The Blue Hour

An entry from Vanessa’s diary references how Grace began to visit regularly during her recovery, bringing food and gifts. Grace was familiar with the island and its history since she had grown up nearby.

In the narrative present after Becker leaves, Grace muses on the strange impression he left: “[F]irst he frightened her, then he made her feel safe” (76). Becker reminds Grace of Nick Riley, a boy she knew at university. Secretly, Grace wonders if the bone fragment in the sculpture actually could be human: The sculpture was created at a time when Vanessa was behaving strangely. Grace begins organizing and reading through more of the journals, letters, and papers that Vanessa left behind. She deliberately chose which ones she gave to Becker, although they likely seemed disorganized and random.

Back at home, Becker reads a diary entry in which Vanessa describes having come to a separation agreement with Julian before she moved to Eris. Vanessa is excited because the divorce settlement will give her enough money to buy the island. Becker also spends time with Sebastian; Sebastian’s mother, Emmeline, dislikes Becker and blames him for breaking up the relationship between Sebastian and Helena. Becker and Sebastian know the truth about the death of Douglas (Sebastian’s father): Emmeline accidentally shot him, but the accident was covered up. It was claimed that their groundskeeper shot him, who was paid to take the fall for the incident.

Together, Sebastian and Becker review a new article promoting the opening of the expanded art collection held by the Lennox family, including works by Vanessa such as her “black paintings” and her sculptural works (including Division II).

Sebastian, Helena, and Becker have dinner together; Becker finds it tense to be around his wife and best friend together, although the group always appears to be on good terms. Becker talks about his visit to Eris and meeting with Grace. Sebastian is eager to find out more about the missing paintings and artworks, which he is convinced that Grace is hiding: Douglas reported having seen these works before Vanessa’s death. Sebastian also admits that he has allowed the sculpture to be sent for testing. Becker thinks that they need to share this information with Grace, but Sebastian claims that “it’s none of her business” (93).

The narrative shifts to a series of diary entries from the period immediately after Vanessa moved to Eris. She describes her elation and feeling of artistic inspiration, even though she lives in rugged and extremely isolated conditions. The new setting inspires her to shift away from painting (her primary medium) to sculptural pieces incorporating ceramics. During this time, she is also having a periodic affair with Douglas. Vanessa records her displeasure when journalists focus on her personality and personal life rather than her art.

In the narrative present, Becker begins reading through the diaries and papers, fascinated by how Vanessa’s writings provide new insights into artwork he has studied for years. However, Emmeline has also gone through the papers and found sexually explicit notes that Douglas (her husband) sent to Vanessa during their affair. She threatens to get revenge if Becker makes these papers public. Becker also finds a very threatening note from Douglas to Vanessa, which reads, “I should cut your fucking throat for what you’ve done to me” (105).

Becker explains the incident with Emmeline to Helena; he is confused as to why Emmeline is so upset since she has known for a long time that her husband was unfaithful and had an affair with Vanessa.

Alone on the island of Eris, Grace continues to go through Vanessa’s papers, “putting the letters into sequence, making sense of their call and response” (108). Grace separates letters that focus on art and Vanessa’s artistic process from letters that focus on her personal life. Grace is particularly interested in ensuring that Becker reads letters in which Vanessa depicts her and their friendship in a positive light. She recalls a time when Emmeline and Douglas visited the island; Douglas and Vanessa were blatantly carrying on with their affair. Grace looks through the letters dating from the time after Julian’s disappearance: There was a period of conflict between Grace and Vanessa, but they eventually reconciled, and Vanessa became increasingly dependent on Grace.

Grace briefly visits with a woman named Marguerite, who has known Grace and Vanessa for many years. Marguerite has dementia and is often confused, but she has observed Becker visiting Grace.

A diary entry from Vanessa describes her intense isolation during the period in which she was estranged from Grace (beginning in 2003, a few months after Julian’s disappearance). It also mentions her finding a lump in her breast but being hesitant to seek medical treatment.

Becker is alone, reading Vanessa’s diary: Helena has abruptly gone to visit her sister. Becker finds a diary entry in which Vanessa mentions finding a bone, “it is elegant, slender and tactile, light and yet somehow substantial. Sheep, perhaps?” (127). He guesses that this is the bone she eventually incorporated into her sculpture and is pleased because he thinks this information confirms that if the bone is human, Vanessa only utilized it accidentally.

Another diary entry from Vanessa describes meeting with Marguerite; Marguerite mentions having seen Grace recently, and while Vanessa believes that the other woman is simply confused, she does worry that Grace might have returned to the island. Becker is confused as to why Vanessa would have been uncomfortable with the possibility of Grace being nearby, and he does not know who Marguerite is.

An entry from Vanessa’s diary mentions her buying a shotgun after a local man came to do some repairs and left her feeling unsettled.

Becker reads an entry from Vanessa about how she painted the local man who frightened her; he is convinced that he knows which of her paintings she is referencing, and this information fascinates him because it provides a new context to a work that has baffled scholars and critics. Later, Becker is annoyed when he catches Sebastian reading through Vanessa’s diaries. Sebastian finds a list in which Vanessa has cataloged some of her artwork and feels that the list vindicates his suspicion that Grace has been hiding additional pieces. The two men get into an argument, with Sebastian growing increasingly frustrated that Becker is not being forceful enough with Grace. Emmeline returning to the house interrupts them; she is acting strangely and has blood on her hands but won’t give any explanation.

A diary entry from Vanessa describes her feelings when she learns that Celia (Julian’s lover) has died. She feels sad for Julian and is worried because she knows that Julian is dependent on access to Celia’s wealth.

Becker asks Grace if he can return to Eris, and she agrees. As he prepares to leave, he thinks back to the start of his relationship with Helena. Even when Helena was engaged to Sebastian, he was always attracted to her, and she seemed to return his feelings. After Helena and Sebastian’s wedding was delayed, she and Becker had sex one afternoon while Sebastian and his mother were away from the estate. He was surprised when Helena explained afterward that she wanted to pursue a relationship with him: Becker assumed that this would mean quitting his job, and he was unsure whether it would be worthwhile to give up his opportunity to study Vanessa’s art. Fortunately, Helena convinced him that Sebastian would forgive them and that he could continue his job.

Before Becker leaves, Sebastian urges him again to confront Grace directly: Sebastian even implies that Vanessa herself may not have trusted Grace.

An entry from Vanessa’s diary describes how the local man abruptly appeared at her property and attacked her. She tried to fight back, but he overwhelmed her. Grace suddenly appeared and physically subdued the man. She kept him secure while Vanessa called the police. Vanessa was left feeling like “[she] owe[d] [Grace her] life. [She owed] her everything” (143).

Grace prepares for Becker’s arrival; she has more papers and several unfinished artworks to give him, but she is hiding several paintings (although she understands that, according to Vanessa’s will, these should go to the Lennox family). Grace thinks about the intense emotional bond she shared with Vanessa and her frustration that she was treated “as though a friend were something commonplace, as though a friend couldn’t mean the world” (148).