"That is partly why women marry - to keep up the fiction of being in the hub of things"
About this Quote
Bowen’s line lands like a polite drawing-room remark that turns, mid-sentence, into a blade. “Partly” is the tell: she doesn’t claim a grand theory of marriage, she offers a cool, observational motive that feels almost too plausible to refute. And the motive isn’t romance or security but optics - the “fiction” of centrality, the performance of being where life happens.
The key word is “hub.” It suggests motion, power, access; everything else spins around you. Bowen implies that for many women in her social world, the hub isn’t something you’re granted by talent or autonomy. It’s something you borrow through affiliation. Marriage becomes a credential, a social address that keeps you legible in public life. The sting is that the “hub of things” is itself a mirage: a carefully staged center that depends on exclusion, on who’s allowed to be peripheral, on who does the work that keeps the hub turning.
Context matters: Bowen wrote out of Anglo-Irish and British upper-middle-class milieus where women were expected to be socially fluent but politically secondary, charged with sustaining a household’s narrative of status. Her modernist sensibility makes the social world feel like theater - roles, scripts, props - and marriage, here, is the most sanctioned costume change.
Subtext: it’s not that women are shallow; it’s that the culture offers them too few legitimate routes to consequence. Bowen’s cynicism is calibrated, not cruel. She’s naming the quiet bargain: in exchange for belonging, you help maintain the illusion that belonging is the same as power.
The key word is “hub.” It suggests motion, power, access; everything else spins around you. Bowen implies that for many women in her social world, the hub isn’t something you’re granted by talent or autonomy. It’s something you borrow through affiliation. Marriage becomes a credential, a social address that keeps you legible in public life. The sting is that the “hub of things” is itself a mirage: a carefully staged center that depends on exclusion, on who’s allowed to be peripheral, on who does the work that keeps the hub turning.
Context matters: Bowen wrote out of Anglo-Irish and British upper-middle-class milieus where women were expected to be socially fluent but politically secondary, charged with sustaining a household’s narrative of status. Her modernist sensibility makes the social world feel like theater - roles, scripts, props - and marriage, here, is the most sanctioned costume change.
Subtext: it’s not that women are shallow; it’s that the culture offers them too few legitimate routes to consequence. Bowen’s cynicism is calibrated, not cruel. She’s naming the quiet bargain: in exchange for belonging, you help maintain the illusion that belonging is the same as power.
Quote Details
| Topic | Marriage |
|---|---|
| Source | Help us find the source |
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