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53 pages 1 hour read

Cleopatra and Frankenstein

Fiction | Novel | Adult | Published in 2022

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Chapters 1-7Chapter Summaries & Analyses

Chapter 1 Summary: “December”

Content Warning: This novel includes discussions of drug abuse and death by suicide.

A young British woman named Cleo meets an older American man named Frank in the elevator on New Year’s Eve in New York City. Cleo is going home, and Frank is being sent from a party to pick up more ice. They strike up a conversation. They tease one another, calling each other Cleopatra and Frankenstein. Frank insists on walking Cleo home. As they walk, they talk about sex, work, and life. Cleo is from England and isn’t close to her remaining family. She’s worried that she’ll have to go back to England soon because her student visa is expiring. Frank pays for Cleo’s cigarettes and a slice of pizza. Cleo is broke but nonetheless teases Frank for buying things for women as a sign that he, like all men, wants to buy women.

They continue talking in Cleo’s lobby. Frank wants to sleep with her, but Cleo is hesitant to get attached. At midnight, she and Frank holds hands and jump from the stairwell to commemorate the New Year.

Chapter 2 Summary: “June”

A few months later, Cleo (age 25) and Frank (in his mid-forties) get married at City Hall. They ask the hot dog vendor outside, Kamal, to be their witness. Frank’s friend Santiago throws them a party afterwards. The party is a small gathering of friends, the only family present being Frank’s young half sister Zoe. Cleo worries that Zoe doesn’t like her. Frank’s best friend Anders is present. Cleo and Anders had a one-night stand shortly after she met Frank but before they became serious; Frank doesn’t know about their hooking up.

Everyone at the party knows that Cleo and Frank are together but are getting married so Cleo can get a Green Card and stay in the US. Her best friend Quentin is wealthy and gay and would have married Cleo if she needed the Green Card—but Cleo insists that she is truly in love with Frank. Santiago sets off some fireworks to celebrate the marriage.

Chapter 3 Summary: “July”

Quentin and his boyfriend Johnny break up. In their final fight, Johnny accuses Quentin of being too obsessed with Cleo. Cleo comforts Quentin after the breakup, but Quentin is annoyed when Cleo invites Frank to join them. Quentin believes that he and Cleo are real soulmates. Even though Frank is cool and has money, he doesn’t see Frank and Cleo lasting forever.

Frank and Cleo are still with Quentin when, later, Johnny comes back, drunk, calling Quentin a “trans freak.” In the days after the breakup, Quentin can’t rely on Cleo spending a lot of time with him because she’s newly married. Quentin comforts himself by exploring on his own, specifically safe-sex gay orgy parties.

Quentin meets an adventurous and mysterious Russian man named Alex, whom he goes out with. Quentin reflects that Cleo would no longer go on these adventures with Quentin because “[h]er marriage had given her access to a world he would never know. She would not admit it, perhaps would never consciously know it, but she had left him behind. She had become acceptable” (51). Alex and Quentin take drugs together and have sex.

Chapter 4 Summary: “Early August”

Frank runs his own advertising agency. He’s stressed about an unsatisfied client when his sister calls him from the hospital. Zoe has long struggled with epilepsy and has had a seizure during rehearsals for Antigone. Frank is hungover from his night out with Anders, but he rushes to the hospital, calling Cleo on the way. Frank and Zoe have different fathers and a considerable age gap between them, but he’s always been eager to take care of her.

At the hospital, Zoe is disappointed to hear that Cleo is joining them. Frank wishes Zoe and Cleo could be like sisters, especially because they’re so similar and are closer in age. Cleo is kind to Zoe, but Zoe is cold toward her.

Chapter 5 Summary: “Late August”

Zoe joins her roommate Tali at a yoga studio for a “Climaxing to Consciousness” workshop (73). Zoe is stressed out because she has been working at an upscale women’s boutique that doesn’t pay enough for her to pay off her medical bill from her latest seizure. Frank cut her off from his own funds after his wedding, and she doesn’t want to bother her parents with the news of her seizure. The workshop is free and therefore the only entertainment she can afford on a Friday night.

At the workshop, the instructor talks them through meditative exercises to access sexual experiences from the past. Zoe can’t help but recall her first time having sex when she was 15 with a boy she really liked, but whom she had her first seizure in front of, likely scaring him off because he never had sex with her again. At the workshop, she meets a woman named Portia who is a professional escort and makes so much money that she’s already paid off her student loans.

