PHILOSOPHICAL READING OF TRAPS–a review
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Traps. Four Women. Four Days. One Chance. (by Mackenzie Scott, formerly Bezos)
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Mackenzie Scott writes brilliantly, and I found this novel having a fundamental message at a deeper level. As a philosophical subtext, Traps invites the reader to look for existential themes in its 246 pages which chronicle the lives of four women on a quest to grapple with the enduring question of existence in the modern world. Among the prominent sub-textual motifs of the book are anguish, randomness, contingency, engagement, deliberateness, individuality, bad faith, authenticity, as well as liminality. The writer brings the lived realities of these women to the fore. Each of them gains an awareness of her existence and the need to transform her reality. The various moods that mark these inflexion points invite me to read this novel as a philosophical text. In my appreciation of the novel here, I shall draw attention only to a few motifs while making no comparison with other existentialist texts.
Dana is the first of the quartet of women we meet in the opening pages of the novel. She is a volunteer EMT. Her regular job is in security services. Nausea afflicts Dana, and her anxiety runs through the pages of the first chapter of the novel. Dana cannot temporarily make sense of the world around her. She feels a “pair of heavy phantom legs leaning against her own” in a bathroom in an “unmarked prefab building” in a “vast valley north of Los Angeles on a street of abandoned warehouses…” Despite her nausea, Dana is comfortable with her pregnancy as a lived experience. She believes that the world is a contingent place and agrees with Ian, her boyfriend, that “One thing will happen. And then another and another and another. And so on.” This casual statement reinforces the notion of contingency in their world and it foreshadows future events in the novel. Another existentialist streak of Dana is that she enjoys taking notes and enjoys shifting things in her bag. She does this purely out of choice, even though Ian considers it furtive and unsettling. An individual’s life experiences can be unbearable, which is an aspect of the problem of existence. In such circumstances, Dana derives pleasure from strange things and the absurdities of life. She tells Ian that she cherishes “[b]eing alone. Being in my own room alone… And sinking to the bottom of a pubic pool. Or here’s another weird one—being in a motel room. An empty, sterile, anonymous motel room.” Human beings create their own meaning, value and essence in the world by exercising their freedom to choose what projects they want to commit to. Death is another existential theme that overburdens Dana—fear of Ian’s death.
Jessica, an outstanding actress, introduces herself to the reader in the second chapter of the book. She lives six miles away from Dana’s with her husband, Akhil, and two daughters. Unlike Dana who does not find fulfilment in her romance with Ian, Jessica finds her partner who has Asian background quite the opposite. The threat to Jessica’s existence comes instead from her own father, who believes that her famous daughter has disowned him. It is for this reason that he has set the press, paparazzi, and the public up against her. Hence, Jessica never stops “wondering what people are thinking”. Jessica’s anxiety and alienation in everyday existence are intense. She has spent four years in her house anguishing about what people think about her. It is through this anguish that Jessica seeks passion and engagement in the unlikely project of retrieving her childhood puppy, Grace Kelly, from her father’s yard while he is in hospital. Jessica observes the actions of others and convinces herself that even though things can be imperfect, existence requires that people deal with their lived reality and experiences. To “get paralyzed or rush forward in a fog of generalized anxiety and confusion” is unhelpful. To Jessica, even the plant beside the door in her father’s yard is a “minor mystery” because dread has weighed her down. When the dog bites her, she believes the “object of her dread has taken shape”. Jessica has not been living her own truth, and she has confessed this to Akhil. She tells Dana, her security detail, that she wants to take her dog home. And even in this harmless act, she feels troubled by the fear that she has given Dana a “full peek into her deep well of irrational, emotional, tortured, contradictory, past- and future-bound secret needs”. Jessica only finds temporary happiness in simple things, like when Dana asks her to hold the dog “in place a second.” This is an act of bad faith.
Vivian is a seventeen-year-old lady. A pimp has forced her into prostitution. She flees her pimp with her young twins. Vivian becomes conscious of her reality and takes responsibility for her life. She is determined to redeem herself and assert her individuality despite the persistent pangs of the anguish and absurdity of her existence. A telling sign of her commitment to freeing herself from abuse is that she will draw Lynn’s pistol out on Marco, her abuser, to assert her authentic existence.
Lynn is an older woman, and she is the fourth and last in the quartet of women whose continuous search for meaning in the world through a commitment to personal renewal will see their paths eventually cross. She was an alcohol abuser but now runs a dog rescue. Lynn has a hand with metal hoops and she tells Vivian that she lost her hand in a farm accident. Lynn impresses upon Vivian that she has to take responsibility and exercise the power of choice in her existence. She tells Vivian that she has the final say, for example, when dealing with the dogs: “First thing is, you have to turn away when they do what you don’t want, and only pet them when they do what you like.’’ On day three, when the four women eventually meet, it turns out that Lynn is Jessica’s mother, Dana is Jessica’s security detail and Vivian is Lynn’s new friend. It is here that they have hard conversations. They all realise, as Lynn puts it in her statement, that captures the crisis of existence: “Life is full of things that feel like traps.”
Characters in an existential novel do not have to be propelled by motivation, have a lengthy backstory or develop /grow in the course of the entire novel. An existential novel differs from the traditional conception of the form of the novel. Traps chronicles largely the experiences of the characters as the world unfolds in front of them. The past of each character is part of who they are at the moment. Through each process of taking responsibility for their lives and becoming, they seek actively to transcend their tacticity. This may explain why the language of the novel is in the present tense.
By A. M. Savage