“More than anything, the middle section traces the building of a mood. When Paul demands irritably, “What’s wrong with you? What’s been bothering you all afternoon?” he seems both to want to confront the problem (admirably), and to bully her out of her sullenness (reprehensibly). At first she evades with a characteristically feminine defense: “I’ve got a right to change my mind.” We see what he doesn’t—the experimental, tentative quality of her hostility: she is “trying on” anger and contempt, not knowing exactly where it will go. Her grudge has a tinge of playacting, as though she fully expects to spring back to affection at any moment. She even makes various conciliating moves, assuring him she loves him, but, because of his insecurities, he refuses this comfort. Paul is a man worrying a canker sore. Whenever Camille begins to forgive, to be tender again, he won’t accept it: he keeps asking her why she no longer loves him, until the hypothesis becomes a reality. Paul is more interested in having his worst nightmares confirmed than in rehabilitating the damage.