Meet Me in the Garden

Nina LaCour
55 pages1-hour read
Fiction
Novel
Adult
Published in 2026

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Part 2Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of racism, antigay bias, mental illness, death, pregnancy loss, substance use, and emotional abuse.

Part 2: “1948-1950”

Part 2, Chapter 7 Summary

Three years after leaving New Orleans, the family has settled into a new rhythm in Los Angeles. Odette, Al, Lionel, and Bernard all work at the Columbia Records pressing plant, while Odette’s sister Adele cares for their children, including Odette’s son, Clément. One evening, the family holds a special dinner to celebrate Odette’s six-month work anniversary. Bernard becomes emotional, expressing his gratitude for their new life and his pride in being one of the plant’s first Black managers. Later, while putting Clément to bed, Odette reflects on her past. She recalls her brief, arranged marriage to Cyril, who was killed in a military training accident before Clément was born. She feels a deep guilt over the emotional numbness she experienced during her pregnancy, a period when she was still reeling from the successive losses of her family and home.

Part 2, Chapter 8 Summary

Lionel is fired from the plant for smoking marijuana with two secretaries. That evening, he brings two friends from work, Jeremy and Ginny, home for dinner. Odette feels an immediate attraction to Ginny, which she tries to suppress. Ginny shares a story about being fired from a previous job: Her boss’s wife took an interest in her at a company party, and the next day her boss cut her position. Before leaving, Ginny gives Odette a knowing wink.


Later, Adele confides in Odette about her ongoing strained relationship with their mother. This prompts Adele to ask what caused the final rift between Odette and Maman before they left New Orleans. Odette reveals that she and Delphine secretly visited their father at the mental hospital and found him lucid. Odette also admits she used her own earnings to replace his simple grave marker with a proper tombstone. In return, Adele confesses that she and Claire saw Delphine in a Los Angeles department store years earlier. Delphine was with a baby, but Claire steered them away before they could speak, and they decided not to tell Odette.

Part 2, Chapter 9 Summary

Furious about the missed opportunity to see Delphine, Odette confronts Claire. The argument continues until Claire says she doesn’t feel well and goes to the bathroom, where Odette discovers her having a pregnancy loss. Overcome with guilt, Odette buys Claire a gift of suede slippers, but Claire refuses to see her for a week. Adele explains that Claire is irrationally blaming Odette for the pregnancy loss due to the stressful confrontation. Odette then asks for more details about the Delphine sighting. Adele describes Delphine as looking more mature and styled like a white woman, with a fair-skinned baby girl.


Learning that Delphine is in Los Angeles and seemingly well shifts something in Odette. Soon after, Ginny appears at the plant to announce she and her roommate, Mare, are moving to Montana. She invites Odette and Lionel to a going-away party. At the party, Odette and Ginny step outside for air and share a kiss, an act that feels safe to Odette only because Ginny is leaving. The experience galvanizes Odette, who begins to imagine an independent life for herself and Clément. On the drive home, she tells Lionel she will never marry again.

Part 2, Chapter 10 Summary

Over the next several months, Odette saves money in a shoebox for her own apartment. Her plans are spurred by envy when Lionel announces he has found a place of his own. Feeling pressure from Adele to move out, Odette redoubles her efforts. Lionel takes Odette and Clément to see a man’s collection of Birmingham Roller pigeons, a breed that performs acrobatic tumbles in the air. Odette is captivated by their flight.


A few weeks later, Odette and Clément go to Union Station to pick up a pigeon Lionel ordered. There, they encounter Felix. Sometime later, Odette sees the film The Snake Pit with her work friends. Afterward, watching her friends process the film’s depiction of a woman in a mental institution, Odette wants her sisters there so they can finally talk about Papa together. She calls and urges them to see it, but they refuse. Feeling angry and rejected, Odette impulsively buys a 1941 Studebaker from her coworker Marcus for $900, spending nearly all of her savings.

Part 2, Chapter 11 Summary

Upset that Odette has spent her savings, Adele gives her a one-year deadline to move out. Odette saves diligently but, a year later, still lacks enough money for a deposit and a safety net. Fortuitously, her coworker Lawrence offers to let her take over the lease on his affordable two-bedroom apartment, which will be available just as her year is up.


A week later, Odette is driving when she sees Delphine in the middle of Crenshaw Boulevard. Delphine is disoriented and erratically applying lipstick, seemingly unaware of the cars honking at her. Odette tries to approach her, but Delphine flees. The family mobilizes, searching police stations and hospitals to no avail. Desperate, Odette calls Mama Laurent and asks her to have Hattie ask around for Bill’s surname.

