58 pages 1-hour read

The Land in Winter

Fiction | Novel | Adult | Published in 2024

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Part 2, Chapters 15-23Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death by suicide, death, and mental illness.

Part 2: “The Land in Winter”

Part 2, Chapter 15 Summary: “Thursday, 3 January”

Bill battles a blizzard to tend his farm animals. Back at the house, Rita helps him remove his frozen clothing. Meanwhile, at the Parrys’ cottage, Eric and Irene watch the storm through their kitchen window. They have plenty of food and working heat, though power-union strikes affect their television reception.


Eric feels unexpected pleasure at being snowed in with Irene, which reminds him of their honeymoon. Guilt about his affair creeps in, and he contemplates confessing. They discuss visiting Veronica in America, baby names, and the nursery, and laugh over Tessa and her playwright boyfriend. Eric plays Bach’s “St. John Passion,” a record that always profoundly moves him. Noting Irene’s thoughtful silence afterward, he reflects that his wife possesses an emotional delicacy that Alison lacks.


After taking calls from patients and speaking with Gabby Miklos, Eric notices the afternoon blizzard has passed. He also discovers the oil tank is nearly empty, but does not tell Irene. That night in bed, Eric confesses his role in Stephen Storey’s overdose. Irene is rational and supportive, defending him. As they lie together, Eric privately notes that the radiators have stopped working.

Part 2, Chapter 16 Summary: “Saturday, 5 January”

Rita phones Irene and invites her to build a snowman in the field between their properties. Eric tends the drawing-room fire and plans to clear the drive. Irene dresses in land-girl dungarees and meets Rita, who has brought a carrot and coal for the snowman. As they work, they discuss pregnancy symptoms. Rita mentions a Greek myth about a god whose head exploded to give birth to Athena. Irene reflects uneasily on how Eric knows more about the reality of childbirth than she does. Rita suggests they might be on the maternity ward together, which Irene finds comforting. She also mentions a pregnant woman in Devon who was evacuated by helicopter. They finish the snowman and name him David, after Tessa’s playwright boyfriend.

Part 2, Chapter 17 Summary: “Tuesday, 8 January”

Learning that the trains are now running, Eric prepares to return to his surgery. Irene makes him breakfast, and they say goodbye at the door. At the surgery, Eric finds a pathologist’s report confirming Stephen Storey died from a massive chloral hydrate overdose and files it away. After making routine phone calls to patients, Eric tries to call Alison but gets no answer, which unnerves him. He notices he has written the word “asylum” on his desk blotter.


Irene notices the cottage is cold and realizes the oil tank is empty. While preparing to clean Eric’s tweed jacket, she empties the pockets and finds Alison’s love letter.

Part 2, Chapter 18 Summary

Eric borrows Gabby’s Morris Minor, which has a loudly ticking alarm clock on the passenger seat. Unable to drive down the residential street, he walks the rest of the way to Peter Gurney’s house. Mrs. Gurney and her son let him in. Upstairs, Eric finds the bedroom window open and Peter Gurney dead in his bed. He phones the undertakers who handled his father’s arrangements.


Returning home to a cold cottage, Eric finds a note on the bed saying Irene is tired and is sleeping in the spare room. He has a fleeting fantasy of showing Irene a new galaxy from a spacecraft. Upstairs, he notices a new dent in the Arnolfini print.

Part 2, Chapter 19 Summary: “Wednesday, 9 January”

Bill goes about his morning chores, pouring away excess milk because the collection lorry cannot get through. The winter is being compared to the severe winter of 1947, and a mile of sea off the Kent coast has frozen. Bill says goodbye to Rita and departs for London. As he drives away, he feels both exhilaration and anxiety. At the station, he sees Dr. Parry on the opposite platform; they are wearing similar dark green caps and nod to each other.


