54 pages • 1 hour read
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Adriaan asks about Jana since the upcoming dinner will be their first meeting. The narrator tells him about what happened at her apartment, and Adriaan looks concerned and asks her not to move into Jana’s neighborhood. Adriaan is attached to his apartment because it was also his childhood home. The narrator does not fully understand his sentiments, as her family moved frequently when she was young.
In a flashback, the narrator recalls how Jana’s friendship brought her and Adriaan together. Jana invited her to an art opening at the Kuntsmuseum. While caught in small talk with a group of unfamiliar people, the narrator noticed Adriaan, and they struck up a conversation. After talking with her for the rest of the evening, he asked for her number and messaged her later that night. The narrator accepted his invitation for a date with little thought, something that she notes is out of character. Her action also surprised Jana.
Back in the present, Adriaan and the narrator return to his apartment. Unable to sleep, the narrator walks around the apartment, feeling Gaby’s presence in the home. She watches a couple walk down the street and change their behavior suddenly as if they know they are being watched. She stares at Gaby’s photo and considers how easy it would be for Adriaan to slip back into his old life with his wife and children. She thinks, “I realized that I had the wishful habit of thinking of her in the past tense, as if she and everything represented were firmly constrained, although I knew that was untrue, she is still with us” (52). Adriaan wakes up and beckons her back to bed.
After breakfast with Adriaan, the narrator travels to work. Protesters are handing out flyers outside the court when she arrives. Groups frequently protest what they view as the court’s bias towards prosecuting individuals from African countries. The narrator notes that their claims aren’t entirely baseless since the courts do try many cases from Africa. Still, she explains that many cases involving non-African countries happen without anyone knowing.
Bettina, the Head of the Language Services Section and the narrator’s direct supervisor, finds her and informs her that she must interpret for a jihadist on the way to the Court Detention Center from Africa. Bettina gives the narrator strict instructions to say nothing of the situation to her colleagues or anyone else as it is a sensitive case and the Court isn’t sure how the accused will behave on arrival. The narrator will meet him at the Detention Center to translate his rights into French. Bettina gives her a file on the case to review before the meeting. The file lists the jihadist’s crimes, which include religious persecution, particularly against women, in his fight to enact Sharia law in the country. Reading the list of horrible crimes against women unnerves the narrator, but she is most disturbed by his photo, which does “not live up to the magnitude of the crimes [she] had to read about in the dossier” (61). She must meet the man at one a.m., and in the meantime, she struggles to sleep.
The narrator takes a cab to the Detention Center and suspects that the driver believes her to be a sex worker. When he drops her at her destination, he hands her a business card, and she is exits the cab feeling self-conscious and uncomfortable. After waiting two hours because the accused has refused to disembark from the plane, the narrator finally meets the man. he looks older than he appeared in the photograph. The narrator translates as the Court official reads his rights, but the man becomes angry and agitated. He understands and speaks French, but Arabic is his native language, and he is insulted that she is speaking French to him. He reluctantly acknowledges that he understands his rights and promptly falls asleep on the cot in his cell. The narrator feels that she has somehow failed, and the official states that they will find a translator who can speak Arabic.
After sleeping through until noon, the narrator sees a message from Adriaan stating that he will bring takeout for their dinner with Jana. The narrator falls asleep again and is an hour late for the dinner. When she arrives, the narrator feels that something has passed between Adriaan and Jana in the hour they have spent waiting for her. She notices that Jana is wearing more makeup than usual and is uncharacteristically flirty. The narrator can also see that the pair would make a good couple; she understands Jana’s perceived attraction to Adriaan. Over dinner, Jana asks Adriaan questions to which she already knows the answers since the narrator has told her everything about their relationship. The narrator explains this curious ritual in which everyone engages in social interactions, noting, “[P]eople behave with such conscious and unconscious dishonesty all the time” (78).
Jana shares that a man was mugged and beaten outside the apartment on the night the narrator visited her. Jana explains that the victim, Anton de Rijik, is a bookshop owner who lives close to Adriaan. She laments the randomness of the crime and observes how swiftly life can change. Adriaan comments that he doesn’t understand why the assailant beat the man if he only wanted his wallet. Jana argues that the details are inconsequential, considering the effect that the event will have on the victim’s life. Authorities have not yet caught a suspect, but Jana hopes for a swift resolution, as being a homeowner has made her more nervous about crime. The narrator relates the uncertain feeling that Jana has in the wake of the crime to what Adriaan must have felt when he learned that his wife had left him.
Jana’s mood turns somber, and the narrator and Adriaan reassure her and attempt to move the conversation to a lighter topic. Before they leave, Jana invites the couple to her upcoming art exhibition. On the car ride home, Adriaan tells the narrator that he is traveling to Lisbon for a week to visit the children and ask Gaby for a divorce. He is leaving the following day and asks her to stay in his apartment while he is gone. He says that his place is closer to the Court, and her presence there will make him feel nearer to him in his absence. He kisses her repeatedly, gives her an apartment key, and reiterates his intention to return as soon as possible. However, the narrator notes, “I thought that he was trying to reassure us both” (86).
