53 pages • 1 hour read
Clare ChambersA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Jean accompanies Gretchen and Margaret to Charing Cross Hospital to begin their testing, starting with blood work. On the way, Jean gives Gretchen good wishes from Alice Halfyard and asks about Martha. Gretchen was always somewhat afraid of Alice, if only because she was matron. Gretchen also remembers Martha, though she claims to have lost touch with her soon after leaving the clinic because of Margaret. Gretchen also asks to make a dress for Jean, offering Jean an afternoon to get her measurements taken and pick out a pattern.
At the hospital, Dr. Lloyd-Jones and his colleague, Dr. Bamber, are both pleased to see how much Gretchen and Margaret look alike. After the Tilbury family is taken to have their blood drawn, Jean and Dr. Lloyd-Jones talk about the credibility of Gretchen’s claims and Jean ensures their tests will remain confidential. Then, Dr. Bamber asks for a moment alone with Gretchen, so Jean agrees to spend some time with Margaret away from her mother.
Jean takes Margaret to get a comic book at a shop up the street, and while they’re walking, Margaret tells Jean that she hears angels, who say words Margaret has never heard before, like “phalanx.” When they return to the hospital, Gretchen has been crying. When Jean asks after her, Gretchen claims to be upset at how long the results and testing would take. She asks whether Jean believes her, to which Jean replies, “I don’t disbelieve you” (69). This seems to placate Gretchen and they say goodbye.
In a letter to Martha, posted by Alice, Jean asks if Martha has any information to share with her about Gretchen. Jean adds that she has Gretchen’s full consent to investigate the curious circumstances surrounding Margaret’s birth.
Jean calls on the Tilbury family to have her measurements taken so Gretchen can make her a dress. Though Jean had committed to maintaining a professional distance, she feels grateful to have a new friend.
To come to the Tilbury residence on a Sunday afternoon, Jean had to make arrangements for someone else to be with her mother. Luckily, a chance meeting with her mother’s old friend Winnie Melsom gave her the opportunity. Jean noticed Winnie carrying her groceries home, helped her with her bags, and extended an invitation to her mother’s home. Winnie also has a daughter who moved out of England, though Winnie’s daughter writes home often and stays in better touch than Dorrie does. At home, while Jean washed and set her mother’s hair, she let her know Winnie will be coming by, trying not to make it obvious that she’d already made plans. She didn’t conceal this as well as she had hoped, though, and her mother felt upset she must entertain Winnie on her own.
While visiting the Tilbury home, Jean notices the marital bedroom has two twin beds, rather than a single larger bed. In the garden, Howard tends to the vegetables in a shirt and tie. Jean notices how well-kept the garden and yard are. Jean doesn’t have enough time to keep her garden as well since she has no one with whom to share the housework. She tells Gretchen that, though her mother never says Jean can’t leave her alone, Jean feels guilty when she does so.
Jean asks Gretchen about Margaret hearing voices. Gretchen is the one who suggested it’s angels and doesn’t worry about it. Jean notices how nicely Gretchen keeps her serving utensils and how well she bakes, and then agrees to play badminton with Howard, Margaret, and Margaret’s friend Lizzie. Jean notices that Howard plays like a gentleman.
When Gretchen thinks no one is observing her, a look of melancholy passes over her face, which she otherwise never lets show. After giving Margaret another comic book, called Girls, Howard offers to drive Jean home so she doesn’t have to take the bus. Once they’re alone in the car, Jean tells Howard that she knows how to drive. Howard replies that Gretchen doesn’t like to drive. Jean suggests most husbands prefer their wives don’t, and thinks about how vehicles afford the privacy needed for courtship between men and women. Howard thanks Jean for visiting; he is grateful for Gretchen to have a friend.
While she makes her way through Chelsea to visit Martha Campkin, Jean reflects on past experiences indulging in French food and taxi rides with her Aunt Rosa, a family friend. Jean notices the run-down quality of the neighborhood and feels out of place. She finds Martha’s address through Martha’s father, a vicar, who tells Jean they’ve not had contact for some time. In Martha’s house, Jean sees evidence of an artist—canvases everywhere, an easel, and the unpleasant smell of turpentine and cigarettes. Martha walks with a stick, wearing leather splints on her hands as she leads Jean through the house—offering tea without milk, since the milk is spoiled.
The stickiness of the floor and the clutter—Martha’s undergarments hung on a wooden frame for anyone to see—take Jean aback. Instead of asking straight away about Gretchen, Jean probes Martha about her relationship with her father and St. Cecilia’s more generally. Martha reveals her lack of faith and confirms that, during her time at St. Cecilia’s, none of the women were ever around boys. Jean uses this as a segue into her real line of questioning, asking Martha about Gretchen’s claim.