Meanwhile, Irene wakes in the spare room and cries after hearing Eric leave. She calls her sister, Veronica, in America. The conversation is light as they discuss Veronica’s potential return to academia and laugh about Eric’s obsession with his Citroën ID’s hydro-pneumatic suspension. After the call, Irene phones her mother and tells her everything. Irene’s mother gives calm, clear instructions.

Part 2, Chapter 20 Summary

As Bill travels to London by train, Irene packs a suitcase. In Eric’s study, she takes a £5 note from a wallet and notices an unfamiliar watch in the drawer. She retrieves Alison’s letter from Eric’s jacket pocket and leaves it propped against the fruit bowl on the kitchen table. Irene walks to the station and sees Bill’s car parked outside, but finds the ticket hall empty. She swaps her boots for shoes, leaving the boots behind, and buys a ticket for a multi-leg journey to her parents’ home via Guildford.


Bill arrives at a busy Waterloo Station, excited to be back in London. He arrives at his father’s house, and a servant, Colin, lets him in. Bill finds his mother in her small, dark, windowless room, smoking and drinking. She tells him his father is waiting for him in the old air-raid shelter, which has been converted into a steam room.

Part 2, Chapter 21 Summary

Irene travels on a train to Guildford, sharing a compartment with three men. A man in a bowler hat quizzes her on the length of a surveyor’s chain; another man answers for her, annoying the questioner. When the train brakes violently and comes to a halt, Irene hits her head on the window. After a long wait in the cold carriage, feeling unwell and desperate, Irene announces to the men that she is pregnant.


Back at Water Farm, Rita begins hearing voices again. She tries phoning Irene but gets no answer. Looking from her window toward the Parrys’ cottage, she sees no signs of life. In her bedroom, Rita checks her hidden stash of pills—Nembutal, Seconal, Dexamyl, and chloral hydrate—kept in a bra in her lingerie drawer. The voices grow worse, one impersonating her father. She goes outside and crosses the field to the snowman, which has lost its carrot nose. She continues to the Parrys’ cottage and finds it empty, with footprints leading away. Looking through the kitchen window, she sees the breakfast dishes and the opened letter propped against the fruit bowl.

Part 2, Chapter 22 Summary

Bill and his father sit naked in the steam-filled air-raid shelter. Bill observes his father’s aging body and thinks he could defeat him in a physical fight. His father speaks dismissively of farmers as “peasants,” and of Bill’s brother, Charlie. He produces a bundle of twigs and beats Bill’s back, legs, and backside with the twigs in a ritual manner. The act dissolves into shared laughter.


Meanwhile, the guard on Irene’s train explains that the line is blocked, and the passengers must take shelter at a nearby school. They disembark and begin walking in the deep snow against a strong wind. Irene struggles, losing a shoe and falling behind, and she regrets her impulsive decision to leave Eric. She falls again and is helped up by a man who places his hand on her pregnant belly. Irene cries out and breaks free, stumbling onward.


Eric arrives home to a dark, empty house. In the kitchen, he finds Alison’s letter on the table. He drinks gin and talks to himself, feeling a mix of liberation and shock. Seeing a light at the farm and remembering Bill is away, he has a brief, sexual fantasy of going over to be with Rita. He takes a bath, gets dressed in warm clothes, and goes to sleep in the spare room, pulling the sheet over his face.

Part 2, Chapter 23 Summary: “Thursday, 10 January”

Irene wakes in a dormitory bed, initially fearing she has lost her baby. The baby moves inside her, and she whispers to it reassuringly. The housemother, Miss Watkins, tells Irene she has been asleep for nearly 24 hours and reveals that they are at a school for the “blind.” All the other passengers from the train have left. She chastises Irene for endangering her unborn child and urges her to read to the children, emphasizing the importance of duty.


Meanwhile, Bill’s brother, Charlie, who works for their father, drives Bill through London in his purple Jaguar E-Type. The car’s bonnet has a gibbet scratched into the paint.

