55 pages • 1 hour read
Fiona DavisA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Mrs. Whitney recognizes Lillian, having met her as Angelica before. When she questions Lillian, Mr. Graham arrives and gives her an excuse to leave. She follows him to the organ room, wondering if he heard Mrs. Whitney call her Angelica. He flirts with her, but Lillian returns to her post near the front door. Richard Danforth is late, and Helen is beginning to get upset. When Richard arrives, he is apologetic, and he and Helen appear to get along well.
After dinner, Lillian can tell that Helen is getting tired and arranges to end the party. The next day, Helen is happy when she receives a letter from Richard. She asks Lillian to write a response, and Lillian takes the opportunity to further the romance she has promised to help along.
Lillian delivers the letter to Richard’s house, which is small and cluttered with Victorian decor. He explains that his parents both died from the “Spanish flu.” When he moved home, he didn’t have the heart to change anything. Lillian is shaken, thinking of her mother, and they connect through their grief.
Richard asks her to wait while he writes a reply to Helen, but he has a difficult time. He suggests Lillian write it, and she realizes that she is writing both sides of the correspondence. He walks part of the way home with her, telling her that he would like to be a doctor. They stop near a statue, and Richard points out that its profile matches Lillian’s exactly, but she doesn’t tell him that she was the model.
Lillian has been facilitating Helen and Richard’s courtship, and it seems to be going well. One morning, Mrs. Frick asks Lillian to breakfast and questions her about the courtship. Lillian is resentful of Mrs. Frick, who holds the responsibility for running the household but leaves it to Helen (and therefore Lillian). She knows that Mrs. Frick’s withdrawal from life has something to do with Martha’s death, but she does not know the details.
Miss Winnie, Mrs. Frick’s private secretary, tells Lillian what happened: Martha swallowed a pin when she was very young, and no one knew about it. She complained, but they could not find the source of her pain until two years later when the pin worked its way to the surface. By that time, the damage to her internal organs was too great, and she died from sepsis. At the time, Miss Winnie was Martha’s nursemaid and was devastated along with the rest of the family. After hearing the story, Lillian understands how Helen always feels the need to prove herself and please her parents—because she is trying to live up to the image of her dead sister.
Miss Winnie is thought to be almost completely deaf, yet she and Lillian have a frank talk about Helen and Richard. They agree that although the marriage is probably not a good idea, the family is set on it. Later that day, Mr. Frick discovers Lillian writing a letter from Helen to Richard. Lillian is worried, but he approves, saying that she reminds him of himself.
Mr. Frick has been ill, so the family goes to their Massachusetts estate for a week. Lillian stays in New York, happy to have some time alone. Before Helen leaves, she gives Lillian the first clue for a scavenger hunt for Richard, with clues scattered around the mansion. She sees it as a way to educate Richard about the art collection, but Lillian is upset at having to attend to Richard while the family is gone.
The next day, Richard arrives to begin the scavenger hunt but immediately begs Lillian to help him, and she agrees. Over the next few days, Lillian enjoys hunting down the clues with Richard, who plans to propose to Helen on Thanksgiving, just two weeks away. He is nervous about his eventual marriage and is happy that Lillian will be there to help him. She does not tell him that she will be leaving for California soon. They follow a clue to the organ chamber, where they kiss. Just then, they hear Helen’s voice announcing that the family is home a day early.
Veronica asks Joshua if he thinks the Magnolia Diamond is the prize at the end of the hunt. With Joshua’s extensive knowledge of the collection, they follow the trail of clues to the final one in Mr. Frick’s former study. Joshua finds a panel with the prize: a watch fob with an embroidered magnolia and Richard’s engraved initials. Veronica finds another panel with a cameo.
They decide to put the two items back for the moment and take the clues to Joshua’s workspace near the bowling alley. He remembers reading a letter from Helen to her private secretary that mentioned a game. They go through the correspondence looking for clues, and Veronica becomes fascinated with the archives.
They discover that Richard Danforth’s initials match those engraved on the watch fob and wonder why he never found the “prize.” Joshua finds a letter from Helen to Childs, in which she accuses him of stealing something. Veronica thinks it might be the cameo they found. They return upstairs and, while Joshua is looking for another lamp, Veronica returns to Mr. Frick’s study. She finds the Magnolia Diamond behind the cameo, puts it in her pocket, and doesn’t tell Joshua.
Helen discovers Lillian and Richard in the organ room but doesn’t see them kissing. They never finish the scavenger hunt, leaving the clues in the organ room. Later, when Lillian is unpacking Helen’s things with Bertha, Bertha says that Mr. Graham is interested in Lillian. Lillian likes him but thinks that Richard, if he becomes a doctor, could provide her with a better life. Because of her past as an art model, however, she doesn’t believe that any man will accept her.
Three days later, the Fricks tell Lillian that Richard has not written to Helen since their return. They are all concerned, and Helen is miserable. Lillian has received letters each day from Richard but is determined to reject him. She still plans to go to California, and she doesn’t want Mr. Frick to discover her relationship with Richard and retaliate. Helen’s parents assume Helen has done something to put Richard off, but Lillian tells them that Richard has been in touch with her about the proposal.
