56 pages 1-hour read

Rooftoppers

Fiction | Novel | Middle Grade | Published in 2013

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Chapters 19-22Chapter Summaries & Analyses

Chapter 19 Summary

After two days of heavy rain, a clear night sky beckons a restless Sophie back onto the roof. First, she cuts off the tips of her stockings, leaving her toes bare. She then sprints over the roofs to the law building, where Matteo helps her across the tightrope to his “home.” She cringes to see that he has been eating a roasted rat, but she nibbles at it to judge its taste, which is not good. It has been a bad week for food due to the rain, which not only keeps the birds away but also causes people to shut their windows, making it impossible for Matteo to steal produce from the windowsills. Sophie scolds herself for her thoughtlessness in not bringing him any food. Matteo mentions that he just ate a candy cane that “Anastasia and Safi” left near the opera building; startled, Sophie asks him who those girls are. Matteo changes the subject, asking if she has any food in her pockets. She manages to dig out some raisins and chocolate for him, and he smiles. Sophie sees that, on a nearly empty stomach, Matteo cannot muster the energy to take her exploring.


At breakfast the next day, Charles says that his investigation into the ship records hasn’t gone anywhere: He’s been having trouble finding a lawyer with the courage to take on the police commissioner. Sophie, meanwhile, sneaks food from the table and hides it in her clothes: a croissant, a bread roll, and an apple. However, the sharp-eyed Charles catches her and asks her if she’s been keeping secrets from him. She denies it, but he sees through this. Unexpectedly, he tells her that he’s “happy” for her to have secrets: “Secrets make you tough, and wily” (181).


That night, she goes to her room to find a heavy pack on her bed, left by Charles. When she gets to Matteo’s rooftop, they open it together and discover a feast: cooked venison, buttered bread rolls, lemonade, chocolate cake, and 22 sausages. Matteo has stolen fresh tomatoes from a windowsill, which Sophie uses to make tomato soup. Building a cookfire, Matteo shows her how to use a salvaged weathervane to skewer and cook the sausages. As they sit side-by-side, feasting on the delicious food, Sophie can’t remember ever being so happy. Suddenly, her ears perk up: The breeze carries a hint of music from over the rooftops, and she recognizes Fauré’s Requiem. The belief that she is hearing her mother shakes her “to her bones” (192). She wants to track the music to its source at once, but Matteo, turning white, claims that it could be coming from anywhere in Paris. She realizes that Matteo is afraid to go near the train stations, which is where the music is coming from. Finally, he tells her the truth: The rooftops over there belong to “someone else.” To go there, he says, they’ll need help from the “other rooftoppers,” which makes Sophie’s eyes widen. Matteo, she learns, has not been entirely honest with her.

Chapter 20 Summary

Two days later, Sophie sits in the darkening Tuileries Garden, waiting to meet another rooftopper, as arranged by Matteo. He told her nothing about this person or how long she might have to wait, though he says that it could be five hours. He refused to wait with her, as he never goes down to street level, where he might be caught. Sophie has said nothing to Charles about this meeting, not wanting him to worry. After waiting for about an hour, Sophie hears a voice close behind her and turns to see a blonde-haired girl perched on the back of her bench. This girl, who knows Sophie’s name, is quickly joined by her “sister,” Safi, a dark-haired girl who appears with equal stealth. The blonde girl introduces herself as Anastasia; both she and her sister are small and filthy but fearless looking. They are very beautiful, though Safi has the hardened look of someone who has been through a lot. Unlike her sister, she is very taciturn, not saying a word.


Anastasia says that Matteo told them all about her by signaling to them with candles. What he said about her was “mostly good,” she says, which impressed them since Matteo likes very few people. Unlike Matteo, the two sisters live in the trees; they picked up English (and other languages) by eavesdropping on tourists in the parks. Like Matteo, they don’t remember having a mother and are not even sure how old they are, though Sophie thinks that Anastasia looks about 13 and Safi 10. Anastasia tells her that she and Safi are arbroisiers—tree dwellers—and points out a pair of hammocks at the top of the park’s tallest tree. Other sky-treaders, she says, are the boys who live on the city’s train stations, who are called gariers. The gariers, she adds, are “bad”—disreputable people who steal and “cut.”


