This chapter looks at modes of triangulation that are explicitly social and cultural. Both Meadowlands and The Beauty of the Husband include the perspectives of third parties who have a stake in the marriage: both are also full of “canonical” touchstones and reference-points. Glück’s sequence includes a series of “parables,” and invokes the paradigmatic marriage of Penelope and Odysseus. Carson’s narrator-wife is a classical scholar whose extra-diegetic commentary is excessive, pushing triangulation toward parody.
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