The Lost Bookshop

Back in the 1920s storyline, it’s just before Christmas, and Opaline remains at the shop while pregnant by Armand. She has told Matthew, who didn’t judge her and only asked what she needed. She once again inspects the sewing box that belonged to Charlotte Brontë. This time, she discovers a hidden catch that reveals a tiny notebook hidden inside.

The notebook contains pieces of a story dated 1846, written in tiny, neat handwriting. The first lines are: “I have devoted an entire lifetime to escaping the confines of this wretched place, only to find myself further entangled in its gnarled roots and oppressed by its looming towers” (226). The final line of the unfinished story reads: “Running to her, not believing the horrible truth, I touched her face. Cold as marble. She was dead” (229). Opaline realizes that these are pieces of Emily Brontë’s second (unfinished) manuscript.

In the contemporary storyline, Martha lives in a haze for days, unable to shake off the shock or decide what she wants to do with her future. One night, another line of the mysterious story appears in her head. The next day, she rushes to a tattoo parlor. The lines she wants to add include the words: “Cold as marble. She was dead” (235). However, Martha is confused when the tattoo artist tells her that line is already on her back. There are now lines on her back that she doesn’t recall having tattooed.

She returns to Madame Bowden’s house feeling a renewed sense of purpose and clarity. She feels as if she’s where she belongs. That evening, she reads more of A Place Called Lost. The story now includes a man named Fitzpatrick and a woman who cuts her hair short and wears men’s trousers. Martha suspects that the story is about Opaline and the bookshop that Henry is looking for.

Henry relents to his family’s suggestion and visits his father at a rehab community in Wales. He finds that his father is doing well for the first time and is relieved that he has committed to recovery yet still bitter that it took him so long. His father apologizes for his past actions and says he’s working to do better.

After the visit, Henry once again thinks of Martha, who hasn’t responded to his texts. In addition, he receives an email with a copy of a letter from Opaline Carlisle to Sylvia Beach, dated September 1963. The letter cryptically refers to her being “incarcerated,” though where and for what reasons remain a mystery.

Back in the 1920s storyline, Opaline attends an auction in Dublin and meets a Frenchman named Ravel, who is studying Irish Literature at Trinity College. Together, they visit the college library, where they encounter Armand. Opaline is disappointed but not surprised that Armand is there to acquire a book for a client and hadn’t intended to see her.

Opaline plans to tell him about the baby but first tells him about the Brontë manuscript she found. He then reveals his true nature as jealous, greedy, and controlling. He considers her inferior and thinks she should give him the manuscript to manage and sell properly. When she refuses, he grows angry and insulting. She realizes that he has only ever used her for his own gain and decides not to tell him about the baby. He leaves, and she never sees him again.

In the contemporary storyline, the roots in Martha’s apartment have formed a chandelier of tendrils in the ceiling. She no longer worries about it. Meanwhile, she attends her first college course with Madame Bowden’s encouragement and support. When Martha begins to panic, Madame Bowden pushes her to go beyond her comfort zone.

Henry returns to Dublin and goes to see Martha. Instead, Madame Bowden answers the door and demands to know why he left and what his intentions are. She accuses him of only liking Martha because she’s fragile and boosts his ego. Henry defends himself, explaining that he left Martha a note and insisting that he loves Martha because she’s so courageous. He states, “I’m not perfect, by any means, but I know I want to spend the rest of my life making her smile. So I’m damned if I will let her go without a fight” (266), convincing Madame Bowden that he’s likely what Martha needs.

Back in the 1920s storyline, Opaline feels lonely about her many secrets (the pregnancy, the Brontë manuscript, her feelings for Matthew, and hiding from her brother), so she writes a letter to Sylvia. However, before she mails it, Mr. Ravel comes to visit her. When he leaves, she discovers that her letter to Sylvia has disappeared. Fearing that Ravel is working for her brother, who now knows her location, Opaline makes plans to leave Dublin.

She prepares to travel to New York and asks Matthew to keep the Brontë manuscript safe for her while she’s gone. She doesn’t tell him why she’s leaving but promises to return. She goes home to pack and falls asleep. She awakens to a bright light shining in her face.

In the contemporary storyline, Martha goes to the beach to celebrate a holiday. While swimming, she reflects on her life, feeling numb and guilty. She reminds herself that the author of A Place Called Lost said that “every hardship in life was a key to some greater understanding, and it was up to you if you chose to use it to unlock the future or bolt the door” (274). When she comes out of the water, Henry is waiting for her. She kisses him, but when he starts talking about Opaline and the lost manuscript again, she believes he hasn’t come back for her but for his research. Hurt and disappointed, she walks away.

After his encounter with Martha, Henry goes to a pub. Later, he drunkenly wanders to Madame Bowden’s house and knocks on Martha’s window. He tries to explain to Martha about the note he left her and why he went to London. Martha says that Madame Bowden told her, but it doesn’t matter. She has decided she can’t risk a relationship with him.

She asks him to keep her updated about his search for Opaline and the manuscript, however. Henry shows her the letter between Opaline and Sylvia, and she notes another passage where Opaline mentions “my book.” They conclude that Opaline wrote and published a book in the 1960s, but they don’t know what happened to it or her.

Back in the 1920s storyline, Lyndon takes Opaline from her apartment and shoves her into a car. He takes her to the Connacht District Lunatic Asylum, where she’s “committed” against her will. Lyndon claims that Opaline is “insane,” has “delusions,” and is a danger to herself and others. Opaline tries to argue but realizes that her anger merely helps Lyndon’s cause: “An angry man was dominant. An angry woman, on the other hand, must have lost her grip on sanity” (287).

She’s thrown into a cold, cell-like room and treated with disdain by the nurses. Opaline decides to stay calm and submit to the ill treatment for now, believing that she’ll eventually convince the doctors of her sanity and Lyndon’s mistreatment. Only later does she understand that many of the women in the asylum are in similar circumstances and the men in charge don’t care.