The Last of the Seven Deadly Sins to Be Monetized: Envy
Among the notorious seven deadly sins, envy remains relatively unexploited for profit. It’s understandable, as feelings such as lust, wrath, or even laziness are more openly acknowledged and commercialized. Historically, art has portrayed envy negatively; for instance, Bronzino’s “Allegory with Venus and Cupid” shows envy as a grotesque green figure, overwhelmed by her own impotence. Now, platforms like Instagram expose us to the seemingly perfect lives of those who appear to have more wealth, beauty, or fortune, intensifying feelings of envy among viewers.
In Harriet Lane’s latest novel, “Other People’s Fun,” we meet Ruth, a character deeply embittered by envy. Recently divorced, with a grown child and uninspiring freelance work, Ruth epitomizes a middle-aged woman who feels she has nothing left to lose. Her envy reignites at a school reunion upon encountering Sookie, a former classmate who is both beautiful and seemingly oblivious to her own privilege. Ruth’s high school memories, characterized by unnoticed efforts and small humiliations, surge back, particularly now that she can observe the glamorous lives of her peers on social media, lives that starkly contrast with her own invisibility.
Ruth, speaking to us, reflects on her dark fascination with the curated lives of others: “Do they overflow with cunning, or are they utterly devoid of it? It’s hard to say. Yet there they are, constantly affirming their own existence, as if anyone would care about their pets, their kids’ grades, or their vacations. I watch from the shadows, captivated and unseen. After all, if someone is putting their life on display, there must be someone to see it,” she muses.
Lane’s earlier novels, “Alys, Always” and “Her,” were stylish psychological thrillers that explored toxic obsessions between women of different social statuses. Lane continues this theme in “Other People’s Fun,” adding a layer of anger and frustration about being overlooked due to poverty and powerlessness, elements reminiscent of Patricia Highsmith’s work or Zoë Heller’s “Notes on a Scandal.”
The novel’s backdrop is a former liberal school, similar to Bedales, which Lane herself attended. Here, past students who once struggled with issues like eating disorders now thrive as owners of companies promoting wellness and mindfulness. Meanwhile, Ruth can only afford luxuries through shoplifting or stealing from Sookie. Her desperation to be acknowledged drives her to extremes, creating a stark contrast with Sookie’s blissful ignorance displayed online. The tension between Ruth’s biting wit and Sookie’s naive online persona provides a compelling and uncomfortable dynamic, particularly when Ruth helps Sookie facilitate an affair with a charismatic teacher from their past.
As expected, Ruth lends her modest London home for Sookie’s romantic escapades, leading to disastrous outcomes. Samuel Taylor Coleridge might have described Iago’s evil in “Othello” as a “motiveless malignancy,” but Ruth’s envy-filled actions are driven by deep-seated resentment and a sense of injustice that trace back to their school days. The differences in their circumstances are stark, highlighted by their divergent paths since their school years.
Lane sharpens her comedy with underlying pain, capturing a modern dilemma of increasing social division and resentment. The conclusion of Ruth’s revenge is as satisfying as it is devastating, likely leaving readers with a cathartic sense of justice being served.
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
