70 pages • 2-hour read
Lucinda RileyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of death and illness.
Yara finishes telling Bel’s story to Maia, explaining that Beatriz is Bel’s daughter: She is Laurent’s daughter by blood but was raised by Gustavo without knowledge of her true parentage. Gustavo never told Bel that he knew about her affair. Bel died of yellow fever when she was 21 and Beatriz was two, just as the Christ the Redeemer statue was completed. She caught the fever because she went to see the inauguration of the statue. Luiza died shortly after.
When Beatriz turned 18, she traveled to Paris to study at École National Supérieure des Beaux-Arts. She was in Paris for five years. During that time, she met Laurent and studied art with him. After returning to Brazil, Beatriz married a pianist. They had one daughter, Cristina (Maia’s mother). Yara does not want to tell Maia any more details about Cristina, feeling that it is not her story to tell. Instead, she gives Maia more letters, the ones that Laurent sent to Bel while she was staying at the country house with her mother.
Later that evening, Maia goes to Floriano’s for dinner. She tells Floriano all about her relationship with Zed and putting their son up for adoption. Maia cries from shame and grief. He urges her to forgive herself and invites Maia to sleep in the nanny’s room so that she doesn’t have to be alone in her hotel. Maia accepts.
Maia has breakfast with Floriano and Valentina and then helps Valentina pack her suitcase for a stay with her grandparents. Floriano is preparing for his trip to Paris for his book launch. Before he leaves town, he and Maia spend the day together; he tells her that she needs to relax and have some fun. Floriano takes Maia to visit a friend in the favela. There, they watch a group of children practicing a samba dance for Carnival.
Floriano invites Maia to dinner and samba dancing that night. He takes her shopping to buy the colorful dress and high-heeled shoes that he thinks are necessary for the evening out. They buy a peach-colored, figure-hugging dress. Maia is shy to wear something so uncharacteristic but likes the way it looks. They enjoy dancing at the samba club and share their first kiss before going home together. Floriano invites Maia to come to Paris with him.
Maia receives a letter from Yara; Beatriz would like Maia to visit her at the hospice facility.
The next morning, Maia visits Beatriz and Yara at the hospice. Beatriz explains her reticence to Maia; she did not want to be the one to tell Maia the hard truths about Cristina. As a child, Cristina was a bully. She struggled to feel or express empathy toward others, and this continued into her teenage and adult years. She skipped school to drink and spend time in dangerous neighborhoods, and she reacted with extreme rage when her parents tried to step in. Eventually, Cristina stole the emerald necklace and earrings that Bel received on her 18th birthday. She also started using drugs. The situation escalated until Beatriz and her husband decided that they could no longer allow Cristina to live in their house unless she sought their help and stopped using drugs. Cristina left, and Beatriz never saw her again. However, a friend of Beatriz’s volunteered at an orphanage and recognized Cristina when she dropped off infant Maia. Before Beatriz could make the arrangements to adopt Maia, she had already been adopted by Pa Salt.
Hearing the story of her mother inspires Maia to find some way to reach out to her son; she wants him to know why she put him up for adoption if he seeks out that information.
The next day, Beatriz tells Maia about her time in Paris. There, she sought out Laurent Brouilly because he was the artist behind the beautiful sculpture of her mother. She never knew that Laurent was actually her father but appreciated the kindness and interest that he showed her. Beatriz decides that Casa das OrquÍdeas and the family’s country house will go to Maia upon her death.
After speaking with Beatriz, Maia buys a plane ticket to join Floriano in Paris.
In Paris, Floriano takes Maia to the park where Laurent and Bel said their goodbyes. In the spot, there is a nude sculpture of Bel created by Laurent. The hands of the sculpture look exactly like the hands of Christ the Redeemer.