Part 2, Chapters 15-23 Analysis

The winter storm that dominates these chapters establishes the motif of snow, creating a landscape of physical and emotional isolation that forces characters to confront their internal crises. The weather conditions serve as a catalyst, stripping away the routines of daily life and freezing relationships in stasis. Eric and Irene’s forced proximity at the cottage creates a fragile illusion of intimacy, yet this sanctuary is built on Irene’s obliviousness to her husband’s deceit. Eric’s failure to address the empty oil tank underscores his lack of genuine care for his wife’s well-being.


Later, the weather becomes a malevolent force during Irene’s impulsive flight, transforming the landscape into a dangerous, disorienting void that externalizes her inner turmoil. The brutal environment underscores the theme of The Unspoken Burdens of Post-War Existence, suggesting a collective emotional glaciation in which progress has stalled, and individuals are left isolated with their private griefs. Grounding the narrative in the historically severe winter of 1962-63 lends authenticity to the characters’ suffering, linking their personal paralysis to a broader, shared memory of national hardship.


These chapters systematically expose the performative nature of the couple’s relationships and the unspoken gulfs that separate them. The theme of Marriage as a Failed Promise of Intimacy is emphasized when Irene discovers Alison’s letter while undertaking a domestic gesture of care for Eric (cleaning his jacket). The revelation of Eric’s infidelity shatters Irene’s perception of her life, recasting her role as a wife into “a part in a farce” (217). Eric’s reaction to discovering Irene has left him is a complex mixture of emotions. His declaration, “You’re free […] The house is yours” (244), reveals the depth of his feelings of entrapment within the marriage. However, his retreat to the spare room, where he pulls the sheet over his face, conveys his fear and destabilization once the certainty of marriage is removed.


Miller explores The Search for an Authentic Self in a Prescriptive World through the parallel journeys of Irene and Bill. As both characters separately travel away from their homes, their physical dislocation mirrors their psychological quests for self-redefinition. Bill’s trip to London is an “act of daring” (216), intended to secure the financial and personal independence he craves. Irene’s flight is an impulsive, desperate reaction to betrayal. However, their destinations offer no sanctuary. Bill’s pursuit of a modern, forward-looking future leads him backward into the past, into a converted air-raid shelter where he must subject himself to a humiliating ritual of patriarchal dominance. His father’s dismissal of his occupation—“The farmers I knew were peasants” (238)—cements the generational and ideological chasm Bill cannot cross.


Irene’s journey is similarly ironic as she flees the emotional prison of her home, only to become physically trapped by the snow. Her arrival at the school for children who are blind figuratively represents Irene’s inability to see the truth about her marriage. The puritanical housemother, Miss Watkins, reduces Irene’s identity to that of a vessel for her unborn child, chiding her for her perceived selfishness by stating, “When you’re cold and hungry, so is the little traveller” (252). This statement dismisses Irene’s emotional pain, reframing her flight for survival as a reckless endangerment of the fetus. Instead of finding refuge or clarity, Irene is subjected to a moralistic lecture that reinforces the societal expectations she was attempting to escape. Both journeys demonstrate that physical departure does not guarantee freedom; instead, the characters find their personal prisons replicated in the wider world.


The characterizations of Irene and Rita present two distinct but intersecting portraits of psychological fragmentation, blurring the lines between situational distress and inherent mental illness. Irene’s acute crisis is precipitated by the external shock of the letter, causing her familiar world to become alienating. Her subsequent actions are a direct response to this trauma. Rita’s suffering, in contrast, is chronic as the isolation of the blizzard prompts the return of a long-standing battle with auditory hallucinations. Rita’s visit to the Parrys’ empty cottage, where she spies the incriminating letter through the window, links her internal breakdown to the external catalyst of Irene’s. This moment connects the two women’s suffering, suggesting a shared female experience of psychological vulnerability in a world of male deceit and societal pressure. The “asylum,” a location that exists on the periphery of the narrative and in Eric’s subconscious, looms as the ultimate destination for those who cannot maintain the performance of sanity in a rigidly prescriptive world.

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