45 pages • 1 hour read
Maggie O'FarrellA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Elina and Ted take the baby to a health center for a check-up. Ted waits outside while the nurse tells Elina the baby is healthy. After the visit, Elina finds Ted sitting on a wall near the health center with his head in his hands. He’s trying to remember a nursery rhyme from his childhood. Elina worries again about his health.
Ted comes home from picking up a few things at the shop. He can’t find Elina and rushes around the house, terrified and confused. Margot arrives to visit the baby, and for a moment Ted has an odd sensation that he doesn’t recognize her. When she realizes he’s worried about Elina, she goes to make tea. He follows her into the kitchen and sees that the back door key is in the door, which means Elina must be in the garden studio. Ted watches through the window of the studio as Elina paints, the baby napping nearby. As he watches her work, he recognizes the woman she was before the trauma of the birth. He remembers feeling “privileged to be able to witness the private workings of this unusual life” that Elina leads as an artist (130).
Margot comes outside and opens the studio door before Ted processes what she’s doing. The interruption wakes the baby and surprises Elina, who cuts her foot on a broken teacup. Ted tries to calm Elina and the baby but fails at both. Margot takes the baby from Ted, taking him into the house, entirely focused on the baby while ignoring both the art and Elina.
Lexie lives and works with Innes, spending most of her time with him. One afternoon, Lexie is working on revising a piece for the magazine when Innes’s estranged wife, Gloria, comes into the magazine office with her daughter, Margot. Gloria tells Margot that Lexie is the reason Innes left her and makes a show of crying. Innes confronts her, seething with anger. They argue about Lexie and where Innes lives. Innes controls his anger in deference to Margot, and when it becomes clear that Gloria can’t win, she sweeps away with Margot in her wake.
After they’ve left, Innes tells Lexie more about his marriage to Gloria. They married a month after meeting, but Innes was then sent to war. He was a prisoner of war for two years. When he returned, he discovered Gloria had had a child with another man and had put Innes’s beloved mother, Ferdinanda, into a convalescent home and burned all her prized possessions. Gloria and Innes separated, and Gloria kept Innes’s family home while Innes took a flat in London.
Following the confrontation at Elsewhere, Gloria continues to show up at the magazine office and write letters to Innes. At the same time, Margot seems to be following Lexie. One day on the subway, Lexie asks Margot why Margot keeps following her. Lexie says she’s not to blame for the situation between Innes and Gloria, but Margot refuses to believe her and says, “I’m going to make you sorry. I am. You see if I don’t” (147).
Ted jogs to his parents’ house. He has come to fill out some financial paperwork that his father, Felix, wants to establish for the baby. He talks with Margot about Elina and the baby. Ted asks Margot if he was breastfed, and she’s evasive. He also asks Margot if she recalls a man outside their window—something he remembers from his childhood. At first, she insists it never happened, and then she says it might have been a salesperson.
Ted returns home to Elina struggling to get the baby to feed. They argue, and Ted seems far away again. She asks if he’s alright, and he tells her not to ask anymore. The three of them lie together on the bed, and Ted wonders when the baby will start to form memories. He tells Elina a memory he has recovered—following someone wearing green platform shoes.
Lexie and Daphne have a night out, during which Daphne reassures Lexie that she and Innes are a good match.
The narrator explains that Elsewhere’s building has since become a café: Ted is now sitting at the table that used to be Lexie’s desk. He is talking with his friend Simmy about the baby’s name: He and Elina have decided on Jonah.
At his office, Ted edits a clip of a man about to fall off a building. He scrolls the film back and forth, allowing the man to fall and reverse back onto the building several times. He finds an imperfection and fixes it. Suddenly, he remembers his father pulling him along while he refused to walk. He remembers the sensation of wanting his mother and trying to get back to her.
