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58 pages 1 hour read

Pam Jenoff

The Lost Girls of Paris: A Novel

Pam JenoffFiction | Novel | Adult | Published in 2019

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Chapters 1-5Chapter Summaries & Analyses

Chapter 1 Summary: “Grace”

Content Warning: Both the source text and this guide contain depictions of rape, wartime violence, suicidal ideation, torture, and murder.

The Lost Girls of Paris opens in 1946 with the first of the book’s three female protagonists: Grace Healey. Grace lives in New York City and works as an assistant to an immigration lawyer. In the aftermath of World War II, the small law practice, Bleeker & Sons, helps many refugees arriving from war-torn Europe. Today, Grace is not taking her accustomed route to work because she spent the night away from her apartment. (The narrative later reveals that she encountered her late husband’s college roommate, Mark, and spent the night with him.) Grace is flustered by this uncharacteristic behavior.

On her way to work, Grace is delayed by a street closure because a woman has just been struck and killed by a car. (Grace will later discover that this woman is Eleanor Trigg, another of the novel’s protagonists.) For now, Grace is upset because the road closure will force her to cut through Grand Central Station. Grace usually avoids the train station because it was there that she learned of her husband’s death as she awaited his arrival on a train.

Grace enters the busy train station and trips on the corner of a suitcase stashed under a bench. After looking for signs of the owner and seeing none, Grace examines the suitcase, which has the name “Trigg” chalked on the outside. Looking for contact information, Grace opens the case. The suitcase contains an envelope with a dozen photographs of young women, wrapped in a piece of lace. Grace estimates that they are all younger than 25, and some of them wear military uniforms. Although she knows she has seriously invaded someone’s privacy, Grace is fascinated. The sound of a siren startles her, and she quickly stashes the photos in her pocket and heads to work.

Chapter 2 Summary: “Eleanor”

The narrative shifts back in time to 1943 and introduces Eleanor Trigg, who lives in London and works for the director of a British government department called Special Operations Executive (SOE). This department was created by Winston Churchill as a wartime initiative and is responsible for helping the allied forces in Europe through “sabotage and subversion” (20). As the novel opens, Eleanor’s boss is livid because the clandestine efforts of the SOE are not working very well; their agents are being captured or killed at very high rates.

Even though Eleanor is his assistant and does not hold a formal leadership position, the Director trusts her and respects her opinion. When he asks her for advice, she tells him that their young male agents are too noticeable because most healthy young men are soldiers at war. Eleanor proposes recruiting women as SOE agents because women will be able to blend in more effectively. Amidst skepticism from the other men in leadership, the Director puts Eleanor in charge of recruiting, training, and managing a covert group of female agents.

Eleanor is frightened and excited by the Director’s approval. She would prefer to go into the field as an undercover radio operator or saboteur herself, but he insists that her skills are too valuable. He also reminds her that she is not a British citizen, and the paperwork required for her to gain entry to another country would be too difficult. (Later, it is revealed that Eleanor was born in Belarus, where her family suffered at the hands of the invading Russian military.) Now, Eleanor insists on having complete control of the operation, and the Director confirms that she will report to him without any other interference.

Chapter 3 Summary: “Marie”

The novel shifts to 1944 and introduces Marie Roux, a single mother whose daughter, Tess, is currently living with Marie’s Aunt Hazel in the countryside, just a few hours outside of London. Tess has been sent away from the city to protect her from the frequent bombings. Each Friday, Marie takes the train from London to Hazel’s house to spend the weekend with her daughter. She misses Tess and is lonely during the week. She wonders if it might finally be safe to bring Tess back to London, as the bombing blitz has ended.

Marie is reading poetry by Baudelaire in a cafe when a man approaches her, asks her to read some of the poetry aloud, and compliments her on her French. He then asks her if she has a job and offers her a business card printed with the name Eleanor Trigg and an address: 64 Baker Street. He urges her to go to the address on the card immediately if she is interested.

Marie leaves the cafe, confused, but is curious enough to go to the address to learn more. When she knocks on the door at 64 Baker Street, someone sends her to Orchard Court on Portman Square, which she will later learn is the headquarters for the SOE operations. Mystified, Marie goes to this second address and meets Eleanor Trigg, who brusquely explains that her team runs “covert operations,” and that their mission is “destroying things like railroad tracks, telegraph lines, factory equipment and such, in order to hinder the Germans. [They] also help the local partisans arm and resist” (35). Eleanor wants to hire Marie to impersonate a French woman and work as an undercover radio operator in France.

Marie doubts her suitability for such a job. She lies to Eleanor, claiming that her husband, Richard, was killed in action. (In reality, he left Marie shortly after Tess was born.) Marie hesitates to take the job because she would be apart from Tess for a long time and could not tell Tess or Aunt Hazel her location. However, she finally decides to join Eleanor’s team. Eleanor allows Marie to call Tess and Hazel, but she is not permitted to reveal that she is going away. The SOE will send a telegram to Hazel after Marie leaves, telling her that she was “called away for work” (38).

Chapter 4 Summary: “Grace”

When Grace arrives at work, there is a line of refugees waiting to consult with her boss, Frankie. They meet with a young boy named Sammy, a refugee from eastern Europe. He was separated from his family at Vesterbork, a transit camp in the Netherlands where the Germans held Jewish prisoners before sending them to concentration camps further east. Sammy resists the idea of living in a state-sponsored home for boys, so Frankie gives him enough money to pay rent to live with an older cousin, his only remaining family member.