As Safi begins scaling a great tree to fetch a gray sweater for Sophie to wear on their trip, Sophie asks Anastasia if her sister ever talks; Safi talks when no one is around, she answers. Sophie reflects, “I think […] everyone starts out with some strange in them. It’s just whether you decide to keep it” (208). Anastasia tells her that if they’re going to the train station, they’ll need the help of a certain boy, a “fighter.” This boy always wants to be paid, so first they’ll have to get money for him. Unlike thieves, she and her sister always pay for what they take, even if they have to leave the money surreptitiously. To get this money, they’ll have to meet up with Matteo after dark, at a bridge—the Pont de Sainte-Barbara.

Chapter 21 Summary

An ornate bridge with gold-painted railings, the Pont de Sainte-Barbara attracts many visitors who throw coins (and sometimes valuable rings) into the river to make a wish. When Matteo appears—walking casually along the bridge’s railing—Sophie strips down to her underwear, and she and Matteo begin diving for coins in the icy water. As Sophie comes up, shivering, her hands full of money, she asks Matteo about the gariers. He and Anastasia tell her that the gariers are “dirty,” but not in the literal way of other sky-treaders; that is, they’re vicious, like a “mad dog.”


Once they have collected three francs’ worth of coins, Matteo says that’s enough, and he and Sophie swim to the bank, “half racing.” Sophie swims faster, but Matteo cheats by dunking her: “Cheating doesn’t exist for rooftoppers,” he says, “There’s just alive or dead” (217). After Matteo swims off, Safi tenderly grooms Sophie’s wet hair. Then, she vanishes into the trees, leaving Anastasia and Sophie to walk to Notre Dame, where the “fighter” lives.

Chapter 22 Summary

As the two girls walk to Notre Dame on the dark pavement, Anastasia reluctantly answers Sophie’s questions about the gariers and Matteo’s hatred of them. A few years earlier, the gariers warned Matteo to stay off the rooftops, which they wanted all for themselves. Since the rooftops are all that Matteo has, he refused. In the brawl that followed, Matteo lost the tip of his finger and received a serious gash in his stomach. One of the gariers lost a hand. To keep from dying, Matteo had to seek medical attention at an orphanage. Since then, he’s never gone near the train stations and has kept off the streets from fear of being put back in the orphanage.


The majestic heights of Notre Dame loom, and Anastasia and Safi show Sophie how to climb up its side. As she goes, Sophie learns how to locate her center of balance: “[O]nce found, it was like a place marked in a book—easy to recover” (223). At the base of the cathedral’s great tower, they find Matteo, who says that Sophie should whistle to call Gérard, the “fighter” they collected the money for. She uses the three-note whistle she used to summon the birds on the tightrope, and within seconds, a boy somersaults down from the bell tower, landing right in front of her. He looks younger than Matteo but is taller, with long, thin legs. To Sophie, he doesn’t look like much of a fighter. He already knows who Sophie is and what she needs from him; gratefully, he takes the three francs, saying that Notre Dame has raised the price of its candles. Gérard, Anastasia says, has very good hearing; he can hear a harmonica being played halfway down the river. He can also sing, which he demonstrates with a clear, sweet song that makes Sophie tingle all over. Even the taciturn Safi whoops with pleasure. Matteo says that they must hurry if they are to reach the stations in time to listen for the mysterious cello playing the Requiem. Sophie last heard the music around two o’clock in the morning, he reminds them. Worried, Gérard notes that “two is a bad hour for gariers” (228).

