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43 pages 1 hour read

V. E. Schwab

Gallant

Fiction | Novel | YA | Published in 2022

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Interludes 3-4Chapter Summaries & Analyses

Part 3: “Things Unsaid”

Interlude 3 Summary

The master of the house, hungry, paces the estate’s barren grounds. The house is falling apart around him, but he doesn’t worry because all he needs is “her” to survive.

Part 3, Chapter 11 Summary

Olivia wakes from a dream of her mother to the sound of someone screaming. She runs from her room and finds that it’s Matthew. Edgar and Hannah have tied Matthew to the bed as he screeches in his sleep. Hannah feeds him a cloudy liquid and Edgar, seeing Olivia in the doorway, tells her that Matthew is just dreaming and that she should go back to bed.

Part 3, Chapter 12 Summary

This chapter begins with a journal excerpt in which Grace says that she gets no rest while sleeping because of the dreams.

The next morning, Olivia asks Hannah about the curious sculpture. Hannah doesn’t know anything about it but says Matthew might. Olivia goes out to the garden and asks Matthew in writing what happened to his father; as Matthew balks at the writing, Olivia realizes he can’t read. Matthew explains that he has a learning disability. Olivia instead draws Arthur Prior, and Matthew will only tell her that he died and that she doesn’t need to know more. Matthew then asks her if she’s being visited in her dreams yet; disturbed and confused, Olivia leaves.

Olivia goes to the garden wall and, for the first time, sees a locked door in the wall. When she tries to see between the wall’s rocks, she spies a field beyond. Before she can open the door, Edgar calls her back to the house asking for help with a ladder.

Part 3, Chapter 13 Summary

Later that night, Olivia discovers a second journal under her bed—one that’s identical to the first, except its cover is red, not green. The journal is clearly in her mother’s writing, but the illustrations inside are different—they are more similar to the way Olivia draws than to the illustrations in the first journal. The second journal narrates Grace’s journey beyond the garden wall, where she meets Death but is aided in her escape by a tall “shadow.” After she gets back to Gallant, she leaves notes for the shadow and, eventually, he writes back. The entries after this have been ripped out, leaving only fragments of sentences Olivia can’t make sense of.

Part 3, Chapter 14 Summary

This chapter begins with a journal excerpt in which Grace is comforted by the idea that “you” is haunting her.

Olivia dreams of Arthur, running through the garden, screaming at an unseen presence. He says that he can make the nightmares stop. He shoots himself in the face. Olivia, disturbed, wakes and goes downstairs to find Matthew playing the piano. Matthew explains that he could sleep and that playing is sometimes the closest he can come to resting. He had a younger brother, Thomas, who was never able to get the hang of playing. Olivia stays with Matthew for the rest of the night and listens to him play.

Part 3, Chapter 15 Summary

The next morning, Olivia spends time studying her mother’s journals. She tries to make sense of the idea that the tall shadow—whom she deduces must be her father—had somehow written back to Grace. As she looks at the journals side by side, she notices how different the two illustration styles are. She realizes that the drawings in the second journal, which are neat and precise like her mother’s handwriting, must belong to her mother while the incongruous sketches in the first journal were made by her father.

Interlude 4 Summary: “Grace’s Journal”

The contents of Grace’s first journal appear at this juncture in the novel. In it, Grace writes to the tall shadow in the days after her escape from the other side of the wall. She wonders why he stays on that side of the wall and whether or not he’d escape, too, if she helped. The shadow does escape and conceives Olivia with Grace. As Olivia grows inside Grace, both Grace and the shadow grow emaciated and weak. The shadow turns to ash entirely before Olivia is born, leaving behind a “cursed” molar that Grace says came from “his mouth” (178). Grace destroys the molar. After Olivia is born, Grace’s writing becomes more frantic, often employing strikethrough, as she starts to address Olivia. She tells Olivia that she will be safe as long as she stays away from Gallant.

Interludes 3-4 Analysis

Olivia begins the novel as a character who occupies more liminal spaces than her peers do: She exists between the living and the dead, visited as she is by ghouls. Because of her disability (and society’s unwillingness to engage in alternate forms of speech and communication), she exists on the outskirts of spoken communication. Olivia’s relocation to Gallant in this section of the novel, though, finds her engaging in increasingly liminal spaces. The first scene of this section introduces the liminality of dreaming. Olivia often occupies this space between sleeping and waking, and in dreams she finds herself in closer contact with the Priors. This first dream takes place in the present and concerns her mother trying to speak to her. The nature of Olivia’s dreaming, though, shifts over the course of this section. At the start of Chapter 14, Olivia dreams of Arthur Prior, but she dreams of his past: She sees the moment in which he chooses to escape his own nightmares through suicide. As Olivia spends more time at Gallant, she not only spends more time in the space between sleeping and waking, but also more time in the places between the past and the present. This question of how to deal with the “between-ness” of Gallant sets Olivia up for her growth through the rest of the novel.

One of the ways in which Olivia copes with Gallant’s liminality is by forging connections with other characters who must also occupy this space. This section of the novel illustrates one of the first moments in which Olivia is able to create a fruitful emotional intimacy with Matthew. As noted in Finding Connection in Communication, music is a useful form of creating bonds for these two characters since both must deal with not having access to prevalent forms of communication: Olivia has a disability and communicates primarily through sign language or writing, and Matthew has a learning disability that affects his reading comprehension. What, then, do Olivia and Matthew manage to communicate to one another in this scene? Olivia doesn’t find answers to any of the questions about the Priors’ past, but she does discover something just as useful. Matthew opens up to her about Thomas and about why music is useful for him through his moment of constructive teaching; Olivia learns, here, that Matthew communicates best when he feels he is helping other people perform a task. Olivia makes use of this knowledge at the end of the novel, when she allows Matthew to be the one who orchestrates Thomas’s attempted rescue. Olivia creates a space in which Matthew can “teach” Hannah, Edgar, and herself the structure of the rescue attempt. The rescue is demonstrative of one of the most successful moments of communication between characters in the novel.

This section of Gallant closes with the inclusion of Grace’s green journal, which Olivia has just learned is populated with drawings from her father. Olivia’s father is not a character who receives very much direct, descriptive characterization over the course of the novel; Grace speaks to him but does not describe him, and the master only describes him with the goal of explaining his betrayal to Olivia. Instead, the inclusion of black-and-white illustrations allows for a more abstract characterization of the father character. All of the father’s illustrations are framed by weedy, long-stemmed flowers that speak to the overgrowth and decay that marks the master’s shadow-world. The flowers also create a sense of movement in these pictures—most notably in the final picture in the journal, of hands encircling a black, void-like bloom, in which the flowers are losing their petals. Here, the illustration gives a sense of the ensuing chaos and loss Olivia’s father feels as his journey with Grace comes to an end.

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