Strangers on a Train was Highsmith’s first published work, written primarily while living at the Yaddo Artists’ Colony. This novel introduces key themes in Highsmith’s canon: duality, performativity, and alienation in postwar America.
The novel opens with Guy Haines traveling by train to grant his unfaithful wife, Miriam, a divorce. Guy sits near Charles Bruno, a wealthy and crass man who strikes up a conversation and invites Guy to dine in his private car. Guy is unsettled by Bruno, who manages to draw out both the story of Miriam’s betrayals and Guy’s reason for traveling. Bruno likens Guy’s wife to his father, arguing that both typify the corruption of America. After so doing, Bruno proposes they swap murders—Bruno could murder Miriam, and then Guy could murder Bruno’s father. Guy, ever socially conscious, thinks Bruno is joking, laughs, and leaves, assuming the two of them will never meet again. The conversation characterizes Guy and Bruno as seeming opposites: whereas Guy is refined, soft-spoken, intellectual, and industrious, Bruno is coarse, verbally explosive, juvenile, and lazy.
Guy fails to get the divorce because Miriam decides she would rather benefit from his new financial and social success as an architect. Bruno learns of Miriam’s newest betrayal and decides to act, feeling he has a “purpose” for the first time in his life. In a plan ripped from a pulp-fiction plot, Bruno travels to Texas, follows Miriam, and strangles her. Pleased with his perfect execution, he returns home and waits for the right time to contact Guy for phase two.
Guy’s reaction to Miriam’s murder illustrates the alienation caused by...
(The entire section is 692 words.)