Adriaan leaves before she wakes up the following day. Walking around the apartment alone feels strange and makes her feel sad. However, as she walks through the city later, she notes a new feeling of closeness with The Hague. Not knowing why, she walks to Anton de Rijik’s antique bookshop in Old Town and asks to view books about the city's history. As the clerk rings up her purchase, the narrator asks about the store owner. The clerk confirms that Anton de Rijik owns the store but does not reveal any information about the mugging. Though she intended to gift the book to Adriaan, she admits that she doesn’t really know why she bought the book. The narrator looks through Adriaan’s closet and notes the vast array of neatly laundered shirts. She returns to her apartment to dress for work and takes the bus to the Court. As she passes the Detention Center, she notes how different it looks in the daylight compared to her nighttime visit and reflects on the symbolic presence of this place of punishment right next to the Court. Seeing the jihadist in the jail cell has transformed the way she views the building. Inside the Court, Amina finds her directly and announces that the narrator will replace her in Chamber 1 when she goes on maternity leave.
True intimacy requires an openness and a knowing that goes beyond desire and physical touch, and throughout the novel, the narrator demonstrates considerable difficulty in achieving this state. Although Adriaan’s wife is alive and well, Gaby’s palpable, haunting presence pervades his apartment and hampers the narrator’s ability to foster intimacy with her partner. Through the narrator’s relationship, the novel further explores the theme of Intimacy and the Search for Authenticity, for as she realizes that she lacks access to Adriaan’s full story, she must come to terms with the fact that she does not truly know him. Seeing Gaby’s photo in the apartment also forces the narrator into an involuntary and indirect sense of intimacy with Adriaan’s estranged wife, which compels her to question the depth of Adriaan’s commitment to Gaby and to herself. Although she yearns for attachment, the narrator keeps herself at a safe emotional distance as a self-preservation strategy. This approach contrasts markedly with the overall ambience of the dinner with Jana and Adriaan, for the event creates an intimacy that the narrator finds uncomfortable, especially when she assumes that Adriaan and Jana have chemistry and must have spent the hour before she arrived flirting. Despite the narrator’s assumptions, however, Jana actually spent the time getting to know Adriaan in order to assess his potential as a worthy partner for her friend. This suggests that Jana feels a closeness to the narrator that the narrator doesn’t know how to reciprocate or is unaware of. In another example of forced intimacy, when Jana reveals the name of the mugging victim, the fact that the narrator now knows both his name and his profession brings her into a more personal relationship with the crime. Instead of seeing the incident as just another random act of violence, she now knows that it is a crime against Anton, the owner of the bookshop. This pattern foreshadows the ways in which she will find herself inadvertently growing closer to the deposed president in the upcoming trial as the task of speaking his words forces her into a more intimate understanding of his crimes.
The juxtaposition of the intimate dinner party with the narrator’s first one-on-one interpretation session highlights the reality that true communication transcends mere words. The narrative also implies the misunderstandings that ensue whenever humans who don’t share the same language must find a way to communicate. Significantly, the narrator’s secret session with the jihadist parallels Amina’s experience as she observes that the act of interpreting creates the same disquieting sense of connection with the accused. This section of the story further examines the theme of Navigating Power Imbalances, especially as the narrator’s proximity to the accused makes her feel small and insufficient. This feeling is compounded by his prideful and dismissive behavior despite her official status as a minister of a powerful institution. His desire to be spoken to in Arabic also throws her off-balance, adding a new layer of complexity as she navigates power structures across cultural boundaries. Ironically, although the Court authorities hold the jihadist in a cell, the narrator senses that he has control of the situation. She experiences a similar disorientation when she examines the Detention Center from the outside and notices how its presence dominates that of the Court building. The paradox suggests that The Hague places more focus on punishment and incarceration than upon arbitration and resolution.
The narrator also struggles with Navigating Power Imbalances in her personal life; for example, when Adriaan reveals that he is leaving to see his wife and children, he seizes full control of the pace of their developing relationship, and his offer to let the narrator use his apartment in the meantime subjects her to an environment that is dominated by his life and interests even in his absence; furthermore, his apartment holds mementos of his wife but none of the narrator herself. In this case, the concept of Home as a Reflection of Identity is invoked in a negative sense, for although the apartment reflects Adriaan’s identity, inhabiting this space robs the narrator of her own sense of identity and self-worth. Although his offer is a gesture born of kindness, it still connotes his desire to control her, as if her presence in his apartment will prevent her from pursuing other romantic endeavors. Ultimately, she ends up feeling like a lonely interloper in an apartment filled with Gaby’s overwhelming presence. Unlike Jana, who owns her home, the narrator finds no peace or contentment in a place owned by a man whose future relationship with her is uncertain at best.
The situation is further complicated by the unspoken undertones of Adriaan’s sudden trip. Not only is he physically leaving her for an undetermined amount of time, but he is also shifting his emotional focus back to his family: a decision that could force the end of their relationship. His decision to leave confirms her anxieties, and although her internal monologue reveals her fears, she refrains from openly expressing her vulnerability. The narrator lives in a constant state of detachment due to her uncertainty, but her experiences nonetheless help her to build emotional resilience, for instead of looking to others for support, she depends on herself for emotional fulfillment. The narrator’s unconventional relationship therefore implies that intimacy can coexist with a certain level of emotional detachment and unspoken understanding. Given that she feels a distinct lack of agency in the relationship, the only way she can tip the power back in her favor is to withhold parts of herself from him and disguise her disappointment in his decision to leave. Though living in Adriaan’s neighborhood gives her another way to see the city and provides her with a new appreciation for its uniqueness, she still struggles to determine where she belongs. This search is not merely about finding a physical place; it is also about finding a space where she feels a sense of belonging and can connect more meaningfully with herself and with those around her.
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