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56 pages 1 hour read

Elissa Sussman

Funny You Should Ask

Fiction | Novel | Adult | Published in 2022

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Symbols & Motifs

Teddy

Gabe Parker’s dog, Teddy, provides a symbolic link throughout the novel between the two romantic leads. When he first gets her as a puppy, Teddy symbolizes Gabe’s wish to give and receive love. He’s alone in Los Angeles and wants a companion, something to take care of. The puppy’s instant affection for Chani Horowitz mirrors Gabe’s attraction and signals that Chani is a fit partner for him. When Chani curls up in the dog bed at Gabe’s house party, it indicates her wish to be close to him and loved by him in his private life, similar to the way he loves the puppy.

In the present-day storyline, when Chani initially doesn’t see signs of the dog in Gabe’s house, she thinks the puppy might be dead, which makes her want to cry with disappointment, underscoring Teddy as a symbol of her previous—and possibly current—hopes for a relationship with Gabe. The puppy represented her chance with him, and when Chani flies to Montana with Gabe and sees the dog at his apartment above the bookstore, she feels that her chance is alive and well. The puppy greets her with affection, signaling Chani’s reignited affection for both of them. Gabe named the dog Teddy, the name Chani gave a childhood stuffed toy, showing Chani that Gabe took note of her and remembered what she told him all those years ago. This makes her feel seen and loved by him, a fit romantic partner. When Chani and Gabe get together at the novel’s end, Teddy is the affectionate link between them, the symbol of their love.

Houses or Homes

Sussman uses the motif of home throughout the novel to represent the broader concept of fitting in one’s own skin. Gabe is renting a house in Laurel Canyon when Chani first meets him, a temporary arrangement that indicates that his true self isn’t fully reflected in this place. He also tours an eight-bedroom Hollywood mansion, as though testing to see whether such a place better reflects who he wants to be, and his hopes of success, but when Chani doesn’t like the place, Gabe immediately stops pursuing it, suggesting that the place he feels most himself is with her. Instead, he buys the Laurel Canyon house—the place where he first met Chani—demonstrating, even subconsciously, that the thing that signals home to him is her.

Gabe’s comfort in his apartment above his mother’s bookstore in Montana highlights his attachment to his family and his hometown, and the way in which his roots are still a part of who he is. Chani enjoys his Montana space and feels comfortable there, a sign that she and Gabe fit together. Though Los Angeles is her hometown, Chani feels a sense in the present-day storyline that it no longer fits her. Ten years prior, she was already growing restless in LA and has not made a real home there since her divorce. In contrast, her sense of comfort and ease in Gabe’s Montana apartment symbolizes that the place she feels a sense of home in a relationship with him as their true selves, apart from LA or New York City and the expectations of his fame or the expectations of their respective careers.

Los Angeles

The city of Los Angeles represents not just a place but a particular culture, different from the other settings of New York City and Montana. To Jeremy, L.A. represents a culture obsessed with superficial image and fame; he dismisses it in comparison to New York City, which he views as a hub of literature and art in the US, as well as a financial powerhouse.

Chani defends the culture of Los Angeles, telling Gabe that not only is there a rich diversity of population, food, and neighborhoods with their own unique identities, but also a sea of museums, gardens, and parks in addition to architecture, art, and music. She also appreciates the topography of the city, especially the mountains. Montana, with its spacious, rural landscape, and its dramatic scenery, represents Gabe’s background and upbringing, the place that feels most familiar and real to him. While Chani was born in Los Angeles, her sense of discomfort with it after moving back shows that she has matured past her childhood and young adulthood. She doesn’t belong in New York City with Jeremy, but she does feel she could belong with Gabe, signaled by her comfort with Montana.

James Bond

Bond represents not only the iconic movie role to which Gabe aspires (one that will assure his success, wealth, and influence), but also the image of the heteronormative masculine ideal that Hollywood films create and perpetuate. Gabe’s suitability for the role of Bond is questioned because of his background (America, rural upbringing, etc.) and the characters he has portrayed before (including a gay man in a play about the HIV/AIDS epidemic in the US). Bond is suave, British, clever, debonair, and a magnet for heterosexual women, and in that sense Gabe himself fears Bond is an image he can’t live up to. Over the course of the novel, the Bond franchise comes to symbolize the epitome of Hollywood success, which Gabe no longer feels that he needs, or wants to be part of. He leaves the franchise over creative differences with the director, but he’s already made his mark as James Bond, which leaves Gabe free to pursue a new definition of success.

Jacinda Lockwood, the Bond girl in Gabe’s film, represents what Gabe thought he wanted, or what he thought he should pursue to fit his celebrity image. Once he’s released from the Bond franchise and that image begins to lose its importance to him, Gabe finds his way to sobriety and back to Chani, the woman he’s really wanted all this time. In that sense, he does get the girl, just like Bond.

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