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Content Warning: This section of the guide includes discussion of death, gender discrimination, and bullying.
A third-person narrator describes a woman dressed all in black hurrying through the streets of East London at night. Her clothing points to an upper-class background, and the narrator notes that such a woman should never be out alone at night in such circumstances. She’s shocked by the filth and poverty she sees, but she’s willing to risk her safety to continue her search for a missing person. She feels that not only does she not belong in East London, she really does not belong anywhere, for she has left behind the only home she has ever known. Aware that people are searching for her, too, she quickens her pace.
The narrative point of view shifts to 14-year-old Enola Holmes’s first-person account of her birthday. Enola’s mother, Eudoria, goes out for the day, leaving presents behind at their home, Ferndell Hall, for Enola to open at teatime. Initially, Enola doesn’t feel worried about her mother being gone, because Eudoria often goes out to paint in the mornings. She opens her presents, which include a book about the traditional meanings of flowers and a handmade cipher book. She is not very excited about the cipher book, because ciphers are Eudoria’s interest, not Enola’s, but she is touched that her mother wrote and bound the small book herself.
On the following morning, when Enola learns that her mother has still not returned, she grows concerned. She goes outside to look for her mother on the grounds of their estate, but finds no trace of her. As Enola’s father has already died, she is panic-stricken at the idea that something may have happened to her mother, as well. She returns to the house. Mrs. Lane, the housekeeper, brings her stationery so that she can write a note about her missing mother to the police and telegrams to her two older brothers, Sherlock and Mycroft Holmes, who both live in London.
Although Mrs. Lane offers to have her son Dick take Enola’s missives to the village, Enola does not trust Dick with such an important task. She rides her bicycle into Kineford, stopping along the way to ask the lodge-keeper, Cooper, whether he saw her mother on the previous day. He says he did not, which tells Enola that her mother did not leave the estate by the gate. In the village, she sends her telegrams and drops by the police station before beginning a thorough investigation, stopping at all of the local shops to ask whether anyone has seen Eudoria.
She notes the disapproval of some townspeople that she wears her brothers’ old clothing instead of a ladylike skirt. Enola is uninterested in what other people think is appropriate for women. She feels that obeying social conventions would not get her very far, anyway, as her very existence is already shocking to people, because her mother was disgraced by having her so late in life. She continues her investigation even though people are clearly gossiping about her as she visits businesses “where ‘nice’ females seldom set foot” (17).
Despite her hard work, she learns nothing helpful. She returns home and decides to go into her mother’s rooms, even though her mother forbids it as a rule. She finds her mother’s painting supplies and realizes that her mother could not have gone out the morning before intending to paint. She is also puzzled to see that her mother’s usual walking outfit is present, and she wonders what her mother had on when she left. She finds a strange, puffy item made of horsehair and takes it to Lane, the butler, to ask him what it is. They are both mortified when he has to explain that it is the stuffing from a bustle, an “indelicate” item of women’s clothing (23). From Lane, Enola learns that when her mother left the house, she was wearing uncharacteristic clothing, including a tall hat and a dress with a bustle.
That evening, a telegram arrives saying that Mycroft and Sherlock will arrive via train on the following morning and need to be met at the station. The next morning, Enola sets out very early on her bike because the train station is in Chaucerlea, ten miles past Kineford. She dresses herself as respectably as she can, hoping to make a good impression on her brothers. Sherlock and Mycroft are substantially older than Enola, and she has not seen them since she was four years old at her father’s funeral. She recalls how the local children taunted her that her father died from embarrassment over her existence as a late-in-life child. She believes that Mycroft and Sherlock have not seen her or Eudoria in 10 years because they were embarrassed about Enola’s existence and because their lofty positions in the world—Mycroft’s as a government official and Sherlock’s as a world-famous private detective—would be compromised by associating with Eudoria and Enola.
Despite her brothers’ estrangement, Enola has read about Sherlock’s exploits in a book written by his assistant, Dr. John Watson. She’s very curious about London from this book and views Sherlock as a larger-than-life hero. When she compares her own skills and abilities to those of Sherlock, she feels humiliated.
