78 pages • 2 hours read
Suleika JaouadA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
Chapter Summaries & Analyses
Key Figures
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
Part 1 is written in the past tense, and the first chapter begins with a “maddening, claw-at-your-skin, keep-you-up-at-night” itch that Suleika Jaouad can’t ignore (3). No one knows why she itches, and she tries to stop scratching, but the itch and scratching only deepens and spreads, creating “oozing nicks, thick scabs, and fresh scars [...] [b]loody harbingers of a mounting struggle taking place inside of me” (3). Herbalists and doctors recommend creams, tinctures, tonics, and bitter teas. To hide the sores and scars, Jaouad wears jeans and tights no matter the weather and has sex in the dark.
Suleika is a senior at Princeton and is exhausted, taking hours-long naps each day. She expresses this to friends and hears that everyone is tired. They all pull all-nighters for partying and studying to take advantage of their final weeks together. Suleika’s itch and exhaustion worsen. She thinks her fatigue might be different, deeper, and more concerning. After Suleika graduates, she moves to New York City and starts an internship. She shares an apartment with nine other people, and this isn’t the life she imagines for herself. She dreams of being a correspondent in North Africa, where her father is from and where she lived for a while as a child. The future feels precarious and uncertain.
The fatigue follows Suleika to New York, and she takes cocaine to keep alert. In her journal she writes, “Stay afloat,” but with each week that passes she struggles to recognize herself and her actions. She still itches all over, oversleeps, shows up late to her internship, and then doesn’t go at all. Suleika doesn’t like who she is becoming and decides to quit the internship and find a better-paying job. She applies for and receives a job as a paralegal in Paris. Jaouad writes, “Moving to Paris wasn’t a bucket list item: it was my escape plan” (7). Paris, she hopes, will save her from the hard-partying roommates and undependable person she’s becoming.
A few nights before she leaves for Paris, at five o’clock in the morning, during her third party of the night, she decides to go home. Will, a man from the party, asks to share a taxi with her. She feels safe and interested in him and agrees to share. They flirt in the taxi, and, when they arrive at her apartment, he invites her to breakfast. They get to know each other over the day. She observes, “I sensed that he was a bit lost, and more than a little vulnerable” (9), but she likes him and wishes that she weren’t moving in a few days. They head back to her apartment. Will stays for the next three days until Suleika leaves for Paris. She hopes that their paths will cross again.
Suleika arrives at her furnished apartment in Paris and is struck by the luxury of privacy and a pink clam-shell-shaped bathtub. Suleika takes the métro to work on Monday. Her colleagues smoke and drink espresso at their desks, take her out to lunch for steak and wine, and charge it to the firm. She walks home and imagines the life she will have in Paris: visiting parks, cafes, and outdoor markets. Instead, Suleika lives what the French describe as “métro, boulot, dodo” or subway, work, sleep (13). She works at all hours of the day and is left with little time for exploring. She continues to work at the law firm but concludes that legal work is not the future she wants, finding the legal briefs tedious and the cases benefitting the already rich.
Will and Suleika correspond first through text messages, and then, through letters and emails. Each time they write, they sign off, “no need to write back in equal word count” (14), but their exchanges grow more intimate and frequent over the weeks and months. They share hopes for the future and are both interested in foreign journalism. In the fall, Suleika gathers the courage to email Will and invites him to visit her in Paris. A few hours later, he forwards her his flight information and arrives a few weeks later.
She is nervous on the day he arrives and changes outfits multiple times, causing her to be late to meet him at the airport. She gets winded more easily now and assigns this to being out of shape. Will meets her at the apartment, and she shows him around town. At the end of the day, they sleep together on her loft bed, “a cheap, rickety affair made up of four wooden posts and a flimsy plywood platform” (17). Will returns to New York but with plans to return and move in with her. She writes in her journal: “Joy is a terrifying emotion, don’t trust it” (18).
Chapter 3 begins with Suleika’s relationship history. She hasn’t been single for more than a month or two since 17. She admits being consumed with the idea of being in love, but she always looks for a way out of the relationship. With Will, love is different. She isn’t looking to leave, and she notices that he is present and thoughtful whereas other boyfriends have not been. Will moves into the apartment. On their first night, he snaps a picture of her in front of the window. She realizes how pale and sickly she looks. Jaouad writes, “My eyelids were a robin’s-egg blue, as if all of the veins had floated to the surface” (21). Will replies that they are the “color of pearls” and kisses her (22).
They travel to Amsterdam to celebrate Will’s birthday, but Suleika coughs so deeply and frequently that she can’t do much outside of their run-down hotel. Will and Suleika do what they can to make their trip adventurous. She buys psychedelic mushrooms, but the mushrooms make her feel like she is on fire. She says, “I remember feeling fragile for the first time in my life,” and tells Will, “It’s like I’m made of eggshells” (23). He tries to take her to the hospital, but she refuses to go, insisting she’s tough (23). They return to Paris the next day. The fever and effects of the drugs have worn off, but the sense of her fragility lingers and deepens.
In Paris, Will works as a nanny, and Suleika visits the doctor for birth control. The doctor tells her she is anemic and gives her an iron supplement with her birth control, assuring her that it will give her more energy. The itch isn’t as intense in Paris, and the anemia diagnosis explains the exhaustion. Will and Suleika make plans for the spring: graduate school for Will and a new, more fulfilling job for Suleika.