Martha believes Gretchen to be lying about the date of conception, likely to protect herself. Jean tells Martha that she’s the only person interviewed so far to believe Gretchen is untruthful. While Martha goes to attend to a visitor, Jean looks through her paintings. Martha primarily paints desolate cityscapes destroyed by time or war, with one small detail of beauty, like a flower or rainbow. When Martha returns after dealing with the disgruntled husband of another tenant, Jean compliments her on her work. Martha brushes it off: She cares not for praise or criticism and instead paints only for herself. When Jean leaves, Martha gives her a print to give to Gretchen—a painting of tangerines in a bowl.
On her way home from Martha’s, Jean is stuck at the train station due to a delay; though other passengers gossip that someone has fallen on the tracks, Jean doubts this. To Jean’s surprise, Howard is also stuck at the train station. They discuss the delay and, when Howard’s train arrives before Jean’s, he offers to drive her home if she’ll take the train with him. Jean protests, but then agrees.
As the train, which was initially packed, begins to empty, Howard seems to be working on a crossword, but is actually watching Jean. Jean stops working on her notes from her interview with Martha and joins Howard, who doesn’t have a pen to complete the crossword. He claims he’s been solving it in his head, which Jean challenges. After Jean gives Howard a pen, he fills out the crossword with the phrase, “These things give me brain ache, Jean. They’re harder than they look” (112). The two laugh.
Once in Howard’s car, Jean shares details about her family life—that Dorrie lives in Kenya, and that their father died in the war, so it’s just Jean and her mother. Jean also tells Howard about her parents’ divorce—how unhappy they were and that her father began seeing someone else. Jean feels a sense of relief to be sharing such intimate details with Howard, including the fact that she supports her mother and receives some financial aid from her uncle. Jean leaves Howard, giving him the painting for Gretchen that Martha sent along.
Jean gives her mother a nightgown she purchased before visiting Martha and they spend a pleasant evening together. Jean feels invigorated by her time with Howard.
This chapter contains letters and diary entries.
Jean writes to Dorrie, sending her a cigarette case she found at an antique store. In a diary entry, Alice describes Gretchen and Martha hoarding their painkillers and sleeping pills and taking them all at once after three days, adding that Martha was certainly the perpetrator of this offense. When Gretchen left, Alice writes, she was in excellent health, but Martha was subdued and sad. Dr. Lloyd-Jones writes to Jean that Gretchen and Margaret’s blood types match; the doctors would like to conduct further tests. A letter from Gretchen requests Jean’s presence for a fitting the upcoming weekend.
Jean buys a rabbit to give to Margaret. Jean’s mother tells Jean it’s a poorly thought-out decision—Jean didn’t consider what Gretchen and Howard would think. Jean snaps at her mother for spoiling a kind gesture. Jean feels that she would have received the same response had she wanted a rabbit as a child. Instead of apologizing, Jean is overly kind to her mother throughout rest of the evening.
Jean calls Howard to schedule her dress fitting and asks whether it’s inappropriate that she purchased a rabbit for Margaret. Howard, relieved by this turn in the conversation, says he isn’t sure how Gretchen feels about rabbits. Unless Jean hears from him, she should bring the rabbit when she comes to try on her new dress. She says doesn’t want to cause any trouble—something that in the future she’ll be surprised she said.
Jean visits the Tilbury family and gives Margaret her rabbit. Margaret is overjoyed at the gift, and Gretchen seems grateful to Jean, too. Gretchen then asks whether Jean would consider being a closer friend to Margaret—particularly if something were to happen to Gretchen—a request which both delights and concerns Jean. Jean agrees, all the while feeling a bit disappointed that Howard is at work while she visits the Tilbury home.
Jean, wearing her new dress which fits her perfectly, updates the rest of the team at the Echo on the medical findings in Gretchen’s case. The results are overwhelmingly confirming Gretchen’s story, but not yet conclusive, something that the men at the paper find intriguing. Jean tells the men she feels confident Gretchen wouldn’t sell the story to another paper for more money, something they are worried about. They invite Jean out for drinks again, which she declines because all her free time is reserved for the Tilbury family.
Mrs. Melsom invites Mrs. Swinney to an event hosted by the Mother’s Union, a Christian association dedicated to charitable work. After much protest and a lot of convincing from both Jean and Mrs. Melsom, Mrs. Swinney agrees to go. Jean feels pleased that she’ll have a free Saturday on which she can visit the Tilbury family.
