Every POV is a dual point of view - in this case, the narrator's and your own. You're seeing what the narrator sees, hearing what he hears, and reading what he thinks - but you're not turning your brain off in the process.
You're also seeing the narrator, by his words, thoughts and actions. Let's build on the current example. He's bitching about her reading a book. You see her reading a book. You hear him accusing her of trying to get out of making his dinner - which should be any ho's prime directive, natch.
But in his words, his actions, his thoughts you also see that he's threatened by her reading. She's doing something that isn't all about him, something that can threaten his little world, his superiority. He's threatened by the implication that she might be smarter than him, that she's interested in things outside his boundaries, that her world is bigger than just him.
He never says any of it, but it's there. In turn, she becomes real, with motives and emotions of her own. If it's not there, then your narrator himself feels two-dimensional. Even the most myopic narrator should add life to the other characters through his POV, even if he himself believes they are no more than cardboard cutouts. Everything that makes him mad, makes him afraid, makes him happy with/about other people adds flavor to those other people.
Just my two cents.