The Woman Who Walked Into Doors

The Woman Who Walked into Doors is a 1996 novel by Roddy Doyle. Narrated by Paula Spencer, a survivor of domestic abuse, the title refers to an episode in the novel where Spencer’s husband asks her where a bruise came from, and she says she “walked into a door.” The book is an anachronistic mixture of Spencer’s recounting of childhood, her dating life with her future husband, and her wedding day. As Spencer reflects, jumping back and forth through time, she weaves a rich account of the patterns of abuse and love that characterize her troubled family.

The book begins in early 1990s Ireland at Spencer’s front door. A prison guard knocks and notifies her that her husband, Charlo, is dead. Spencer expresses a mixture of grief and relief at the news, explaining that she and her husband are separated. Briefly, she recalls their wedding and the children they raised, moving next to focus on the brutal beatings she endured from Charlo. Having been raped, beaten, and sometimes left on the verge of death, she fabricated excuses for her damaged physical appearance when she went into public. She had gotten used to telling doctors that she suffered various accidents, falling down stairs or injuring herself during domestic chores, believing that if she told the truth, Charlo would only beat her more severely. She reveals that Charlo was a petty thief; his death was caused by antagonizing the police with a weapon. Despite his cruelty and failure to be a good father figure, she confesses that he was handsome and that she loved him.

Spencer relates that at the beginning of her marriage with Charlo, she felt that they were in love. Soon, however, she became trapped in a vicious cycle of abuse, becoming too physically and emotionally weakened from being beaten to stand up for herself. She learns how to cope, instead, by abusing alcohol, repressing many of the violent memories but contributing to the household dysfunction. At home, she always drinks after her children go to bed to spare them memories of her drunkenness, so alcoholism’s effect on their lives is a primarily unconscious one. Storing the alcohol in a locked shed, she tosses the key into the garden during the day, retrieving it in the darkness each night. Ironically, it is often Charlo who helps her recover from her binges, caring for her through her recovery. Similarly, Charlo takes her to the hospital when she suffers injuries, sometimes at his own hand. These paradoxical actions lead to a confusing family life and turbulent emotional relationships between the six family members.



Spencer tries her best to protect her children, Nicola, John Paul, Leanne, and Jack, from knowledge of the abuse. Her fifth child ends in a miscarriage, likely due to the violence she endures, and she has to hide that dark truth from her friends and family. To support her kids and escape the house when she can, Spencer takes up a job as an office cleaner and part-time house cleaner. As Nicola and Leanne age, they become partially cognizant of the patterns of abuse and alcoholism. Though she tries to shield them, they are concerned for her welfare and intervene subtly in their father’s behavior. John Paul goes off to live on his own before he can even drive, and it is suggested that he becomes a heroin addict.

Paula gradually imparts truths about her medical record, which is riddled with self-inflicted wounds, such as those of substance abuse, and the long list of injuries she sustained from Carlo. She goes to her doctor many times with different complaints about fatigue and depression, but he is unable to get a holistic sense of her domestic life, instead being compelled to suggest general solutions such as cutting down on her drinking routine and quitting smoking, a routine she continues even when pregnant. He prescribes Valium for her pain. She notes that he clearly thinks of her as an abuser of healthcare, using the term to explain his own inadequacy to help victims of dysfunctional families.

At the center of the narrative of The Woman Who Walked into Doors, there is both a happy narrative and an unhappy one, which collide and fail to resolve into a unified story. The happy narrative of passionate love, the creation of family, and the coming of age of one’s children are constantly at odds with themes of marital violence, drug abuse, emotional disorder, power struggles, crime, and deception. Coupled with the stifling of Spencer’s voice is the willful ignorance of the people who are supposed to be a source of help for victims of domestic abuse; namely, healthcare practitioners, who decline to ask even the most basic questions about where Spencer gets her injuries. Thus, the novel functions as a conduit for one survivor’s voice, hoping to open up a dialogue about the complexity of patterns of abuse that are too often ignored.