Despite her adamance that she won’t spend money, Zoe goes to a bar to join her friends. The doorman flirts with her and lets her in even though it’s clear she’s using a fake ID. She doesn’t find her friends, but she runs into Cleo and her friend Audrey. Cleo and Audrey want Zoe to stay with them and hang out, but Zoe leaves. The doorman follows Zoe lewdly and corners her in an empty street. Cleo and Audrey catch up with her before the doorman can do anything else. They insist that Zoe go dancing with them.

Zoe joins them and is surprised to find herself confiding in them, as she doesn’t have a lot of girlfriends and isn’t always sure how to connect with women. Zoe tells them that she thinks women don’t like her. The women discuss how difficult it can be to connect with girls who are easily envious. Audrey tells them that she’s slept with Frank’s friend Anders, but Zoe doesn’t share that Anders once kissed her. Cleo admits that she often feels lonely, even with Frank. Zoe apologizes to Cleo for not being kinder to her. They all go back to Cleo and Frank’s place and fall asleep in Frank’s bed.

Chapter 6 Summary: “Early September”

Cleo’s father and stepmother, Peter and Miriam, are in town. Frank joins Cleo to meet with them, but she hasn’t told her father that she and Frank are married, just that they’re living together. The lunch is immediately awkward. Miriam does most of the talking, bragging about her inner child psychology workshops that she conducts all over the world. Peter and Cleo rehash the past when Cleo discovers that he and Miriam have been in New York for a few days without Cleo knowing. Cleo points out that Peter and Miriam hadn’t invited her to their wedding, and reveals that she and Frank got married without Peter and Miriam too. Miriam brings up Cleo’s emotional state as indicative of the pain or inheritance of her mother’s depression; Miriam’s mother died by suicide when Cleo was in college. Cleo and Frank storm off.

Chapter 7 Summary: “Late September”

Cleo and Frank travel to the south of France for a belated honeymoon. Ever since the lunch with Cleo’s father, Cleo has felt her depression returning, but she doesn’t want to go back on her antidepressants. Frank avoids talking about Cleo’s mother’s death by suicide and notices that Cleo has become more withdrawn. The honeymoon is part of his attempt to cheer her up.

At their luxury hotel, they meet an older American man who takes a liking to Cleo. The three have dinner together, with Frank and the American man growing increasingly competitive. The man challenges Frank to dive off his second-floor balcony into the swimming pool. Frank gets drunk and plays along with the bet, and Cleo goes off on her own. She’s approached by a group of teenagers hanging around the hotel, who invite her to go dancing in town with them. Cleo goes with them but gets sick and uncomfortable and heads back to the hotel on her own. The bar is farther from the hotel than she thought, and Cleo gets frightened by her walk back. Frank takes a taxi to go look for her and finds her. That night, in bed, Cleo asks Frank why he took the drunken bet for the dangerous dive. He tells her it's all about the story.

Chapters 1-7 Analysis

Frankenstein and Cleopatra begins with a “meet-cute.” A meet-cute is a trope often seen in romantic comedies, a charming first encounter between two people who turn into a couple. Frank and Cleo are brought together in a random way, which makes their subsequent love affair feel poetic. Their relationship progresses quickly, its passion and flirtatious nature foreshadowed by their meet-cute. Frank and Cleo have an instant sexual connection, an ease in their rapport that leads to sex, love, and marriage. The meet-cute also jumpstarts the novel’s plot.

Cleo and Frank are both clever, flirtatious, and adventurous. In Chapter 1, they teasingly call one another Cleopatra and Frankenstein, evoking the title of the novel. Cleopatra was an Egyptian queen famous for her beauty and power. Frankenstein was a monster in Mary Shelley’s 19th-century novel Frankenstein, a character who is made from human corpses and learns to fend for himself in a society that finds him repulsive. Someone who embodies Frankenstein’s qualities is not monstrous so much as misunderstood. Cleopatra is intimidatingly powerful, influential, and seductive.

These nicknames imply that Cleo is in some way debasing herself with Frank: Cleopatra would not be in a relationship with the likes of Frankenstein. The allusion to Cleopatra places Cleo in a more powerful role, even though Frank is the one with money and years of experience.

