The book is slightly vague as to how it changes, exactly. It’s a portrait of a woman in a gown made from rose madder paint, and it changes a bit. She enters into a relationship with a much nicer, far more timid man.Īnd then, when you’re wondering where the customary King touch is in this quite literary novel about domestic abuse, Rose buys a magic painting. She flees to another city, and there she establishes a life. She knows he would find her and punish her.īy the time she finally leaves him, it’s 9 years later. Rose, terrified, stays with him – she’s alone, and worried about the repercussions if she left. In the opening section of the book, he beats Rose so badly that she miscarries their child. Even by King’s standards, he’s pretty far down the rung: he’s sexually and emotionally abusive to his wife he’s racist he’s homophobic he tortures people by squeezing their testicles until they burst. Norman is entirely without redeeming features.
The bulk of the book focuses on Rose Daniels and her awful husband, Norman. Unfortunately, with Rose Madder, that’s not quite the case. With these arcs, you hope the writer will say more with each subsequent book on the theme interrogate something they have thus far left untouched. Where other books fed into King’s interest in the perhaps more conventionally supernatural, his run from Needful Things to Rose Madder concerns itself with rather less obvious threats – both in the form of ourselves, and those we hold closest to us. And now we come to Rose Madder, the end of King’s fourth major arc: one that focuses on gender and violence.
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