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Anna FunderA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
As the war nears its end, Orwell wants to adopt a son. Eileen is initially uncertain; she is worried that she won’t love an adopted child as she would have loved her own biological children. However, they do adopt a son, Richard Horatio Blair; the infant’s his mother is a patient of Gwen’s and gives him up for adoption. Eileen picks Richard up from the hospital by herself and falls in love with him. Orwell is entranced with his new son, and Lydia reports that Eileen and Orwell are now happier than she has ever seen them. While Eileen continues working, she brings Richard to stay with Gwen, who has a household staff.
Although Richard’s arrival, the end of the war, and the writing of Animal Farm have collectively created harmony and intimacy between Eileen and Orwell, Orwell continues pursuing questionable affairs and engaging in notable absences. After they bring Richard home, Eileen is more committed to maintaining her health. However, her uterine problems intensify, and she goes with Richard to Gwen’s family house to recover. The adoption hearing takes place while she is still ill, but Orwell leaves before the hearing to see the end of the war in Europe. Eileen attends the hearing herself and successfully adopts Richard. She arranges for a hysterectomy but collapses again, which leads Georges Kopp to help her to go back north to Gwen’s family.
Eileen’s medical condition has been confirmed as an operable cancer. She writes to Orwell, making excuses for the expense of the surgery and downplaying her condition. Funder believes that Eileen diminished of the severity of the problem because of Orwell’s abusive behavior; he has already abandoned her during her illness and her simultaneous endeavors to adopt and raise a new baby. They have plans to move to Scotland, which will require massive work on her part, and Eileen argues that the surgery should allow her to do more. She urges Orwell to write rather than “living a literary life” (318), and she gives recommendations that are clearly designed to help him if she dies in surgery. She has opted for the less expensive option, ignoring the London physician’s recommendations for multiple blood transfusions. Instead, she plans to get the surgery done quickly. Notably, Kopp has not been forwarding Orwell’s mail to him. Eileen says this is because Kopp has no address for Orwell, but Funder believes that Kopp is angry at Orwell for leaving Eileen alone.
Orwell, who is now in Paris, dines with Harold Acton and meets Ernest Hemingway before traveling to Cologne. He strikes Hemingway as excessively paranoid, and Hemingway loans him a .32 pistol for protection. Back in England, Eileen writes Orwell two more letters before she dies in surgery. She focuses on Richard, on his teeth, on his doctor’s appointment, and on the future; however, she also explains that she has written her will and leaves everything to Orwell so that he may provide for Richard. She also specifies that she would prefer either Gwen or Norah—not Orwell’s sister Avril—to take care of Richard if both she and Orwell were to die.
Gwen’s daughter, Catherine, remembers that Gwen had a premonition about Eileen’s outcome. In 2021, she is still mystified as to why her mother did not insist on the London treatment for Eileen, especially given Gwen’s correct premonition about Laurence.
The story of the end of Eileen’s life is appropriately centered in Eileen’s own words and Funder’s imagined version of Eileen’s feelings and experiences. Throughout the book, Funder has often relayed her own experiences in each section, entering the narrative to provide support and context for her research and conclusions. In this section, however, Funder refrains from inserting herself into the narrative. Much of the writing in this section consists of dramatized scenes extrapolated from the letters and reports of family and friends, and Funder also includes excerpts of Eileen’s actual letters. By choosing to absent herself and only lightly touching on Orwell’s actions, Funder places Eileen’s voice and experience at the heart of the narrative. Although Funder does comment on the content of the letters, she largely allows Eileen to tell her own story of the end of her life. This stylistic choice is designed to evoke a strong emotional response that connects her readers to Eileen and conveys the woman’s joy, fear, and loneliness in her final days.
By dramatizing so many of Eileen’s struggles with motherhood, illness, and impending death, Funder highlights How Fiction and Truth Overlap. Although many of Eileen’s feelings are imagined by Funder, the historical record of letters and family stories support her interpretation. However, the letters and reports only convey an academic understanding of events instead of driving home the emotional elements involved. Thus, the deeper truths of Eileen’s experience are only accessible through dramatization. A prime example occurs when Funder creates a scene of Eileen’s lonesome walk to the bus stop as she travels to undergo surgery. In this moment, Funder imagines Eileen reflecting on the life she is buying for herself, and this sentiment clashes with the many indications that Eileen is about to meet her end on the operating table. The foreshadowing facilitates a sense of real loss that would not be possible without the fictional elements that Funder weaves throughout the book.
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