34 pages 1 hour read

Everyone in This Room Will Someday be Dead

Fiction | Novel | Adult | Published in 2021

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Character Analysis

Gilda

Gilda is the protagonist and narrator of Everyone in This Room Will Someday Be Dead. She is a 27-year-old lesbian atheist who has anxiety, depression, and related mental health conditions centered on the “meaninglessness” of existence. Gilda’s first experience with death happened at the age of 10, when her pet rabbit Flop died (134). She values others’ lives over her own, despite believing life is inherently meaningless (119, 244). Because of this paradoxical view, death has haunted Gilda since Flop died. She exists in a liminal space between nihilism and naïve optimism about life. This liminal space fuels her anxiety about mortality. As a result, Gilda spends much of the novel dissociated from the world around her, unable to truly live to her heart’s content.

Gilda uses present-tense stream-of-consciousness to narrate the events of the novel. This narrative technique presents Gilda’s thoughts and feelings as they occur to her, immersing readers in her immediate experiences. Her journey to regain control of her life is tempestuous, as her mental health ebbs and flows: Gilda’s condition and home environment steadily worsen in Parts 1-2; in Part 3, Gilda finally manages to wash her dishes (129); and Part 4 represents a sharp decline in her mental health after her tentative improvement in Part 3. Gilda finally achieves a sense of stability in Part 5, reinforced by the ideas of rebirth and resurrection associated with Easter. There’s no indication that this stability is permanent for Gilda, only that she’s managed to find peace for now. Austin’s use of an abrupt ending suggests that Gilda’s issues don’t have clean-cut solutions: Gilda will likely continue to wrestle with anxiety, depression, and existential dread, but medication, routine, and positive relationships will help stave her self-destruction.

Jeff

Jeff is the priest of Saint Rigobert’s Catholic church where Gilda works. He was close to previous church secretary Grace Moppet and wears a ring she left behind as a memento of their lifelong friendship (27). He’s calm, collected, and rarely shows extreme emotions except in regard to Grace’s death. Gilda suspects he’s Grace’s murderer until she overhears him asking God to bring Grace’s murderer to justice (172-74). Jeff’s outbursts of emotion and violence over Grace’s death add depth to his characterization as a kindly, older religious figure, as does his relationship with Gilda and her ruse. While Jeff is kind to Gilda, his allowance of Barney’s anti-LGBTQ+ biases and spreading of anti-LGBTQ+ pamphlets in the church suggests that his civility is partly due to Gilda’s façade as a heterosexual Catholic woman.

Jeff is a static character who doesn’t change throughout the novel. He symbolizes both the “normalcy” that Gilda is excluded from (as a presumably heterosexual Catholic man) and the marginalized life that Gilda herself lives. Jeff’s home, unlike Gilda or Barney’s, is clean, pristine, and decorated in an inviting manner (171-74). This indicates that he isn’t burdened by Gilda and Barney’s respective struggles. Simultaneously, Gilda learns that priests and nuns live on the margins of society, taking vows of celibacy and being barred from marriage. Gilda sympathizes with priests and nuns, seeing her own struggles as a lesbian in their refusal of heterosexual norms (143-44). Jeff’s ability to represent both normalcy and marginalization comes from priesthood being a choice, whereas Gilda’s sexuality isn’t a choice.

Rosemary

Rosemary is Grace Moppet’s long-distance, long-time friend. She’s an old woman whose husband passes away in Part 2 after 52 years of marriage. Little is revealed about Rosemary outside of her email exchanges with Gilda as Grace: She enjoys baking and swapped recipes with Grace, her family is her primary occupation, and religion is important to her.

Rosemary is a static and flat character who doesn’t change throughout the novel. She’s an idealized version of a gentle old woman who serves two purposes. Firstly, she acts as a foil to Gilda. Rosemary has lived a long, “normative” life, having children and being in a heterosexual marriage; she’s seemingly unconcerned about the meaninglessness of life, even after losing her husband. Secondly, Rosemary’s long, happy life makes breaking the news of Grace’s death feel like an act of injustice. Gilda partakes in a second ruse, impersonating Grace, because she believes Rosemary should live out her remaining years in happiness—despite the latter ultimately finding the ruse hilarious.

Elijah (Eli)

Note: Eli’s characterization heavily implies that he’s a closeted transgender woman or transfeminine person. While a transfeminine person would likely use pronouns other than he/him, the novel exclusively refers to Eli with he/him pronouns and masculine words. This is likely due to Eli’s closeted nature and inability to open up to Gilda about being transgender, so the narrator (and thus the audience) is left in the dark as to Eli’s true struggle. For the sake of clarity, this guide will use he/him pronouns to refer to Eli to avoid confusion when referencing the source material, though this is atypical when discussing a transgender character and should be done with caution.

Elijah, frequently called Eli, is Gilda’s brother. Like Gilda, he also experiences mental health conditions: He misuses alcohol and painkillers, and steals money from his family to fund his coping mechanisms. Eli’s struggles highlight how isolating his and Gilda’s family environment is. The siblings don’t bond over their shared LGBTQ+ identities or tribulations, but instead fight without a better way to express their frustrations. When Eli says he wants to die, Gilda physically assaults him (147)—fueled by her own suppressed anger and fear of death. Still, the siblings care deeply about each other: Eli gives Gilda a painting of her pet rabbit Flop for her birthday (169), and Gilda frequently takes care of Eli when he drinks too much (49-50, 122). Eli’s presence within the narrative and fraught relationship with Gilda highlight their parents’ dismissal of mental health.

Eli keeps quiet about his problems because his home environment doesn’t give him the tools to express his feelings in a healthy way. Eli and Gilda’s parents frequently mock and belittle Eli for his art, believing he creates unique pieces just to embarrass the family (31, 149). When Gilda approaches their mother about Eli’s substance abuse and mental health issues, she seems offended at the mere suggestion (115-16). Overall, the siblings were raised in an environment that avoids discussion of mental health, exacerbating their isolation.

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