Some people are vulnerable in Marie NDiaye's universe, and others take advantage of this vulnerability: the strong, the powerful, the arrogant, the rich, lording it over the weak, the dispossessed, the less rich. It's dog eat dog, depending on what kind of a dog you are. And it's not merely (or even?) a question of intelligence, just of planning the right way to get what you want, finding the right words to say, at the right time. Humans are birds of prey, awaiting their time to pounce, and then pile on the pressure until there's no more fight in the victim. Here, I found in some respects an odd kind of reversal of the much later Slimani's Une Chanson Douce, and a woman totally dominating a man, emasculinating him, depriving him of his wife, reducing his life to almost nothing. Such is how some rule the lives of others. As Franck grows weaker, Mme Lemarchand profits from this fact. There are also subdued lesbian undertones.
Madame Lemarchand wants to set Hilda, the wife of manual worker Franck Meyer, on as a house help, and is willing to pay over the odds for the service. This means that Franck will have to find guardians for their own children, which is done. Hilda herself has no word in the play: this is in effect essentially a dialogue between Mme Lemarchand and Franck, a kind of card game in which Mme Lemarchand always has the upper hand, her trump cards being her financial aces, which always win over Franck's duff cards. He is powerless as Mme Lemarchand washes the putative dirt from Hilda, gives her more superior clothes, makes Hilda work more and more hours until Franck can see her no more, until Mme Lemarchand takes over her life and leaves the work injured Franck to his own devices, to his sister-in-law Corinne, who is the third (very brief) voice in this quietly devastating play.
Madame Lemarchand wants to set Hilda, the wife of manual worker Franck Meyer, on as a house help, and is willing to pay over the odds for the service. This means that Franck will have to find guardians for their own children, which is done. Hilda herself has no word in the play: this is in effect essentially a dialogue between Mme Lemarchand and Franck, a kind of card game in which Mme Lemarchand always has the upper hand, her trump cards being her financial aces, which always win over Franck's duff cards. He is powerless as Mme Lemarchand washes the putative dirt from Hilda, gives her more superior clothes, makes Hilda work more and more hours until Franck can see her no more, until Mme Lemarchand takes over her life and leaves the work injured Franck to his own devices, to his sister-in-law Corinne, who is the third (very brief) voice in this quietly devastating play.
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