51 pages 1-hour read

The House at Riverton

Fiction | Novel | Adult | Published in 2006

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Part 2Chapter Summaries & Analyses

Content Warning: This section of the guide contains descriptions of death by suicide, illness or death, child death, and gender discrimination.

Part 2, Chapter 9 Summary: “The Twelfth of July”

In 1999, filmmaker Ursula Ryan visits Grace at her nursing home with Keira Parker, an actress cast to play Grace in the film about Riverton. They discuss Grace’s character in the films and Keira drops a household photograph from 1916, which jolts Grace’s memory. These were annual photographs taken of the family and staff at Riverton.


In a flashback to July 12, 1916, the Riverton household mourns the deaths of Lord Ashbury and his son, Major Jonathan. The family solicitor reads the will. If Jemima gives birth to a son, he will inherit the estate; otherwise, the title will pass to the Major’s brother, Mr. Frederick. Overwhelmed, Jemima shows signs of early labor. As Grace helps her from the room, she notices the mantel clock has been stopped at the time of Lord Ashbury’s death, at Lady Violet’s command.

Part 2, Chapter 10 Summary: “The Fall of Icarus”

The 1916 flashback continues. Grace finds Hannah and Emmeline Hartford by the Icarus fountain, discussing the family’s future. Hannah tells Grace she looks just like her mother in a photograph in the house album, and Grace resolves to try to look at the album. Hannah reveals she has a copy of a letter from their brother in the war, David, which their father refuses to read. Grace visits her mother, who reacts strangely to the idea that Mr. Frederick might remarry.


When Grace returns to the house, Jemima is in labor. Grace assists until Nancy and the doctor arrive. Jemima tells Grace that she wishes for a daughter, although she cannot inherit, because girls do not suffer from hemophilia. Some hours later, Nancy announces to the staff that Jemima has had a daughter, Gytha. Mr. Frederick will become the new Lord Ashbury. Later, Grace discovers him weeping over David’s letter. 


In 1999, Ursula confides to Grace that she has a son, Finn, whom she has raised without the father’s involvement.

Part 2, Chapter 11 Summary: “The Photograph”

In 1916, Grace finds the household photograph from 1899 that shows her mother. She pauses over her mother’s secret, happy smile, as she has not known her mother that way. 


In 1999, Ursula visits Grace again. Grace recounts her life after Riverton: a marriage to a man called John, the birth of her daughter Ruth, and her divorce after World War II. She talks about her studies and career as an archaeologist, and how she juggled this with motherhood. She explains that her grandson, Marcus, has been avoiding contact with his family after his wife’s death. Grace is making audio recordings for him and sending them to a friend whom she believes Marcus is still in contact with.


The scene then moves to January 1919, after the Hartford sisters have returned to Riverton, changed by the war. Grace secretly observes Hannah retrieve a box from the attic, take it to the lake, and bury it, first slipping a tiny book from within into her locket.

Part 2, Chapter 12 Summary: “Bankers”

In January 1919, the staff prepares for the arrival of the American banker Mr. Luxton and his family and speculate about Mr. Frederick’s financial troubles. Mr. Frederick’s new secretary, Miss Starling, unsettles the servants with her ambiguous class status, especially when she suggests that Alfred, the footman newly back from the war, is suffering from shell shock.


Upstairs, Grace serves tea to Hannah and Emmeline and helps them prepare for dressing for the dinner later. Emmeline is excited by the Americans and hopes to wear her best dress; Hannah acts blasé about it. She reveals her secret studies in shorthand and tells Emmeline she intends to ask their father’s permission to move to London to find work. Emmeline is upset by the idea of being left behind. She also mentions a time earlier when Alfred’s hands shook and he dropped a serving tray. Grace is shocked by this.

Part 2, Chapter 13 Summary: “The Dinner”

Preparing for the dinner, a tense Alfred rejects Grace’s help and is furious when she mentions what she has heard about his health. In the drawing room, Grace serves cocktails to Simion Luxton, his wife Estella, and their son Teddy. She observes the differences between the Americans’ manners and style and those of the British family. Simion brushes Grace’s thigh while she is serving and lectures the family on modern business during dinner. Emmeline deliberately derails Hannah’s plan to ask for their father’s permission to go to London. A loud champagne cork startles Alfred, who bolts outside in terror.


Simion implies Mr. Frederick’s factory loan depends on adopting American business models. Later, Grace finds Alfred on the garden stairs. He share some of the horrors he saw at the front, and she comforts him as he breaks down.

Part 2, Chapter 14 Summary: “A Suitable Husband”

Hannah and Teddy marry in May 1919. In the preceding months, Lady Violet and her friend Lady Clementine plan Hannah’s debutante season, designed to find her an eligible husband. They hope she will marry someone rich, so Lady Clementine orchestrates opportunities for Simion Luxton to view Hannah as an ideal match for his son Teddy. She arranges a ride for the young couple. When Hannah’s locket falls into the river, Teddy dives in and retrieves it. This creates a powerful, unexpected attraction in Hannah.