Chapters 19-22 Analysis

In this section, Charles, whose legal inquiries have run into a dead end, intuits that Sophie’s secrets have a stronger “magic” than his own. Encouraging her to keep her secrets from him, he continues his role as a fairy-godfather figure, conjuring up a cornucopia to feed her “food-based secret.” This moment underscores the novel’s recurring theme of The Courage to Defy Norms, as Charles demonstrates an unconventional and loving approach to guardianship, trusting Sophie’s independence rather than controlling her movements. This comes just in time since the rainy weather has left Matteo too famished to help her explore. Luckily, Sophie’s latest propitiatory offering to the rooftops—bread, venison, and sausages—summons an immediate response: a waft of cello music from the direction of the train station playing the Requiem. After 11 long years, Sophie is at last “hearing [her] mother” (192) marking a giant leap forward in her quest. Her undying faith, helped by Charles’s food, has conjured a first communion: As a “mother-hunter,” Sophie’s offering of venison to Matteo invokes the kind of offering that one might give for a successful hunt. This ritualistic act ties Sophie more deeply to mythic structures, framing her quest as one of reverence and connection to the past.


After some hesitancy, the secretive Matteo tells Sophie that the Gare du Nord station is, for him, dangerous territory, as it is ruled by the gariers, a much more bestial kind of rooftoppers than his own. In a battle with the gariers, Sophie learns, Matteo cut off one of their hands, a possible allusion to Peter Pan, who lopped off the hand of his nemesis, Captain Hook, in a fight. The world of the gariers symbolizes the darker side of rooftopping—a subculture shaped by survival at any cost. This contrast illustrates the novel’s exploration of defying norms, showing that not all forms of nonconformity are nurturing or compassionate. Sophie’s journey across the rooftops and into garier territory recalls the structure of ancient myths, where heroes must pass through danger or forbidden spaces to reach their goal. While not a direct parallel, her path through this perilous landscape evokes stories like Orpheus’s descent into the Underworld in Orpheus and Eurydice or Odysseus’s navigation between monsters in The Odyssey. In this way, Rooftoppers draws on timeless patterns of quest narratives, transforming Sophie’s personal search for her mother into a story about courage, perseverance, and the power of love to cross even the most treacherous boundaries. As a result of his long-ago fight with the gariers, Matteo was imprisoned in a hell-like place (an orphanage); now, Matteo volunteers to put himself in harm’s way again to spare Sophie from hell. First, since there is safety in “numbers,” he summons the help of his fellow sky-treaders.


At their rendezvous at the Tuileries Garden, Sophie discovers that Matteo’s “Lost Boys” are mostly female, like herself. If anything, they are even more fearless than Matteo, sleeping in tattered hammocks in the summits of tall trees, and their examples of courage, strength, and beauty boost Sophie’s own confidence. The introduction of Anastasia and Safi expands the novel’s depiction of nontraditional families and communities, showing that connection can thrive in unexpected places. For the first time in her sheltered life, she has companions her own age, making her feel like less of a misfit. This alliance also reinforces the theme of The Power of Music to Forge Human Connections in an expanded sense: Here, music and courage connect Sophie not just to her mother but also to a larger community of outsiders who live authentically on their own terms. To summon the fourth sky-treader, however, the four of them must make another ritual offering. After descending far from their comfort zone—to the bottom of the Seine—they must climb the heights of Notre Dame to give the “fighter” Gérard the coins they have salvaged. Gérard needs the money to buy votive candles from the cathedral, underscoring the liturgical subtext of Sophie’s endeavor. Now protected, the five of them can cautiously enter the forbidden realm of the gariers.


The religious and mythological aspects of Sophie’s quest add to the magical, fairy-tale ambience of Rooftoppers while sanctifying the primal nature of Sophie’s deep longing: “Mothers are a thing you need, like air, […] Mothers were a place to put down your heart” (32). Back in Victorian London, Sophie tried to invoke her mother by drawing a picture and coloring it with her own blood. Now, in the airy freedom of the Paris rooftops, her rituals expand to take in the whole city, from the river’s depths to the cathedral’s marble heights.


Ultimately, this section of the novel also exemplifies The Link Between Place and Self-Discovery. Sophie’s Parisian adventures lead her into physical spaces—rooftops, rivers, and cathedrals—that demand courage, ingenuity, and growth. Paris itself becomes a metaphorical landscape for transformation, starkly contrasted with London’s rigid streets. By embracing the rooftops, Sophie taps into forgotten parts of herself, cultivating resilience and a sense of belonging in a world that values strangeness, independence, and love over conformity.

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