Just as Frank and Cleo jump into the New Year, they jump into their relationship. New Year’s Eve connotes a new chapter, a chance to start again. For Cleo, this not just a new love but the chance to stay in the United States without financial stress. For Frank, this new love gives him the opportunity to feel excited and young. Through them, the novel will explore one of its key themes, Love for Self and Others.

Though they are in love, they marry to keep Cleo in the country. This foreshadows conflict: A rapid marriage of convenience is bound to come with unforeseen problems. Cleo and Frank don’t know each other very well. A whirlwind romance and passion makes them believe in their love, but they don’t know much about each other. For example, it’s not until weeks after the wedding that Frank finds out that Cleo’s mother died by suicide and that depression runs in her family. Frank is a big partier, and only after the wedding does Cleo starts noticing how much he drinks when going out. Their relationship is viewed as passionate yet ill-advised and breakable, for their friends and family know that they married for Cleo to get her Green Card.

Other factors also foreshadow future conflict. There is a significant age and financial gap between Cleo and Frank. Cleo is 25; Frank is in his forties. Frank is wealthy; Cleo is poor. Frank’s attraction to Cleo is partly based on her youth, which will fade. Unlike Cleopatra, who had her own kingdom, Cleo is in a less powerful role. She doesn’t have money of her own, and she now relies on Frank for money and for her Green Card. Frank gave up his dreams of being an artist in pursuit of a more stable lifestyle; his hard work and the responsibility of running his advertising agency funds Cleo’s artistic dreams.

Coco Mellors suggests that Frank and Cleo are on their own journeys and project certain desires onto one another. For Cleo, who is without family, Frank presents structure and stability. For Frank, who wants to live out his lost youth, Cleo presents sexual beauty. Cleo hasn’t yet discovered who she is, but Frank hasn’t either. In ways they complement one another, but neither have reflected deeply on themselves or their desires.

Cleo and Frank escape in one another. Cleo has a destructive family history. Her mother died by suicide, a loss that haunts Cleo. She and her father have never been close, and she wasn’t invited to his wedding to his second wife. Cleo has escaped to New York to live a life far away from the traumas of her past and family. Thanks to Frank’s passion, support, and money, Cleo doesn’t have to worry about returning to the life she’s left behind. Frank escapes from the stress of work by the excitement he finds with Cleo. Cleo is beautiful, young, witty, and seductive. In Cleo, Frank doesn’t just find sex—he finds a way of being that fulfills his desire to have fun, be supportive, and develop hope for his future.

Quentin, though gay, is also in love with Cleo. This highlights the affect Cleo has on others, how everyone wants to possess her. For Quentin, his desire for Cleo is based on his loneliness and insecurities. He is jealous of Frank for spending more time with Cleo than he does. Quentin like to dress up as a woman and sexually responds to being treated as a woman. His ex-boyfriend accuses him of being transgender, implying that Quentin has shame around his gender expression. Though it’s not clear how Quentin identifies himself, he struggles finding a place where he can fit in. People can be highly judgmental of him, and only Cleo feels like a safe space. Quentin parties to escape and to avoid shame and loneliness. He hides his true self away from most people, frightened of what it means. What’s more, Quentin is a warning that wealth doesn’t make a person happy. Quentin has money, but his family rejected him for being gay. Not only does money fail to make Quentin happy, but it also frequently escalates his problems because people take advantage of him. Through Quentin and other characters, Mellors shows that Money Does Not Bring Happiness.

Frank’s half sister, Zoe, is another important secondary character. Zoe is an aspiring actress with a complicated relationship with her brother. Frank is devoted to her, but due to their age difference they are also far apart. Zoe is wary of Cleo and doesn’t trust her due to the marriage providing Cleo with a Green Card and wealth. Zoe and Cleo are positioned as rivals: Frank cut Zoe off after his wedding, and Zoe and Cleo are close in age. Zoe is not sure of how to nurture a relationship with a woman. In believing herself to be too pretty for women to accept her, Zoe sets herself apart and makes herself unapproachable.

In these first chapters, Mellors creates a setting filled with wealth, beauty, and passion. Cleo’s depression, her marriage with Frank, and the superficiality of many of the relationships foreshadow further conflict.

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