Part 2, Chapter 12 Summary

Hattie calls back and tells them Bill’s full name is Robert Kelley, which she obtained from Mr. Halpern, who had sold Bill fabric for backdrops. The family finds an address for a Robert Kelley on North Harper Avenue. Odette and Lionel drive there and find that a new family now lives in the apricot-colored house. The new owner, Naomi, and a former neighbor, Linda, tell Odette that Delphine’s husband left her. Afterward, Delphine’s mental state deteriorated rapidly, and one day she and her young daughter, Nathalie, simply vanished, leaving the house in disarray. Naomi shows Odette a tree in the backyard scarred with numerous knife gashes. When Odette returns home, Adele informs her that the police called: Delphine has been found and taken to Camarillo State Hospital.

Part 2, Chapter 13 Summary

Odette calls Camarillo State Hospital and confirms Delphine is a patient, though she is not yet permitted to visit. A hospital receptionist facilitates a brief, cryptic phone call in which Delphine tells Odette that Nathalie can be found at a specific laundromat because it is “laundry night.” Odette and Al go to the location and find five-and-a-half-year-old Nathalie alone. Nathalie recognizes Odette’s name from a story her mother told her about a painter in a blue house. They take her home, where she is quiet but insistent on hanging her wet clothes on the line outside, even in the dark. Later, she tells Odette that she and her mother lived in a place called the “moon room.” One night, Adele tells Odette that the social worker confirmed the most important qualification for adoption is being married, and that Claire would be the most obvious choice, although she also acknowledges that Odette has a special bond with Delphine.

Part 2, Chapter 14 Summary

Adele and Claire take charge of Nathalie’s care, but the girl struggles to adjust, experiencing violent tantrums. Odette is the only one who can calm her, and she forms a bond with Nathalie by patiently teaching her and speaking openly about their shared love for Delphine. Delphine’s doctor calls Odette with a formal diagnosis of schizophrenia and confirms that Delphine will have to give Nathalie up for adoption. The family assumes Claire will be the one to adopt her.

Part 2, Chapter 15 Summary

Claire begins to prepare for her role as Nathalie’s mother, though Odette remains the only one who can handle Nathalie’s outbursts. Odette is finally allowed to visit Delphine, who is heavily medicated. In the same visit, Delphine asks Odette to tell Nathalie that she is dead. She then insists that Odette, not Claire, must adopt Nathalie. When Odette explains that she cannot because she is unmarried, Delphine threatens to tell Odette’s family that she’s a lesbian if she does not find a way. Terrified, Odette later agrees with her sisters that telling Nathalie that Delphine is dead is the only option. Jointly, the three sisters decide to wait until after Christmas to tell Nathalie. However, a few days later, Nathalie finds Odette in the yard and flatly states, “My mommy is dead” (139).

Part 2, Chapter 16 Summary

Furious that her sisters told Nathalie without her, Odette takes Nathalie to the beach to create their own funeral ritual. They buy armfuls of flowers, tear off the petals, and cast them into the ocean, saying goodbye to Delphine. Shortly thereafter, Claire announces that she is pregnant and that the baby’s heartbeat is strong. Maman sends a package from New Orleans containing gifts, including two framed paintings that Papa loved for Odette and a silver tray for Claire, but pointedly nothing for Adele. Witnessing Odette’s natural bond with Nathalie, and feeling secure in her own pregnancy, Claire holds a family meeting. She withdraws her intention to adopt, stating that it is clear Nathalie is meant to be with Odette. Despite the legal obstacles, Odette tearfully accepts.

Part 2, Chapter 17 Summary

To satisfy the social worker’s marriage requirement, Adele lies and says Odette is expecting a Christmas proposal. Odette endures a series of miserable dates. When Felix arrives for a holiday visit, the family sees him as a perfect match. During a party, Odette watches through her bedroom window as Felix pulls Al close and kisses him, after which Al jerks back. The moment gives her a new understanding of Felix’s loneliness and their easy friendship. Later that night, Odette proposes a marriage of convenience to him, explaining that she needs a husband to adopt Nathalie. She makes it clear it would be an “arrangement” that would allow them both personal freedom. Moved by the offer of family and companionship, Felix accepts.

