53 pages • 1 hour read
Silvia Moreno-GarciaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide discusses sexual assault, graphic violence, cursing, and sexual content.
Dan, an employee of the studio being interviewed for the documentary, reflects on the era in which Hollywood stars were subject to intense public scrutiny and constant gossip and rumors. Dan was responsible for cultivating Vera’s fame during the filming of The Seventh Veil of Salome; he hadn’t initially planned to publicize a relationship between Clifford and Vera, but he was happy to see them dating. However, Dan notes that what began as a publicity stunt “turned into a disaster” (149).
Vera has continued to go on dates with Clifford but has avoided being alone with him. One day, he slips into her dressing room and tries to force himself on her. Clifford is outraged when Vera fights back, and he declares that he is going to make her suffer.
Vera tells her mother what happened. Her mother isn’t sympathetic and alludes to Vera having previously broken off her engagement with a man named Arturo. She advises, “[Y]ou’ll only make trouble for yourself. Calm down and be a professional” (155). A short time later, Vera impulsively accepts an invitation from Jay to attend a party at his house. After the guests leave, Vera and Jay linger alone together.
Nancy meets with her father and tentatively asks him to loan her money. She does not tell him what the money is for. He refuses and tells her that he does not think she will ever be successful. Furious, Nancy realizes that Benny is the only person who can help her obtain the money she needs.
Minnie, another documentary interviewee, is an editorial assistant at a tabloid called Hollywood Connection. She alludes to tips that were submitted about Vera, which led to investigations into what was happening on set. Minnie doesn’t know whether the tips were submitted by Clifford Collins.
Vera becomes increasingly nervous that Clifford will find a way to harm her reputation or career as revenge for rejecting him. She also finds it difficult to film love scenes with him because she is so uncomfortable. Meanwhile, she becomes closer with Jay as the two of them discuss their previous relationships; eventually, Vera and Jay kiss.
The birthday celebrations for Herod are drawing closer. Agrippa visits Salome in her private chambers and urges her to conspire with him against her stepfather. He explains, “[I]f you marry me, we can restore our fractured lands into a single kingdom […] you can be queen and I can be king” (184). Agrippa believes that if Jokanaan is executed, there will be an uprising: The Jewish population is already outraged that the prophet has been imprisoned. This uprising would highlight Herod’s incompetence and declining popularity, and Agrippa predicts that Rome would have him removed and replaced. Thus, if Salome agrees to marry Agrippa and advocates for Jokanaan’s execution, she stands to become a powerful queen. Salome is hesitant but excited by the plan Agrippa proposes.
Herod urges Salome to dance at his birthday celebration. If she does, he promises, “[Y]ou may ask of me what you will. I promise to give it to you, even unto half my kingdom” (189). He also reveals that Jokanaan will be present during the celebrations. Salome agrees to perform the dance but does not yet tell Herod what she will request as a reward. Salome has set the stage to enact Agrippa’s plan but is still hesitant because she can’t bear the thought of Jokanaan dying.
Lillian is one of Nancy’s childhood friends. When interviewed for the documentary, she shares her recollections of Nancy. She recalls how Nancy always dreamed of Hollywood and seemed happy when she first got married. However, when Lillian saw Nancy “almost a year before […] the incident happened” (192), she felt sad that Nancy was still clinging to hopeless fantasies of becoming a successful actress.
Nancy goes to see Benny: She explains that she is being blackmailed and needs $600. Nancy also tells Benny that she is no longer dating Jay. Benny and Nancy go to Wally’s apartment, where Benny beats Wally until he hands over the photos and negatives. Benny destroys them so that Wally can no longer blackmail Nancy. Nancy is grateful to Benny but also disgusted by his capacity for violence.
The next section is an excerpt from a 1955 tabloid. The article claims that Vera attempted to seduce Clifford, despite knowing that he was in a long-term relationship, and then jilted him to pursue Jay. The article also describes Vera as “not only demanding, but […] also completely unprepared for the role [of Salome]” (200).
Vera’s mother is outraged when she reads the tabloid article. She worries that Vera is jeopardizing her burgeoning career and forbids Vera from doing anything except working. Vera rebels, telling her mother, “[Y]ou can’t tell me where I can go and what I can do” (202). She decides to move out of her aunt’s house and into her own place (a friend has offered to rent his home to her).
Once Vera moves into her own home, she has more freedom and she and Jay begin a sexual relationship. They are rapidly falling in love. Meanwhile, Vera receives an offer for a new part in which she will play “the Indian maiden who is in love with the hero” (205). Vera is hesitant to take the part but is warned that she is “a hot enough commodity right now, but careers can grow ice cold in a few months” (207).
The tension between Vera and her mother mirrors the tension between Salome and Herodias, heightening the parallels between the two sections. Despite close to 2,000 years separating the two storylines, both mothers emphasize security and social conformity to their daughters. Herodias thinks that Salome should marry Marcellus because she believes an alliance with a wealthy Roman will provide economic and political security; she is also embarrassed and fiercely resentful when Jokanaan publicly criticizes her marriage to Herod. Likewise, Vera sees that her mother “rabidly [seeks] decorum. Decency” (202). The parallels between the two mother-daughter pairs reveal how the social limitations placed on women have remained stable over centuries.
Vera’s reflections on her decision to break off her engagement to Arturo also reveal that she faces struggles that mirror Salome’s. Arturo represented a socially acceptable choice (similar to the expectations that Salome marry someone like Marcellus or Agrippa), but Vera couldn’t countenance the fate of a life without passion. She explains to Jay, “I couldn’t picture myself day after day having to pretend, having to wear a mask, living a life without love” (178). Although Vera acts for her career, she wants to live authentically and without having to pretend in her personal life.
Indeed, even as Vera struggles with the expectations and pressure that accompany her starring role, embodying Salome expands her confidence and assertiveness. Her defiance of her mother illustrates this, with Vera finally saying, “I’m a woman, and I’m getting my own place” (202). Vera’s commitment to authenticity and autonomy is further reflected in her decision to engage in a romantic and sexual relationship with Jay. There are significant risks to doing so, but Vera is able to choose to enjoy her sexuality because she loves Jay and he reciprocates those feelings. The deepening relationship between Jay and Vera develops themes of Fated Love Despite Obstacles (because the two come from very different backgrounds) and the Consequences of Women’s Desire and Ambition (because it heightens Nancy’s antipathy toward Vera).
Ambition also plays a key role in Salome’s storyline, where it accelerates the central conflict. Both Herodias and Agrippa are now pressuring Salome to request Jokanaan’s death, but where Salome flatly rejected her mother’s initial suggestion, she is more tempted by what Agrippa proposes. The novel’s fictionalized version of Agrippa’s plan and its invention of Salome’s involvement emphasize that the two are equals in ambition while providing a very different set of motivations for Salome’s eventual decision to ask for Jokanaan’s death. Rather than depicting her as merely obedient to her mother or as vengeful and spiteful, Moreno-Garcia develops a character who acts to secure her own future and agency.
By Silvia Moreno-Garcia