On another evening, Simmy comes to visit and takes Ted, Elina, and Jonah to a photography exhibit. Ted stops for a time in front of a picture of a man and woman in front of Elsewhere’s office—Lexie and Innes, though Ted, Elina, and Simmy do not know this. Simmy comments of the exhibit, “[A]ll photos of the past look melancholy and wistful precisely because they capture something that’s gone” (174). At the museum café, Ted has another sudden memory: sitting on the lap of a woman wearing a red dress. He decides the memories are tied to becoming a father and watching his own son. When he looks at Jonah clinging to Elina, he also wants to pull Elina to him and keep her close forever. When Elina gets up to go to the bathroom, he holds on to her, coming up with a strange question about the bathroom’s location that worries Elina.
Lexie is on her way to Oxford for an interview. As she leaves the office, she notices that Innes feels feverish. When she gets back to the office, Laurence tells her that Innes has been rushed to the hospital. They ransack the office for money for a taxi and hurry to the hospital. Lexie pretends to be Innes’s wife so that she can see him. Innes has pleurisy but seems to be doing well on the oxygen mask. The nurse makes Lexie leave because visiting hours are over, but Lexie returns the next day. Innes tells Lexie he loves her and that he’s going to talk to his lawyer about a will.
On the third day, Lexie again returns, this time with Innes’s favorite cashmere scarf and a bouquet of violets. However, the nurse tells her he has died and that Gloria has been to the hospital to make the funeral arrangements. Lexie is devastated and cannot even see his body, which Gloria has already had taken away.
As the connection between Ted and Lexie becomes clearer, Ted’s memories and their physical effects intensify. This encourages readers to empathize with Ted, as they are discovering the truth in parallel to him. Meanwhile, the scenes that pull away from the focal characters act as a pacing device, drawing the reader out of the plot for a moment to study the clues that Ted is deciphering. Ted himself does not have the benefit of this distance, but he is also disconnected from himself and his past: The Effect of Trauma on Memory is apparent when Ted tries to connect the nursery rhyme he can’t quite remember with memories of Margot, who he believes is his mother. At this point in the novel, Ted’s last name is unknown. This anonymity reinforces the uncertainty of Ted’s identity both within his own mind and in the text.
The Transformative Power of Art holds a possible solution to Ted’s struggles. Ted’s work as a film editor involves carefully examining each frame of a film. He must play and replay silent scenes looking for errors he can correct. The art of film is transformative to Ted because this is also what the mind does with memories—hence why his memory is triggered at work. At the same time, the clip Ted is editing in Chapter 13 suggests the precarity of his current situation: “Forward, back. Will he fall or will he stay on the building? Will he die or not? Will he die today or tomorrow? Ted can decide” (168). Ted’s mistake is believing that he is in control; unlike a film clip, his memories do not always respond to his will.
The photography exhibit further develops the novel’s exploration of art, inspiring sadness in all three characters as they wander through. For Ted, this sadness is intense and focused on the image of Innes and Lexie; even though he doesn’t know why Lexie matters, the art itself triggers his emotions and memories. The same theme underpins Ted’s gazing at Elina in her studio. Ted finds solace in watching Elina practice her art. His act here mirrors Innes peering through the hedge at Lexie in the opening of the novel. Though Lexie was the work of art in that moment, here the focus is on the revelation of Elina’s deeper self as she works in the studio. Her intensity demonstrates to Ted that she has a firm hold of her identity, so he can stop worrying that he will lose her. Watching Elina at her art transforms him for a moment into a man who is not afraid to lose the woman he loves.
This section introduces the central conflict in Lexie’s story. The tension between Margot and Lexie is a result of Gloria and Innes’s choice to lie to Margot about her biological father. That tension is the root cause of Ted’s struggle to cope with his trauma, as Margot projects her sense that her father abandoned her onto Lexie; during the confrontation at Elsewhere, Lexie is the focus of Gloria’s ire, which cements in Margot’s mind that Lexie is responsible for Margot’s family’s problems. The central conflict between Margot and Lexie is therefore rooted in a secret. Because Margot believes Innes is her father, she never learns that it was actually her mother’s indiscretion and not Lexie that caused Gloria and Innes’s separation. In her resentment of Lexie, Margot then repeats Gloria and Innes’s mistakes by deciding not to tell Ted the truth about his mother.
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By Maggie O'Farrell