Part 2, Chapter 15 Summary: “The Ball and After”

At Hannah’s debutante ball, Teddy proposes. That night, Simion Luxton informs Mr. Frederick that his loan has been denied. Soon after, Lady Violet dies from influenza. While searching for their mother’s wedding dress, Emmeline accuses Hannah of marrying for convenience. When she finds the tiny book from their childhood game in Hannah’s locket, she feels betrayed and breaks the locket during their struggle.


On the eve of the wedding, Mr. Frederick forbids the marriage and threatens to disown Hannah, angry because his loan has been refused. She defies him and announces she will take Grace with her to London as her maid. After the wedding, Hannah and Teddy depart with Grace. Grace remembers how Hannah was not in love with Teddy and that this heralded the later affair between Hannah and Robbie.

Part 2 Analysis

These chapters examine the dangers and dilemmas of adult life, as the young characters move from childhood into maturity. In particular, they examine the oppressive weight of social convention on female agency as Hannah’s coming-out, engagement, and marriage are planned. Lady Clementine and Lady Violet’s conversations reveal that Hannah’s marriage is less about happiness and more about salvaging the family’s finances. Their logistical approach to matchmaking underscores a system where a woman’s primary value lies in her ability to secure a beneficial alliance and produce heirs, supporting the theme of The Impact of Class and Gender on Lineage and Opportunity. While Hannah shares their pragmatic view, her choice is shaped by the social norm that married women enjoy more independence and privileges than unmarried ones. Hannah’s cynicism reflects the limited choices available to her: Having been denied independence by her father, she must seek this within patriarchal structures. Hannah’s acceptance of Teddy Luxton is a pragmatic choice, a calculated exchange of her status for the escape his wealth can provide, and sets up the framework for her unhappy marriage and subsequent love affair with Robbie.


In Part 2, the psychological devastation of the Great War becomes an active force that destabilizes the social order of Riverton. Alfred’s character embodies the unrecognized trauma of a generation of soldiers. His condition, which Miss Starling identifies as “shell shock,” is met with incomprehension by the older staff, and criticism from the Hartfords. Mrs. Townsend’s insistence that his affliction can be cured by routine represents common attitudes at the time. Alfred’s trauma response to the pop of a champagne cork manifests how the past intrudes upon the present, mirroring Grace’s unwanted “deluge” of memories in Part I. His subsequent breakdown on the garden stairs, where he confesses his torment to Grace, marks a significant moment of vulnerability and progresses their relationship, foreshadowing their love affair. 


The frame narrative featuring Grace, Ursula, and actress Keira Parker serves as a metafictional commentary on the central themes of Remembrance as a Means of Emotional Resolution and Legacy Preservation and The Impact of Class and Gender on Lineage and Opportunity. Kiera’s ambitious desire to understand her character’s “motivation” highlights the chasm between historical reenactment and lived experience. Her simplistic and critical approach to the past contrasts with the “real” experience depicted in Grace’s recollections. Grace also pushes back against Kiera in conversation, correcting some of her assumptions and finding many of her comments antithetical and reductive. The juxtaposition suggests that projects like Ursula’s film, while well-intentioned, must fail to accurately capture the past. 


Symbolism and recurring motifs explore the corrosive effects of secrets on identity and relationships. “The Game,” representing lost youth and innocence, is violently disrupted in these chapters. When Hannah buries the box containing the artifacts of “The Game,” it signifies a conscious effort to sever ties with her childhood and the dynamic she shared with her siblings. However, her decision to transfer a tiny book from the box into her locket reveals her inability to fully relinquish this private inner life. The locket, a symbol of hidden truths, will become the focal point of conflict. For Emmeline, discovering the concealed book confirms her exclusion from Hannah’s new, secret self. The broken locket is a moment of symbolic violence, representing the irreparable fracture in their sisterly bond and prefiguring deeper betrayals. This act visualizes the theme of Sibling Loyalty versus Romantic Love which will gain momentum through subsequent parts.


As a result, the fracturing bond between Hannah and Emmeline is a central development in this section. Emmeline’s fear of abandonment, intensified by David’s death, motivates her to sabotage Hannah’s plan to work at the dinner party, a cruel act designed to keep her sister with her in the childhood sphere of Riverton but which ultimately forces Hannah to leave for a marriage of convenience. Similarly, Emmeline clings to romanticized ideals of marriage, while Hannah adopts a starkly pragmatic view. Their conflict is not merely sibling rivalry but a clash of worldviews. Emmeline seeks to preserve their shared past, while Hannah is desperate to forge a future in a wider world. The struggle over the locket at the end of Part 2 symbolized the physical separation of the sisters, building the dynamic of resentment and betrayal toward the novel’s climax.

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