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Diana chafes against the necessity of having to assume authority at Highbury House. After the death of her husband, Murray, a doctor who was shelled on the way to a field hospital, she had to take charge—though she has left the management of the hospital to Murray’s sister, Cynthia. At first, she welcomes this, but soon, she realizes that Cynthia resents Diana’s ownership of what she considers her rightful property, having grown up there. Diana has become strong enough to confront Cynthia about the rations though the conversation turns to the question of Robin’s education. Cynthia wants the boy to be sent to the same boarding school her brother and father attended; Diana refuses to send the boy away.
After the conversation ends with Diana insisting that Cynthia has no say in her decisions, Diana goes out into the gardens. Even though they have are overgrown, Diana still feels a sense of calm as she wanders around. She encounters Father Devlin, who wounded his hip falling from a tank. Cynthia has suggested that Diana speak with the priest, considering her grief and isolation, but Diana has resisted. Father Devlin says that talking to anyone could help. He sits near her while she prunes the clematis.
Sydney interrupts Emma’s and Charlie’s work on the garden to beckon them into the house: Sydney has found blueprints of the house, Venetia’s sketches of the gardens, and letters written by her brother, Adam. The most surprising find is a note, in unknown handwriting, that identifies the winter garden as “Celeste’s garden.” Nobody knows who Celeste is, but finding the documents ensures that Emma’s restoration work is more accurate. Sydney mentions that a neighbor, Henry Jones, might have some information; his grandmother, Beth, once worked as a land girl on a nearby farm. Beth became an artist and might have sketched the gardens at Highbury House.
After Sydney and Charlie leave, Emma and Andrew stay behind to look over the documents. Andrew asks if Emma has considered joining them at the pub for quiz night. Emma demurs. Settling in and making friends when she will just move on after the job seems pointless.
Venetia regularly dines with her employers. Their privileged manner annoys her, but she appreciates their company. She thinks about them as she makes the trek to Wisteria Farm, where Matthew Goddard cultivates his roses. They agree on the beauty of gardens in wintertime. Venetia is impressed by Mr. Goddard’s operation; he is not a hobbyist, but rather a knowledgeable breeder and gardener. He shows Venetia not only his large collection of specimens but also his successful attempts at creating new cultivars. He invites Venetia to make her own cultivar, and she learns how to cross-pollinate the roses. He promises she can keep the resulting roses. They share a simple dinner before Venetia returns to her cottage.
Emma visits Henry Jones at Highbury House Farm, which used to be part of the Highbury House land until after the war. He is listening to loud soul music and wearing a James Brown t-shirt. He takes Emma back to his office, and she asks him about his grandmother’s sketches. He says that he inherited a lot of her belongings after her death; he likely has the sketches and will look for them as soon as he can. He, too, tries to enlist Emma’s help on quiz night; their group, Menace to Sobriety, usually loses. Again, she turns down the invitation, but when Henry asks to exchange numbers, she agrees. After all, if he finds the sketches, she will want to look at them.
In Colin’s letter to Beth, he mentions how much he would like to be back on a farm, as well. Beth has been entrusted with the delivery to Highbury House, so she sets out with the horse and cart, happy for some rare solitude. Stella greets her at the kitchen entrance and makes her a cup of tea. Beth is surprised that the milk is fresh, not powdered. They talk about the war effort, and Stella reveals that she was rejected from service because of her asthma. She also tells Beth that she does not enjoy her work at Highbury House, especially the imperious Mrs. Symonds. Stella admits that her employer is very fond of Robin, her son. Still, Stella hopes to leave after the war.
Beth expresses an interest in the gardens, and Stella assures her that Mrs. Symonds is up in London; Beth should take a look while she can. As Stella hands Beth a list for next week, Stella notices Beth’s chapped hands; she gives her a home remedy of wax and oil. When Beth leaves, she hesitantly takes a look at the gardens, amazed by their serene beauty. One of the gates is locked though the garden behind it is most fully in bloom even in the first frigid days of March. Beth spies a toy train beyond the gate, surmising that this area must be where Robin goes to play.