Floriano and Maia leave Paris and travel to Lake Geneva so that Floriano can see Atlantis. In Pa Salt’s study, they discover a tiny replica of the Cristo that is signed by Paul Landowski. The next morning, Floriano will fly back to Brazil. Maia dreads saying goodbye, so she avoids him until the last possible minute, only saying a quick farewell before sending him on his way. She instantly regrets her actions, which were motivated by fear. Floriano understands her well and leaves a note for her. He declares his love for her and encloses the inscription that Bel wrote on the soapstone tile: “Love knows not distance; it hath no continent, its eyes are for the stars” (452). He asks Maia to move to Rio to be with him and Valentina.
Maia visits Georg Hoffman. She makes arrangements to leave the Aires Cabral properties to her son in the event of her death. She also leaves a letter with the lawyer in case an adoption agency or her son ever contacts him. Ally then arrives at Atlantis to surprise Maia. Maia tells her sister all about her experiences in Brazil as well as about putting her son up for adoption.
Ally is the narrator of Chapter 51, which sets the stage for her book (The Storm Sister), the second book in the series.
Ally and Ma bid Maia farewell as she heads off to Rio to be with Floriano. Later, Ally is in Pa Salt’s study. She picks up the phone to make a call, but someone else is already on the line. She thinks she recognizes the voice, but they hang up before she is sure. No other information is given, setting up a mystery for the following novel.
Part 5 describes the final stage in Maia’s character arc; she is now motivated by love and hope rather than by fear. Her transformation is symbolized by her embrace of her own beauty. This is most notable on her dancing date with Floriano. Initially hesitant to wear a colorful dress that will draw attention to her body, she is “surprised to see the result. The cross-over bodice accentuate[s] [her] full breasts and slim waist, and the wrap skirt that [falls] away in soft folds from [her] lower thighs [gives] a glimpse of [her] legs” (414). Seeing and celebrating her own beauty (and, implicitly, her sensuality), Maia willingly accepts Floriano’s compliments rather than batting them away. Maia’s character arc, with its happy ending, underscores both The Danger of Being Guided by Fear and Self-Discovery Through Personal and Bodily Autonomy, as Maia’s growth requires that she both leave fear behind and reconnect with her sexuality. Her actions and attitude on her date with Floriano indicate her newfound confidence and her decision to take risks for the sake of love.
Maia’s romance with Floriano is a crucial component in her transformation. He is not only her love interest but also her foil. Maia notices and appreciates how different Floriano is from her:
If nothing else, he had provided me with a role model, one that I realized I desperately wanted to emulate. Next to him, my own life seemed like a dull gray facsimile and I realized that Floriano—even if sometimes his comments had been painful—had made me realize I was simply surviving, not living (414).
Floriano plays a complex and vital role in the novel. He moves the plot along by assisting Maia in her search for her family’s history. He challenges Maia, asking hard questions that others were unwilling to ask. Lastly, as her foil, he acts as a mirror for Maia to see the kind of rich, full life she craves.
The decision to take risks for the sake of love is one of the threads that tie Maia’s and Bel’s storylines together. The echoes in their storylines are clear in Part 5, as Floriano begs Maia to travel with him to Paris. He says the line, “[C]ome to Paris with me” (418), an exact repetition of Laurent’s request to Bel in 1928. This repetition reinforces the novel’s theme of The Past’s Influence on the Present, as the decisions that Bel made paved the way for Maia’s decisions to occur in the future. The author thus highlights the lessons that Maia has learned from Bel; Maia is now willing and able to take risks that Bel could not.
The symbol of the moonstone necklace is another device that the author uses to connect the past and the present. In Part 5, the readers discover how the moonstone necklace came to be in Pa Salt’s possession; Cristina left it at the orphanage after receiving the necklace from Beatriz herself. The necklace is a touchpoint for generations of women in the Aires Cabral family, beginning with Bel and ending with Maia. The moonstone embodies the complexity of long-lasting familial affection and is thus related to the theme of The Power and Limitations of Family. Maia acknowledges this when she tells Beatriz that Cristina “took the moonstone necklace with her when she left the Casa, then passed it on to [Maia]. The connection to [Beatriz] must have been important to her, despite everything that happened […] it shows that underneath, she did love [Beatriz]” (428). Beatriz finds peace in this observation, understanding the symbol to be a representation of affection even if that affection cannot be expressed in other ways.



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