Coco Mellors' 'Cleopatra and Frankenstein' evokes a rich universe in multiple senses, but it feels engineered for a Netflix adaptation.
run on stimulants and drown in alcohol. Hers is a city of flash and fluttering movement, as if deliberately designed to distract its inhabitants from seeing that, beneath the surface, there’s noCleo — beautiful, blond and British — meets Frank — older, handsome and an award-winning advertising executive — in an elevator 90 minutes before the first day of 2007. They’ve both left a New Year’s Eve party.
The next scene opens on the couple’s wedding day. It’s a scant six months later, and the pair’s friends are as surprised as the reader. It’s a daring leap for the lovers and also for Mellors, her fast-forward a clever way of rendering courtship as a heedless blur, the details only coming into focus once a marriage has set . Whatever has passed between Cleo and Frank — dates, arguments, a proposal — has occurred off the page.
Episodic chapters titled to mark time’s passage are narrated in the third person — until we get to “October,” wherein a woman named Eleanor tells her own story. The vignettes that open Eleanor’s chapter feel like a comedy routine, albeit tempered by sadness over a beloved fading father. Eleanor is not beautiful. As she prepares to go to a company function one night, she stands before her mirror and sees “soft belly, coarse hair, thin lips, thick waist. I am a Jewish man in drag.
In what I’m worried is not a coincidence, the book’s clearest outsiders are two of the non-WASPs: brainy, unattractive Eleanor, the anti-Cleo, and Santiago, the overweight, unpartnered Peruvian. It’s hard not to think of them as magical minorities, helping the messy beautiful white people see themselves more deeply.
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