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Content Warning: This section of the guide includes discussion of illness.
Helen falls asleep on the couch. When she wakes up on Saturday morning, Sipsworth is experiencing more breathing difficulties. She puts him in the oxygen chamber, and after 12 minutes, Sipsworth stops gasping. He crawls into her outstretched hand, and she kisses him. Then, she administers medicine on her finger. After telling him not to worry about his appearance, which reminds her of how she looked after being pulled out of the disused well, she puts him to bed. She pictures asking Cecil to help her clear the garden, so she and “Sips” can sit on the patio in nice weather, perhaps with Dr. Jamal and Cecil as visitors. In another reverie, she considers joining a mouse enthusiasts’ group and helping sick mice with her oxygen chamber.
Helen calls the library to ask for some books on rodents and mycoplasma, explaining that she is a cardiac surgeon. The librarian asks if she would talk to Dominic, who is interested in anatomical models, and Helen agrees. Cecil calls for an update. He says he has been reading up on catch-and-release traps. Helen thinks about calling Dr. Jamal and perhaps buying him a Rolex watch. She doesn’t need to hold anything back because “the time in her life for restraint” has passed (159).
As she drifts off to sleep, she imagines the people in Australia who are alive because of her—an old woman who has just adopted a mouse, become a vegetarian, broken the law, and gotten a library card, “as though preparing to start her life all over again” (160).
When Helen wakes up, Sipsworth also awakens, and he is breathing normally. Helen gives him his medicine, and when he dutifully licks it off her finger, she says he is “Definitely a doctor’s child” (161). She watches television with Sipsworth next to her and then prepares a vegetarian feast for both of them.
As Helen and Sipsworth eat their meal, she considers inviting her new friends for Christmas: Cecil, Dr. Jamal, the librarian, and Dominic. After a nap, she strokes Sipsworth and hears his teeth crunching, which is a sign of bliss. She decides he can sleep with her in his slipper and tells him that his gift to the world is that he “bring[s] out the best in people” (168). Helen’s back aches as she takes him upstairs. She sets him on a chair in his slipper and tells him they will weather any coming storm as a family, in sickness and in health, just as she had promised Len.
Before she falls asleep, she tells Sipsworth not to fear death, but instead to look out for David and for Len, who will be waiting with a slipper and fresh peanuts. She asks him to let them know that she is fine.
Early on Sunday afternoon, Cecil knocks at Helen’s door just as Dr. Jamal pulls up. They introduce themselves and chat about Sipsworth. Cecil, who has come to install a motion-sensitive light in Helen’s backyard, is concerned that she hasn’t answered her door. He suggests that they enter through the back, and Jamal, who is concerned that Helen hasn’t opened her curtains, readily agrees.
The librarian and Dominic arrive with Helen’s books as Cecil fetches a ladder so he and Jamal can climb over the back gate. Helen finally opens the door, feeling dazed and numb in one arm. Dominic bonds with Sipsworth as she makes tea. She can hardly believe there are so many people in her house and invites them to the patio. Dominic asks if Helen had mice in Australia and she says she had two, “one big and one little” (179).
A familiar-looking neighbor knocks on the door and says he wondered if she was having a problem since so many cars were in front of her house. She recognizes him as the man who put the fish tank out. He says it belonged to his daughter’s gerbil. When Helen returns to her friends, she discovers that Sipsworth has escaped from his slipper into the garden. Helen suffers a heart attack.
Part 12, “Monday,” has no text as Helen is unconscious in the hospital.
Helen opens her eyes in the hospital. She has an IV in her arm. She thinks there is something she needs to do, but she doesn’t have the strength to stay awake.
Part 14, like Part 12, has no text as Helen is again unconscious in the hospital.
When Helen wakes again on Thursday, the nurse Kathy is in her room. Kathy tells her she has had cardiac surgery and must rest. Cecil is waiting to see Helen and tells her he’s sure Sipsworth is fine as he and Dominic left food and shelter for him on the patio. He reminds her that Sipsworth left his slipper on his own; perhaps Helen nursed him back to strength so he could return to nature. Helen cries but agrees with Cecil that Sipsworth is doing exactly what a mouse ought to do.
Dr. Jamal comes by and discusses Helen’s condition. She has had a stent inserted. That evening, he drives her home. It is snowing, and the town is decorated for Christmas. After he leaves, she sits quietly, thinking about Sipsworth.
Early on Friday morning, Helen decides to go upstairs to bed. She hears a light tapping, and as she passes the patio door, the light Cecil has installed goes on. She looks down at the place where she once stepped on the glue traps and sees Sipsworth, who has a paw on the door.
Sipsworth cements his symbolic identity as the stand-in for Helen’s lost family members when she tells him he is “definitely a doctor’s child” (161). She affectionately refers to herself and Sipsworth as “two mice in a mouse hole” (168) and to her dead husband and son as mice, “One big and one little” (179). This shows how Helen’s idea of family has extended to encompass all those she loves, whether humans or mice. This reinforces the novel’s themes of The Difficulty of Overcoming Grief and Finding God Through Love. By caring for Sipsworth, Helen heals from her own losses, demonstrating how love’s bonds can provide solace and inspire faith.
Helen’s grief had her stuck in the past, but her concern for Sipsworth pulls her out of this, prompting her to realize the importance of Living in the Present Moment. While she previously looked forward to her own death, she comes to value life—both her own and Sipsworth’s. Determined to heal him, she sets off a chain of events that culminates in her home becoming a gathering place for all her newfound friends, underscoring the idea that acts of love lead to miraculous connections. Ultimately, if not for Helen’s new connections, she would have died alone in her house, but the novel shows that her love for the mouse quite literally ends up saving her own life.
The narrative perspective remains anchored in Helen’s close third-person point of view through Chapter 33. However, Chapter 34 marks a significant shift as Cecil knocks on her door and is joined by Dr. Jamal. Helen’s heart attack, foreshadowed throughout the novel with her dizziness, fatigue, numb arm, and back pain, is clearly impending. Its timing, however, is ironic as she has finally embraced her past and her identity as a healer, has ensured Sipsworth’s recovery, and is openly preparing to start her life again. Helen is living fully in the moment, as she bustles around to get her friends tea and snacks and is then struck down. Van Booy amplifies this dramatic moment by including two named days, Monday and Wednesday, that have no text at all because Helen lies unconscious in the hospital. This structural choice also highlights the theme of Living in the Present Moment, highlighting life’s fragile impermanence.
Sipsworth’s sudden disappearance just before the attack is left unexplained, although Cecil tells Helen he must have had “mouse business” to take care of. Given Sipsworth’s near-mystical awareness, his departure could signify his intuitive recognition that Helen must face her crisis alone, an act that paradoxically strengthens her bond. He returns to the house when Helen comes home from the hospital, symbolizing the constant presence of love and companionship in her life.
The mouse’s tapping on the patio door echoes the tapping sound Helen hears in Part 2, tying the past and the present together. The scene unfolds against falling snow, which is another instance of water imagery through weather, symbolizing renewal and transformation. His return coincides with the town’s festive Christmas decorations, which is a final nod to the theme of Finding God Through Love. The holiday setting underscores the novel’s spiritual undertones, emphasizing the idea that love is a path to divine connection and personal redemption.



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