Stella has been called to the school: Bobby has been in a fight with another student. She is worried that the errand will make dinner late and irritate Mrs. Symonds. She is further horrified to discover that the boy with whom Bobby fought is Robin, and Mrs. Symonds is already waiting in the headmaster’s office. Bobby insists that they are friends, and Robin confesses his role in the fight: He tripped Bobby when it looked like Bobby would win their foot race. Mrs. Symonds apologizes for Robin’s behavior though she refuses the headmaster’s punishment: She will have the boys weed the garden rather than have them suffer a caning.
As they leave, Mrs. Symonds sends the boys on ahead to talk with Stella. Mrs. Symonds approves of the friendship between the boys, saying it has been beneficial to them both. She also lets Stella know that she has spoken with Cynthia about the rations, and Stella is surprised that Mrs. Symonds has come to her defense. However, when Stella mentions Mr. Symonds, Mrs. Symonds snaps at her.
As the story develops, the history of the Highbury House gardens overlaps with the characters’ intersecting stories and timelines. This highlights the theme of The Garden as Memory. While Emma is focused on restoring the gardens, Venetia is in the process of creating them; where Diana and Beth find peace and inspiration in the gardens, Stella views them as a hindrance to her escape from a life of service. The characters are not only connected via their association with Highbury House but also through their evolving sense of self; all of these women are in a kind of limbo, waiting for their lives to take shape and wanting something as yet unclear. Emma’s peripatetic life leaves her isolated and anxious, while Venetia’s eccentric and progressive ways render her an outsider. Beth longs to belong somewhere, having been orphaned and raised without affection while Stella yearns to escape the fate dictated by her lower-class background. Diana masks her true emotions and kindness—as well as her desires—behind a harshness borne out of grief and resentment. The novel functions as a bildungsroman for women of various ages and eras. They are discovering who they are and how they want to live via the nexus of Highbury House and its gardens.
The intersections between the characters become more concrete with the discovery of Venetia’s sketches, which provide physical evidence of Emma’s connection to the past: “You can use [the drawings] to make sure that you’re restoring Highbury House’s gardens exactly as they were,” Sydney tells her (68). Though Emma has already committed to such a restoration, she feels fortunate to have access to these primary sources. In addition, people themselves provide a link to the past: Henry Jones turns out to be the grandson of the land girl Beth Pedley. These reverberations emphasize the importance of Preserving Family History and the complications of inheritance.
The theme of Privilege and Class Mobility centers on questions of legacy and responsibility to tradition. For Diana, this means rejecting Cynthia’s insistence to send Robin to boarding school: “Robin is a Symonds, Diana,” Cynthia chides her. “Symonds boys have been going to Winchester for decades” (59). Diana will not continue a tradition that she finds potentially harmful to her son’s (and, implicitly, her own) well-being; this is one legacy of wealth and status that she will refuse. For Stella, her cook, this means resisting a life in service, the fate of generations of women before her. Instead, she takes correspondence classes in secretarial work, hoping to transform her life and forge a different legacy.
At the center of all of the action exist the gardens, their state signifying the various emotions of the characters. Diana “could hide in the garden rooms and pretend that her home wasn’t overrun, her husband wasn’t dead, and life wasn’t slipping through her fingers” (61). The gardens offer her sanctuary from an overwhelming reality. For Beth, the gardens represent tranquility amidst the turmoil of war: “In these garden rooms, one could find something close to peace in a time when none was to be had” (89). For Emma, as for Venetia before her, the gardens symbolize opportunity, a chance to make her mark on history.
As winter comes to an end, the blossoming of spring flowers signals budding romance and new beginnings. Venetia and Matthew’s crossing of a male rose with a female specimen emphasizes the growing connection between them as their personal relationship deepens. Throughout the novel, roses symbolize romance. Matthew blushes as he speculates about the potential success of their cross: “Roses are sometimes more fickle than a bored lover” (75). The innuendo hovers in the air, as he promises her ownership over whatever the outcome might be. Meanwhile, the lingering mystery of the winter garden—whose off-season profusion is twice described as “obscene” (73, 89)—keeps Emma thinking about Henry and his grandma’s sketches.
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