Part 2 Analysis

In Part 2, The Psychological Cost of Hiding One’s True Identity escalates as Odette and Delphine’s secrets take a grave toll on themselves and their relationship. When Adele confesses that she and Claire secretly saw Delphine in a Los Angeles department store years earlier, her admission exposes a pattern of concealment that defines the family’s life. Adele describes how Delphine now styles herself like a white woman, foreshadowing how her “denial of identity” erodes her health and sense of self (124). Eventually, her attempt to pass as white, which necessitates severing all family ties, leads to a mental health crisis: “Bare wrists and a pungent odor, grease in her hair. […] Red on her teeth, red in a smear across her cheek, her gaze fixed to the compact mirror” (97). This scene on Crenshaw Boulevard marks the public unraveling of a private agony that has been building for years. The theme reaches its most dangerous point when Delphine, institutionalized and desperate, weaponizes Odette’s own secret past relationships with women as blackmail, forcing Odette into a painful conspiracy of silence to protect herself while securing a future for Nathalie.


Amidst the turmoil of secrets and loss, the family members consistently use aesthetic and domestic practices as a form of self-definition and emotional regulation. This pattern highlights Creative Expression as an Emotional Outlet. The narrative opens this section with a carefully curated dinner celebrating Odette’s work anniversary, featuring “pale blue, nearly translucent” candles and Oysters Rockefeller (60), a dish requiring immense effort. This act of creating beauty and order is a bulwark against the instability of the family’s new lives. This impulse extends to personal style, from Adele’s chic headscarf to Ginny’s androgynous confidence, and to interior design, seen in the “emerald crib” and “striped stuffed elephant” in the nursery Claire prepares (101). Even Odette’s impulsive purchase of the mint-green Studebaker is an aesthetic act of rebellion, a choice for style and selfhood in a moment of anger. The arrival of Papa’s paintings, a gift from Maman, solidifies this theme. The paintings of birds and a horizon are vessels of memory, art, and paternal love, providing Odette a tangible link to her artistic heritage and a source of comfort for her new home.  


Lionel’s fascination with Birmingham Roller pigeons introduces a symbol that captures the characters’ longing for freedom and their awareness of its precarity. When Odette watches the birds perform their acrobatic tumbles, she is unsure if their flight is “ecstatic or struggling, if it’s freedom or an affliction” (85), a phrase that encapsulates her own conflicted desires. The Birmingham Roller pigeons mirror her yearning for an independent life, a dream catalyzed by her kiss with Ginny but one that feels both exhilarating and dangerous. For Lionel, the birds represent a world outside the conventional success pursued by his brothers and an investment in something beautiful and strange. This imagery of flight is contrasted with the reality of institutional confinement that haunts the family. Odette’s viewing of the film The Snake Pit resurrects the trauma of Papa’s institutionalization and foreshadows Delphine’s fate at Camarillo State Hospital, a real-world facility known for its brutal mid-century treatments. These tangible threats to the characters’ freedom show how fragile and precious the liberty they achieve for themselves is.


The family’s new life in California is initially portrayed as a harmonious achievement, but the crises surrounding Delphine and Nathalie severely test The Strength of Family Bonds. The section opens with Bernard’s grateful tears for their new life, but this stability is quickly fractured. Odette’s furious confrontation with Claire over the concealed Delphine sighting is directly followed by Claire’s pregnancy loss, tangling love, anger, and guilt into an almost unbearable knot. However, this rupture gives way to resilience. When Delphine has her mental health crisis, the family mobilizes with unquestioning unity, their shared history providing a foundation for collective action. The bond is tested again with Nathalie’s arrival, as the family must absorb a traumatized child into their lives. Claire’s journey is central to this process; she moves from wanting Nathalie to fill her own maternal void to recognizing Odette’s unique, intuitive connection to the girl. Ultimately, she renounces her claim on Nathalie: “[I]f I get to be a mother, I want to be an unselfish one” (147). This act of sacrifice reaffirms the family’s capacity to adapt and prioritize one another’s well-being above all else.


Odette’s proposal of an “arrangement” to Felix marks a key step in her journey toward self-determination and her resourceful creation of an alternative family structure. Haunted by her brief, empty marriage to Cyril, she is resolved to avoid a similar fate. Her kiss with Ginny awakens her to the possibility of a life built on her own terms. When the legal system blocks her path to adopting Nathalie, requiring a husband she does not want, Odette is forced to engage with the very institution she rejects. Her proposal to Felix is a pragmatic and radical solution born of a moment of shared understanding. After witnessing the furtive kiss between Felix and Al, Odette grasps the loneliness and societal pressure Felix faces as a gay man during the historical “lavender scare.” Their proposed marriage of convenience is a mutually beneficial partnership, allowing them both the freedom to live more authentically while forming the family they need. The arrangement is proof of the queer characters’ ingenuity in a society that offers them few legitimate paths to happiness.

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