On her lunch break, Grace thinks about her night with Mark in the bar and his hotel room. She recalls how good it felt to talk to someone who knew her husband, Tom, and who understands her grief. Still, she doesn’t plan to repeat the experience. Later in the afternoon, Grace looks at the pictures that she took from the suitcase. There are first names written on the back of the photos. One is a photo of Marie Roux. After work, Grace stops at Grand Central Station to return the photos to the suitcase. She feels guilty for stealing them but remains intrigued. When she returns to the bench at the train station, the suitcase is gone.

Chapter 5 Summary: “Marie”

Marie arrives at the large manor house in Scotland that the SOE uses as a training facility. She struggles to keep up with the demanding pace that the other trainees set on their morning run. When she rolls her ankle, a young and dark-eyed trainee named Josie supports Marie’s weight while they finish their workout. Josie tells Marie to pretend that they’re dancing in London.

During breakfast, Josie confirms that there are about 40 women in Eleanor’s program, including those who are already deployed in France and those who are missing or have been killed. Marie, who understood her new job to be primarily that of a radio operator, is frightened to hear that the mission will be so dangerous. She considers leaving for the first of many times.

After a harsh inspection of their dormitory, Josie tells Marie that she is 17 years old. Her father was the leader of a Sufi tribe. Josie and her brother were orphaned when their parents died in a fire, and Josie has spent the past five years unhoused. Marie confesses to Josie that her husband, Richard, did not die in the war; he abandoned her. When Marie expresses doubt about her decision to join the SOE, Josie reminds her that Tess is her “reason for being here” (65).

Chapters 1-5 Analysis

The Lost Girls of Paris is structured around the experiences of three main characters whose accounts are organized into two separate timelines.  Eleanor Trigg and Marie Roux engage in clandestine operations for the British government during the war, while Grace Healey, finds herself drawn into investigating their world of espionage after the war. By employing multiple timelines and perspectives, the author is freed to explore the ethical dilemmas and moral ambiguities that arise in the chaos of war. The novel, while fictional, is nonetheless dedicated to highlighting the invisible war efforts of such agents as Marie and Eleanor, thereby acknowledging The Importance of Ensuring Historical Accuracy and honoring the sacrifices of these unsung heroes. Significantly, the strategic juxtaposition of these varying perspectives also allows the author to inject moments of dramatic irony into the overall narrative, especially as the limited perspectives of the three protagonists highlight the gaps in each character’s knowledge and understanding. This structure also indicates the difficulties involved in recording and preserving robust versions of history, as many stories go untold for a myriad of reasons.

Grace’s discovery of the unclaimed suitcase and the unexplained photos serves as a plot device to tie both timelines together. As Eleanor and Marie’s timelines march forward in the ensuing chapters, their wartime experiences slowly reveal the enigmas that Grace struggles to decipher, such as the reason why Eleanor took the photos to New York. With these deliberate gaps in the narrative, The Lost Girls of Paris conforms to the mystery genre to a certain extent, for Grace essentially acts as a detective and works backward through the course of events to discover the owner of the suitcase and the fates of the women depicted in the photographs.

Although Chapters 2 and 3 remove some of the mystery of the photographs by introducing Eleanor and Marie’s stories, the question of how Eleanor’s suitcase wound up in Grand Central Station remains deliberately unresolved in order to increase the narrative tension. It is also significant that the photos are wrapped in lace, for this gesture, combined with the solemn expressions of the as-yet-unidentified women, portrays a sense of loss even before Grace discovers that the women in the photos are dead. Thus, from the very outset of the novel, the photographs symbolize the unknowable, unquantifiable loss that is caused by war. As the novel progresses and the author reveals more about Eleanor, the photographs also come to represent this character’s dedication to her agents and her need to guarantee that their stories will not be lost to time.

Each of the three protagonists experiences a process of self-discovery, and this pattern is first introduced as Eleanor, Marie, and Grace mirror each other in expressions of self-doubt. In Chapter 1, for example, Grace harshly criticizes her own actions and frames her night with Mark as “the second-worst mistake” of her life (11) , and she immediately feels guilty for opening the lost suitcase. Similarly, Eleanor feels the immense weight of her task and worries that she will not be able to keep her agents safe. She also longs to prove the worthiness and ability of women to hold important jobs. Of the three protagonists, however, Marie is perhaps the most explicit about her self-doubt, for she looks to both Eleanor and Josie for reassurance, not quite believing that she has made the correct decision by enlisting with SOE. As the novel progresses, each of the women will be challenged to trust their instincts, and they will be rewarded when they finally discover the depth of their own abilities. This arc of personal development is important for all three characters and underscores the author’s interest in celebrating the historically underappreciated capabilities of women.

Chapter 5 introduces the symbol of Marie’s necklace, a “tiny locket shaped like a butterfly” (62). This necklace has special value to Marie because Aunt Hazel gave it to her when Tess was born. The locket represents Marie’s tie to her daughter and the maternal aspects of her identity, which must remain deeply buried during her time with the SOE. However, in defiance of regulations, Marie hides the locket when she arrives at SOE training because she cannot bear to lock it away and relinquish its deeper meaning. Marie forgets to remove the locket before inspection, and Josie saves her from punishment by snatching the necklace off Marie’s neck, thus drawing attention and ire upon herself. This act foreshadows the women’s friendship and the fact that Josie will help Marie to survive training and tap into her love for Tess as a powerful motivation to persevere.

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By Pam Jenoff