Chambers explores the negative experience many women in the 1950s had with medical care, particularly in relation to reproduction. Limitations on women’s ability to become doctors meant that health care for women was always administered by men, who were socially conditioned to dismiss and devalue women’s experiences and descriptions of symptoms. Jean’s aversion to doctors is apparent in her conversations with Gretchen about the judgment women receive from doctors because of premarital sex and possible abortions. Jean also notices the power dynamics upon their arrival to the hospital, as the male doctors condescend to her and Gretchen. The curiosity that Gretchen’s claim provokes for the medical practitioners is less predicated on empathy and more on objectifying Gretchen as a specimen—a reaction that makes Jean distrust the doctors’ motivations. The scene demonstrates that the poor—and sometimes unsafe—medical care women received was never without judgment. This is why the small detail that the doctor at St. Cecilia’s was a woman is important—it adds to the sense that this clinic was meant to be a safe space for women in an often-hostile world.
Though maintaining both repressive and professional distance, Jean’s continuous encounters with the Tilburys begin to bring to the surface desires she has ignored or repressed in her dedication to the Duty, Decorum, and Surveillance exhorted by her social surroundings. Jean’s visit to the Tilbury home, and the process of having her measurements taken, brings Gretchen and her closer to each other, and the afternoon she spends with both Margaret and Howard does the same. Through her own lens, Jean encounters a life she might never have. Jean’s unearthing of parts of herself that she’s buried for so long begins unexpectedly. Proximity to Gretchen’s motherhood—a role underscored by the fact that Margaret looks so much like her mother—makes Jean’s repressive measures falter. For example, as Jean spends time with Margaret, the girl “stirred in Jean a longing she had thought safely buried” (75)—the desire for children. Similarly, the usually self-policing Jean finds herself unable to leave the Tilburys’ house despite the fact that “it was deeply ingrained in her that to overstay an invitation to tea beyond 6 pm was an affront to all that was civilized and she declined” (88)—the familial warmth and stirrings of desire for Howard are too seductive.
Jean spends a lot of time gauging the propriety of herself and of the Tilbury family. She is shocked by the distance between beds in Howard and Margaret’s bedroom—a layout that seemingly points to the absence of sex. Gretchen’s domestic perfection—the formal teapot Gretchen uses, her baking skills, and her sewing aptitude—make Jean criticize herself for failing to measure up. Jean later uses standardized norms of social behavior to regulate conversation with Howard on the train and in his car, self-control representative of the ways duty and decorum operate as surveillance mechanisms.
Martha’s physical appearance and domestic disarray offer a dramatic contrast to Gretchen. An artist who rebels against gender norms, Martha is a complex character whose freedom to not care about self-presentation or homemaking comes with a steep price for not adhering to such social standards. In some ways, Martha’s outward display echoes Jean’s inner convictions about the strictures binding women. However, Jean is also repulsed by the resulting mess, with laundry and art supplies strewn about, and the clear signs of poverty. When Jean, “whose housekeeping efforts never went much beyond the surface of things’” enters her apartment, she is “dismayed” (97) because of its unkempt condition—a reaction she juxtaposes with Martha’s lack of concern: “Martha herself appeared unembarrassed by or perhaps oblivious to the disarray” (97).
Jean doesn’t uphold Martha as an example worth following; unlike Gretchen’s, Martha’s life, seems unappealing to Jean, whatever her protestations of wanting women to have more choices. Martha’s experience reveals the ways gender roles and domesticity can have a protective effect despite, and maybe because of, their constraints. However, Jean does admire, to some degree, Martha’s lack of self-judgment. Jean’s constant observations and comparisons of herself against other women reveal the constraints gender roles place upon all women—and the impossibility of living up to them perfectly. Meanwhile, “There had been something admirable in [Martha’s] solitary existence in that seedy apartment, laboring to produce some artwork of which she could feel proud” (109). Though Martha is social unacceptable, she still embodies professionalism and accomplishment that Jean values.
When Jean and Howard happen to meet in the train station, Chambers deploys a distinct feature of the romance genre—the meet-cute. Jean even lends Howard a pen for his crossword, which he doesn't actually finish. Yet, in a subversion of the romantic moment, the conversation they end up having is seemingly unromantic, about subjects like money and divorce. Jean’s response to the encounter—feeling light as air with pleasure—shows that sharing one’s inner life with a sympathetic and attractive person is an intimacy usually inhibited by strict gender roles. This repressive model prevents pleasure, particularly for women, but casting the unburdening of troubles like financial concerns and childhood unhappiness as improper. Readers are aware that Jean’s openness with Howard is out of character. More typical is the internalization evident in her argument with her mother about the rabbit for Margaret—a smaller version of the Repression and Self-Sacrifice that Jean displays when considering her abortion from a previous year. Jean’s preference is avoidance and secrecy: It’s “better to agree, without discussion, that it had never happened” (124). The consequence of such a practice, however, is that eventually these desires and truths come to the surface.
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