Over the next few months, she gets her resume ready but is often sick and fatigued. Every time she visits a doctor, she rehashes her symptoms and medical history. Suleika schedules an appointment at the American Hospital of Paris. The morning of the appointment struggles to climb down from her loft bed, gets lost on the métro, and falls from exhaustion. Jaouad writes, “I began to cry again. I couldn’t reach Will, […] and my parents were four thousand miles away. I was space traveling and gaining momentum, spinning farther and farther away from Earth. I had never felt so alone” (29). By evening Suleika arrives at the hospital, and she stays the night. It’s her first night in a hospital since she was born. Suleika stays for a week.
The doctor diagnoses Suleika with burnout syndrome and orders her to take a month’s leave from work. She appreciates the leave yet doubts that what she feels is only burnout from working, drinking, and partying. While on leave, Suleika goes to a job interview for a journalism position to cover the Arab Spring uprising in Tunisia. This is the opportunity that she has hoped for. Her father is Tunisian, and she still has family there.
The interview goes well, but instead of starting a new job, Suleika checks back into the hospital. A nurse tells her that her red blood cell count is dropping and soon it will be too low to travel (33). The nurse says that she should take the next flight home, so Suleika makes plans to return to New York state but buys a return ticket for two weeks later. Will offers to come, but Suleika urges him to stay in Paris to work. The nurse insists that Suleika use a wheelchair at the airport, and Suleika takes painkillers. She is feverish on the plane and feels nauseous. She reprimands herself for drunken nights and drugs of the last few years. She has a fever dream of her five-year college reunion. She is in a wheelchair, and no one recognizes her: “I was all bones in a bag of skin, with only a few long threads of silvery hair hanging from my nearly bald skull” (34). She wakes up when the plane touches down in New York City.
Jaouad begins the book with a foreboding tone: an itch and exhaustion. This ominous tone unsettles the narrative of Suleika’s anticipation of graduation and the possibilities for her life after college. Also important is the use of past tense throughout Part 1. This choice establishes a story that is temporally and symbolically behind the author, a story that signifies a life that is no longer present to the narrator.
Chapter 1 also introduces the moving and movement as a motif. She calls moving to Paris an “escape plan,” but the effect is that the narrator makes an active choice to take herself out of a situation where she failed to be the person she believed herself to be. Suleika has dreams of exploring Paris, but she has no time to explore the city because the job demands too much of her and she feels exhausted. She lives her life in motion going from home to the metro to work and back again, but her movement is determined by her work responsibilities. Her lack of time and agency to explore mirrors her stagnation and lack of agency in self-discovery and health.
Chapters 1-4 introduce a narrator who writes to connect with herself and others. In Chapter 1, the narrator journals to stay connected to herself, writing “Stay afloat” to her college-aged self. When Suleika meets Will in Chapter 1, she writes him a note to say goodbye, but they continue writing letters, emailing, and texting to connect across the oceans. They share their hopes and dreams tentatively at first urging one another that they don’t need to respond. Their connection and hope are tentative. When they get into Suleika’s rickety bed, Will inspects it. He deems it safe, and a page later he decides to move to Paris. Suleika writes in her journal emphasizes the risky structures holding them together: “Joy is a terrifying emotion, don’t trust it” (18). The narration raises the question: Is the relationship between Suleika and Will likely to endure?
Tension builds around her health. The exhaustion intensifies when she moves to Paris. Suleika gets winded more easily, even walking down the stairs causes her to pause. Suleika notices how she appears pale and ghostly, and the narrator compares her present, tired self with her past self. This is the beginning of the separation of selves that will deepen throughout the memoir—pre-diagnosis Suleika, post-diagnosis and sick Suleika, and Suleika in remission.
Will and Suleika’s trip to Amsterdam for Will’s birthday foreshadows how Suleika’s illness will overshadow Will’s needs. She has a wracking cough, so they stay in the hotel for most of the trip, and Suleika urges Will to take mushrooms with her. On their mushroom trip, Suleika’s body feels as if it’s on fire and her fever makes her feel fragile “for the first time in her life” (23) foreshadowing the chemotherapy drugs that will burn her in the next few months. Will’s care and presence with her in Amsterdam establishes his character as one who is loving, attentive, and concerned.
Suleika blames herself for the continued exhaustion, and the diagnosis of anemia seems an easy explanation. This theme of self-blaming recurs in these first few chapters. Susan Sontag’s work Illness as Metaphor (1978) challenges this mindset of victim-blaming. Jaouad highlights Suleika’s self-blaming to show the growth of her character and her understanding of illness, along with the indirect reference to Sontag’s work.
No one, not even Suleika, can see that her young body might be sick for a reason beyond her control. In Chapter 4, the author uses public transportation to symbolize Suleika’s lack of agency. Suleika, disoriented and physically spent, gets lost on the bus and the métro on the way to a doctor’s appointment. The attempts to arrive at the appointment mirror the lostness, isolation, and disillusionment within her own body. Even as Suleika tries to find out what’s wrong, the medical professionals decline some of the most helpful tests due to her age, reiterating the blinding and paradoxical presence of serious illness in a young woman. By the end of Chapter 4, Suleika is forced to confront the realities of her body, return home, and get different medical advice. On the plane, she takes painkillers and has a fever dream that foreshadows the lack of control she will have over her illness.