Her brothers do not recognize her at first when she greets them at the station, mistaking her for “a street urchin” (32). They express shock that she came herself instead of simply sending a driver. Confused, she explains that they do not maintain a stable or employ a driver. Mycroft is outraged to learn that he has been sending funds every month for the upkeep of stables, and the money has been used for some other purpose. He is further angered to realize that the money he has been sending for ladylike clothing for Enola is also not being used for its intended purpose, and he and Sherlock are openly critical of her appearance. They blame Eudoria’s feminist beliefs for Enola’s supposed deficiencies. The siblings take a hired carriage back to Ferndell. Mycroft is furious at the state of the grounds, realizing that he has been sending money for groundskeepers in vain.
Springer opens her novel with a prologue written in the third person, beginning in media res—a Latin phrase for “in the middle of things” used to describe the technique of starting a narrative mid-action—creating questions about who the woman is, how this situation came about, and how it will resolve. The third-person narration allows Springer to provide an outside perspective on the appearance and actions of her protagonist before shifting to Enola’s first-person perspective in Chapter 1, establishing an air of mystery and hinting at Enola’s coming evolution. The prologue narrator’s more objective account of Enola’s motivations and her reactions to the squalid environment of East London hints at a contrast between her previous life and this new world.
The prologue’s detailed images of rats, unpleasant smells, jarring noises, and destitute and disreputable Londoners emphasize the difference between Enola’s previous experience and her current one, conveying the loss of innocence her first foray into London represents and laying the groundwork for the novel’s thematic exploration of The Impact of Structural Inequality. The prologue also emphasizes how out of place Enola is and how unusual it is for a woman of her station to be in such a place after dark, mentioning that she, too, is being “hunted” (2). This portrayal of her vulnerability underscores her courage and determination, risking her safety on behalf of the unknown lost person she seeks. The imagery of the prologue creates narrative suspense and establishes an atmosphere of menace and danger consistent with a mystery-adventure story.
Chapter 1 opens at a point in time several weeks before the action of the prologue and shifts the narrative point of view to Enola’s first-person account. Her narrative voice is straightforward and logical rather than sentimental, and she offers detailed observations of the world around her. By characterizing Enola as a keen observer and a careful thinker who does not let emotion cloud her judgment, Springer positions her as well-suited to a career as a finder of lost people. Chapter 1’s revelation that Eudoria is missing establishes one of the Enola Holmes series’s central conflicts—the search for the missing Eudoria—and foreshadows the search for the titular missing Marquess of Basilwether.
These first chapters emphasize Enola’s isolation. Enola believes that her very existence is an embarrassment to her family because Eudoria gave birth to her quite late in life. She muses about the origins of her name, noting that “Enola” is “alone” spelled backwards, hinting at a belief that she is destined to be alone and forge her own path in the world. Her telegram to her brothers is formal and businesslike, signaling the estrangement among family members that will be explored in subsequent chapters, introducing The Tension Between Independence and Obligation.
Sherlock and Mycroft’s initial treatment of Enola as a problem that needs to be fixed exacerbates her feeling of isolation and her desire for the independence and freedom she believes her mother has pursued. From the moment Enola goes to meet their train, hoping to make a good impression, her brothers have nothing but criticism for her appearance, comparing her to “a street urchin” (32) and suggesting that her hair looks like “a jackdaw’s nest” (33). Their criticism of her is rooted in the prescribed gender norms of Victorian society, referring to her as unladylike and wondering where her gloves and other feminine adornments are. Sherlock irately accuses Eudoria of having “gone over entirely to the Suffragists” (34), demonstrating an entrenched misogyny that presents a stark contrast to Enola and Eudoria’s beliefs in gender equality.
Enola’s decision to act against her brothers’ plan for her life and forge a new future on her own requires ingenuity, resourcefulness, and courage, highlighting the novel’s thematic focus on The Underestimated Strengths of Women. Despite being essentially alone as she faces the problem of her missing mother, Enola shows herself to be capable and independent. She searches for her mother and gathers clues and information. She takes every opportunity to claim her own agency—riding her bike (a symbol of her independence) into the village to send her telegrams, even though Mrs. Lane offers to send someone else to perform the task. To pursue her investigation, she visits businesses that women are discouraged from entering.
Alongside her determination and desire for autonomy, Enola also demonstrates several youthful vulnerabilities—fear, worry, doubt—in these chapters that increase empathy for her character and establish the stakes of her attempts to establish an independent life on her own terms. Although Enola is confident, intelligent, and capable, these moments of vulnerability emphasize her youth and the sheltered nature of her childhood, foregrounding the coming-of-age nature of her arc across the novel.



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