I got about halfway through 50 Shades Darker [book 2 in the 50 Shades trilogy by E.L. James] last night. It picks up several days after the end of the first book, when Ana and Christian break up, for reasons that I'm not quite clear on. When Christian proposes that they try again with a non-kinky, completely vanilla relationship [hah hah hah!], they're off and running [or, rather, bonking]. There's something of a plot in there too, involving Ana's new job at Seattle Independent Press, Christian's ex-domme, one of Christian's emotionally labile ex-subs, Christian's secret past, et hoc genus omne.
I'd like to talk about Ana's "inner goddess." Introduced toward the end of book 1, she appears in pretty much every other paragraph, usually in counterpoint to Ana's "subconscious." Like Ana's "subconscious," the "inner goddess" is personified, apparently as a multi-talented Olympic athlete, given her acrobatic performances of joy whenever Ana thinks about getting kinky. Beyond that, she serves no useful function; she's just a convenient image for James to use in describing Ana's lust. So, if the "subconscious" and the "inner goddess" do nothing to advance Ana's character development or the plot, why does James insert them on every damn page?! Characters in one's head can be interesting, compelling and revelatory if done with care, purpose and depth, but these are just useless, stupid and annoying.
On another note, I'm fascinated by the tensions of class warfare as exhibited by Ana and Christian. Ana seems to have grown up [from what I can tell — she doesn't have much history] in a middle-class family; as a college student, she had little spare money [hence driving the same beat-up car for three years], and she currently earns an entry-level publishing salary [which, let me tell you, is diddly squat] in her first post-college job. At this point, I'd call her lower middle-class, aspiring to higher, and rather anxious about money.
Meanwhile, Christian has millions, maybe billions. For the first few years of his life, he grew up in poverty, but, since adoption at the age of 4, he has been surrounded by ostentatious, fabulous wealth. He uses money casually and confidently, without anxiety about it at all.
Ana and Christian clash on financial matters. Christian spends exorbitant amounts on gifts for Ana, including a set of first-edition Tess of the d'Urbervilles, a laptop, a Blackberry, an Audi, an iPad, diamond jewelry and a Saab. He doesn't understand that this makes Ana, who earns much less, feel unworthy, subordinate, bought off and kept. He explains that he wants to "give [her] everything," that this is "how [he is]" and that this is "part of [his] world." Nope, he just wants to make her his objectified possession, as evidenced by the fact that he buys the publishing company Ana works for [ostensibly because he's jealous that Ana's boss shows interest in her, which is a great reason for a takeover]. He uses his socioeconomic privilege to control Ana's communication [laptop, Blackberry, iPad], transportation [Audi, Saab] and occupation [Seattle Independent Press]. It's like the 1% overruling the 99%, but with bonus secret childhood trauma!