51 pages 1-hour read

The House at Riverton

Fiction | Novel | Adult | Published in 2006

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Part 4Chapter Summaries & Analyses

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

Part 4, Chapter 21 Summary: “Hannah’s Story”

Grace narrates the year before the tragedy, describing Hannah Hartford’s life in London. Robbie Hunter visits to return a book belonging to the late David Hartford. Emmeline recognizes Robbie from Riverton and invites him to dinner, where he is revealed as the poet R. S. Hunter. Family dynamics in the Luxton house continue to be rigid: Hannah is confined by her marriage to Teddy Luxton and Deborah Luxton controls the household Emmeline moves through London society. 


After Mr. Frederick kills himself, Robbie offers condolences. He and Hannah begin a secret affair and fall in love. They meet on Robbie’s barge on the Thames, using parties as cover. Deborah grows suspicious and persuades Teddy to bar Robbie from the house. To circumvent this, Robbie escorts Emmeline to parties as a pretext to see Hannah. Robbie gives Hannah a copy of Ulysses and confides his war trauma to her. After a violent nightmare, he begs Hannah to run away with him. She treats his plan as a game but grows more withdrawn as the family prepares to return to Riverton.

Part 4, Chapter 22 Summary: “The Beginning of the End”

When Deborah’s maid finds signs of the affair, Deborah confronts Hannah, threatening to expose family secrets and have Robbie killed if the relationship continues. Shaken, Hannah sends Grace with a letter to arrange a final meeting with Robbie at the British Museum, where she breaks off the affair.


The household prepares to leave for Riverton. Emmeline tells Hannah she has loved Robbie since childhood and claims him for herself. Knowing that Robbie doesn’t love Emmeline, Hannah tries to dissuade her, warning that he is dangerous due to his trauma. Emmeline refuses to listen. Grace learns that Alfred has married Lucy Starling and commits herself to protecting Hannah during the move.

Part 4, Chapter 23 Summary: “Riverton Revisited”

In 1999, Grace visits Riverton with Ursula Ryan and sees the manor refashioned as a tourist site. The visit stirs memories of 1924 when Grace returned to a neglected Riverton.


In 1924, Hannah arrives at the estate, writing to Robbie in secret. She persuades Teddy to barricade the path to the lake and plans a grand Midsummer’s Night party. Grace remembers how, after the shooting at the party, Robbie’s death is ruled as suicide and Hannah withdraws in grief. She later reveals she is pregnant. Emmeline dies in a car crash soon after, and when Grace tells Hannah the news, she responds coldly. Hannah dies giving birth to a daughter, Florence, who is taken to America by Jemima. She is widely believed to be Robbie’s child. Heartbroken, Grace leaves service and takes whatever work she can find in London.


In 1999, Ruth visits Grace, bringing her a letter from Marcus.

Part 4, Chapter 24 Summary: “Slipping Out of Time”

In her final days, Grace receives daily visits from Marcus. She reflects on her late-life reunion with Alfred, with whom she lived as a partner for nearly 20 years. Ursula visits and reveals that her grandmother is Florence, Hannah’s daughter, making Grace her half great-aunt.


Grace gives Marcus a final cassette tape to listen to after she dies. The family gathers to watch Ursula’s completed film. As the climactic gunshot sounds, Grace recognizes that the film’s conclusion—Robbie’s suicide—tells the accepted story. She knows the truth is preserved on her tapes for Marcus.

Part 4, Chapter 25 Summary: “The End”

Grace senses her life ending. A figure who is part her mother, part Hannah, appears and offers their hand. Grace takes it and experiences an out-of-body awareness, watching her physical form take a last breath. Ruth and Marcus are present. Grace knows that her “end has come” and “does not mind at all” (449).

Part 4, Chapter 26 Summary: “The Tape”

After Grace’s death, her final tape recounts the events of June 21, 1924. During the Midsummer’s Night party, a nervous Hannah gives Grace her locket. In Hannah’s room, Grace finds two letters in Hannah’s handwriting, one for herself and one for Emmeline. She opens the one for herself. It contains Hannah’s locket, but she is unable to read the letter written in shorthand. Feeling that the message is urgent, she opens the one for Emmeline. Mistaking this for a suicide note, Grace alerts Emmeline and they run to the lake, where they find Hannah alive near a summer house. Hannah claims the note is part of a game, but Robbie appears with a suitcase, exposing their plan to run away.