The next day, Lillian rejects Richard. She delivers a note from Helen, tells him to reply, and runs away. Helen receives a note from him the next day that he will be at the Frick Mansion for Thanksgiving. On Thanksgiving, Mr. Frick is rude and cruel to his family. When Helen gives him a portrait of herself and Martha, the gift unexpectedly triggers his moodiness, and the family erupts into an argument. Later, Mr. Frick apologizes to Helen.
Lillian answers the doorbell; it is Richard, and she tells him Mr. Frick is ill, so they will have to reschedule his proposal. Richard says that he came to break off his relationship with Helen. He asks Lillian to go to Boston with him, where he has been accepted to medical school. She wants to go with him but fears revealing her past to him and doesn’t want to miss her chance in Hollywood. He asks her to meet him the following Monday to leave New York.
Mr. Frick is still unwell. The doctor tells them that it is pleurisy and he is dying. Lillian plays checkers with Mr. Frick while Helen consults with the cook about his meals. Lillian is still considering Richard’s offer but is surprised to realize that she would miss her work with the art collection. Mr. Frick tells her that he knows he’s dying and asks her to look after Helen when he’s gone.
Lillian finds out that the Hollywood producer who wrote to her is in New York. She goes to his hotel and sends a note up to his room. The hotel clerk returns with the producer’s response, asking Lillian to meet him on Monday, the same time that Richard wants to meet her.
Mr. Frick’s health deteriorates, and the family gathers around him. On Sunday, Lillian writes two letters—one to Richard and one to the producer—both giving her regrets, but she isn’t sure which one she’ll send. On Monday, she decides that she would regret not trying to be an actress, so she sends her rejection note to Richard and leaves to meet with the producer.
At first, the producer doesn’t believe that she is Angelica (he has encountered impostors before), but she convinces him, and they talk about her prospects. She realizes that he wants to capitalize on her modeling career and turn it into something sordid. He wants to use her current notoriety from the murder investigation as well. Disappointed, she tells him that she is not the real Angelica and leaves.
Chapter 9 reveals that, like Kitty, Richard’s parents died in the 1918 flu pandemic (called by the misnomer “Spanish flu” in the text), a pandemic that ravaged the world between 1918 and 1920. This connection resonates with Davis’s contemporary audience; in 2022, the year of the novel’s publication, the world was grappling with the effects of the COVID-19 pandemic. The deaths of Lillian’s and Richard’s parents draw a parallel between the two eras, offering insight into both.
The setting of the organ room symbolizes discovery in these chapters and throughout the remainder of the book: Lillian and Richard discover their feelings for each other with their kiss in the room; Helen discovers them there when she arrives home early; and in 1966, Veronica discovers the clues there. The room also symbolizes new beginnings. When Lillian and Richard kiss in the organ room in Chapter 10, her life once again shifts directions. Nonetheless, however Lillian feels about him, she is plagued by her shame and society’s double standard. She knows that Richard will disapprove of her modeling career even though he appreciates the art that came from it. In fact, even when he admires her profile in a statue, she doesn’t tell him about Angelica, out of fear of rejection.
This impasse with Richard makes Lillian believe that she will never have any romantic intimacy with a man. This belief contributes to her decision, in Chapter 13, to choose her career over Richard. Davis forces Lillian to make this choice by setting her meetings with Richard and the producer at the same time. Lillian’s choice is consistent with her role as the counterpoint to the contemporary society’s idea of a woman’s place; she is choosing career over marriage.
These chapters also further explore the theme of The Need to Please One’s Parents. When Lillian finally hears the story behind Martha’s death in Chapter 10, it shifts her understanding of the entire Frick family. Mrs. Frick’s withdrawal and Mr. Frick’s moodiness all make more sense, as do Helen’s attempts to live up to the image of her dead sister and make her parents proud. For Helen, the themes of pleasing a parent and a woman’s place are intertwined. The best way for her to gain Mr. Frick’s approval is to get married, as he believes a woman should.
Although Mr. Frick has strong feelings about a woman’s place when it comes to Helen, he has a different perspective on Lillian, creating a thematic juxtaposition. In Chapter 10, when he discovers that Lillian has been writing both sides of the correspondence between Helen and Richard, Mr. Frick surprises her by affirming her actions: “You remind me of myself, we both know how to pull strings to get others to do our bidding. [...] I like the fact that neither of us is afraid to take a creative approach in carving out a path to success” (142). Although Lillian dislikes how the patriarch treats his family, she is proud of the comparison. Furthermore, Mr. Frick shows here that he can admire ambition and employment in a woman, creating nuance to his ideas of what a woman’s place actually is.
These chapters are heavy on plot development in both timelines, especially as the scavenger hunt in 1919 parallels the one in 1966. Veronica finds the Magnolia Diamond but pockets it and doesn’t tell Joshua. Though she feels ashamed of concealing the jewel, she knows him well enough by now to be sure that he would want to turn it over to the museum, and she is not willing to let go of the dream of bringing Polly home. Davis achieves a careful balance here when writing about Veronica’s actions. Because Veronica is the protagonist of the 1966 story, readers are encouraged to root for her, even while she is being dishonest. Davis walks this line by giving Veronica some shame and guilt about her actions and by making her actions go toward a worthy cause—bringing Polly home. Veronica remains a morally complex character despite the theft; her impulse to steal the diamond comes not from greed but from love.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By Fiona Davis