and overly eager, but not aggressive. Mariana seems drawn to him despite her reservations, but this does not necessarily clear him of suspicion since Mariana has proven unreliable.

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