Emmeline, betrayed, produces a gun and threatens her own life. Fireworks erupt, triggering Robbie’s combat trauma. He shouts at Hannah to shoot Emmeline to protect their escape. Hannah refuses, and Robbie lunges for the gun. To protect her sister, Hannah shoots Robbie. Teddy and a guest, Lord Gifford, arrive. Emmeline immediately declares that Robbie killed himself, establishing the official story.

Part 4, Chapter 27 Summary: “The Letter”

Some time after Hannah’s death. Grace deciphers Hannah’s shorthand letter. In it, Hannah explains her plan to fake her suicide to flee with Robbie, leaving a decoy note for Emmeline. It asks Grace to keep Emmeline away from the lake until they are gone.


Hannah’s letter also reveals that the locket contains a key to a bank safe deposit box in Grace’s name. Inside is money meant to give Grace a “new life.” Hannah closes by affirming her trust in Grace, confirming that her last acts were intended to protect both Emmeline’s and Grace’s futures.

Part 4 Analysis

The novel’s frame structure culminates in these final chapters, as Grace’s narrative reaches its emotional conclusion as Remembrance as a Means of Emotional Resolution and Legacy Preservation. Ursula’s film is increasingly revealed as an alternative narrative. Based on public records, it presents Robbie’s death as a suicide, a version of events shaped by the Luxton family’s influence. It provides a foil for the “true” narrative of Grace’s cassette tapes, supporting the novel’s presentation of memory as the superior route into the past. Grace’s final recordings for Marcus are a deliberate act of rewriting a 75-year-old narrative, reclaiming the truth from the simplified version that has become accepted historical fact. This act is Grace’s final assertion of agency, a posthumous defiance of the social station that demanded her silence. By entrusting her story to Marcus, she ensures its continuation, transforming a private memory into a lasting legacy.


These chapters powerfully illustrate Sibling Loyalty versus Romantic Love, demonstrating that the tragedy at Riverton is the violent implosion of incompatible tensions. The affair between Hannah and Robbie operates as an essential deception, one that necessitates a cascade of smaller betrayals: Emmeline’s unwitting role as a social cover, the clandestine meetings, and the plan to elope under the guise of a party. This web of concealment is mirrored in other deceptions, from Deborah Luxton’s threat to expose family secrets to Hannah’s falsified suicide note. The narrative posits that love itself can be a destructive force; as Hannah observes, “True love, it’s like an illness” (419), a contagion that compels people toward dangerous acts. The climax at the lake is the direct consequence of these loves colliding. Grace’s misinterpretation of the decoy letter, Emmeline’s discovery of the affair, and Robbie’s fear of exposure all stem from the incompatibility of their dream worlds. 


The character of Robbie Hunter functions as a vessel for the unprocessed trauma of World War I, and his psychological disintegration is the direct catalyst for the climax. Robbie’s erratic behavior increasingly reveals his suffering as a result of his wartime experiences. His violent nightmare and his assault on a stranger are manifestations of “shell shock.” Robbie’s character is situated within the historical reality of millions of men who returned from the trenches unable to reconcile their terrible wartime experiences with the genteel expectations of civilian life. The Midsummer’s Night party, with its chaotic noise and fireworks, becomes a trigger, collapsing the barrier between his present reality and the sensory horrors of the battlefield. His frantic demand for Hannah to “[s]hoot her!” (465) is the story’s pivotal moment, stripping away the veneer of the romantic bohemian to reveal a terrified soldier operating on a brutal, life-or-death level. His turmoil underscores the novel’s message that the war continued to claim victims through the psychological wounds it inflicted.


The final letter and the locket Hannah gives to Grace are a testament to this desire, as the key inside is a literal “ticket to a new life” (468) for her maid, a transfer of the freedom Hannah seeks for herself. However, the final confrontation forces a tragic choice. In shooting Robbie, she sacrifices her own chance at freedom to protect her sister. This act is a collision of loyalties—lover versus sister, individual desire versus familial duty. By choosing Emmeline, Hannah ultimately succumbs to the traditional bonds she sought to escape, illustrating the severe limitations placed on female agency. The locket, a long-held symbol of Hannah’s secrets, undergoes a similar transformation. Its final appearance shifts its meaning beyond a token of affection to a symbol of legacy. The key hidden inside represents Hannah’s final attempt to bequeath agency to Grace, providing the financial means for an independence she herself could not achieve. This act makes Grace the inheritor of Hannah’s unfulfilled dream of a self-determined life, a final resolution of Grace’s own family identity and the troubled past.

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