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Content Warning: This section of the guide includes discussion of illness and death.
That evening, Sophie is distraught over the man trapped in the secret garden and asks her Magic 8 Ball if he is real. Before she can get an answer, a man unlocks and enters her cottage. Startled, Sophie shrieks and throws the Magic 8 Ball at him, but he dodges it. The man introduces himself as Oliver, Eula’s great-nephew, and explains that he usually stays in the cottage when he visits. He apologizes for frightening her and tells her that he came to Lilymoor because he was worried after hearing that Eula had left her rehabilitation facility and planned to retire. After a tense but increasingly friendly conversation, Sophie accepts his explanation, and he leaves for the main house. Alone again, she checks the Magic 8 Ball, which now displays the message “SIGNS POINT TO YES” (81).
The next morning, Sophie finds Oliver on the veranda, where they engage in flirtatious banter. Their conversation is interrupted by Eula, who warmly greets her great-nephew. Oliver explains that he rushed to Lilymoor as soon as he heard she had checked herself out of rehab and was announcing her retirement, fearing something was seriously wrong. Eula reassures him that she is fine and playfully suggests that he and Sophie should “flâner” together in the gardens, explaining that the French word means to wander without a particular destination while enjoying the surroundings. Flustered by Oliver’s enthusiastic agreement, Sophie makes an excuse and quickly retreats into the garden.
Sophie searches unsuccessfully for the secret door, which makes her reminisce about Harrie and her belief in the supernatural. She remembers a ghost tour they attended together, during which Harrie introduced her to the Urdu word “goya,” describing the experience of becoming so absorbed in a story that it feels real. By Monday, Sophie has still not found the door, though she successfully reopens the Hedges to visits.
Later, Yafir, the estate’s bookkeeper, calls an emergency meeting with Sophie, Juliette, and Oliver. He reveals that Eula has handwritten over 500 invitations for Lilymoor’s bicentennial party, far exceeding the budget for 100 guests. Sophie finds an unsealed invitation addressed to Cyrus. To accommodate the additional guests, Sophie suggests reopening the long-closed Willow Grove. Eula enthusiastically approves the idea over Oliver’s objections and agrees to amend Sophie’s contract to account for the additional work. Afterward, Oliver tears the invitation to Cyrus in half and throws it away before inviting Sophie to lunch. She accepts, but not before secretly retrieving the torn letter from the trash.
At a local lobster shack called Pinch, Sophie feels uncomfortable with her growing attraction to Oliver, mentally identifying her self-inflicted duress with the Czech word “Lítost.” During their meal, Oliver confesses his guilt for not being present when Eula fell. He also admits he does not want to inherit Lilymoor because he fears being trapped by the responsibilities of the estate, though he would rather inherit it than see Eula sell it. He also speaks bitterly about Cyrus, noting they grew up together and were once close but have since become estranged. Oliver insists that Cyrus has no interest in Lilymoor and will never return.
As they prepare to drive back to Lilymoor, Sophie feels a strong attraction to Oliver but pulls away from the possibility of a kiss, suggesting they should return. During the drive, Oliver tells her about his education, career restoring historic houses, and previous engagement. He also mentions that Cyrus once proposed to his girlfriend but was rejected. When they arrive, Wykofski sees them and gives Sophie a supportive thumbs-up, which mortifies her.
Sophie grows increasingly frustrated by a mysterious, invasive vine that has now spread from the Hedges to the Rose Court. Wykofski insists she take a lemonade break with him at the garden shed. She tells him she believes the vines might be honeysuckle but won’t know for sure until they flower. They discuss the work required to reopen the Willow Grove, and Wykofski suggests that Eula originally closed the area because of its proximity to the greenhouse and the painful memories associated with Henry.
Wykofski then expresses optimism about Oliver potentially inheriting Lilymoor, but Sophie remains pessimistic about people in general, believing they inevitably disappoint one another. She mentions the Arabic word “taarradhin,” which she defines as a mutually beneficial compromise in which neither side loses. Wykofski, liking the concept, declares he will be “optimistic for the both of” them (107). Sophie thanks him for the conversation and returns to her work feeling slightly better.
Sophie is summoned to Eula’s bedroom to water the houseplants. She is struck by the cluttered room, which is filled with personal mementos, plants, and countless photographs of Henry. Sophie signs an amended contract for the additional work in the Willow Grove, then they discuss flowers, with Eula recalling Henry’s fondness for flowers named after celestial objects. As Sophie tends to the plants, Eula expresses her frustration with her declining health and the loneliness of having outlived many of her loved ones. Concerned, Sophie encourages Eula to leave her room and get some fresh air. When Eula resists, Sophie jokingly threatens to report Eula to her lawyer for violating the terms of their contract, eventually persuading her to go outside.
As they are about to leave, Sophie notices a photograph on a dressing table. It shows Eula and Henry with two teenage boys: a young, blond Oliver and another boy with coppery hair. Eula identifies it as the last time they were all together, just before Henry died, almost 17 years ago. Sophie immediately recognizes the second boy, Cyrus, as the stranger trapped in the secret garden.
Sophie receives a series of texts from Sanchez, Harriett’s fiancé at the time of her death, who informs her that he is engaged to another woman. He expresses his hope that Sophie will also find a way to move forward, insisting that Harrie would have wanted them both to be happy. Upset, Sophie looks through his social media posts and struggles to understand how he has continued with his life so quickly after Harrie’s death.
While walking through the gardens, Sophie is stunned when the magical blue door reappears in the Wildflower Garden. She enters and finds Cyrus, who is confused about the passage of time, claiming only a few hours have passed for him. Sophie tells him it has actually been days. He initially refuses to believe her but begins to question his own understanding of the situation. He explains that after she left the first time, the door slammed in his face, and that he has since tried numerous methods of opening it, all without success.
They decide to attempt an escape, with Cyrus agreeing to boost Sophie over the garden wall. Before they begin, Sophie promises not to abandon him, and Cyrus asks her to call him “Rus.” As Sophie reaches the top of the wall, she notices that the vines growing there are honeysuckle, the same species spreading throughout the estate. However, she then becomes dizzy and sees the surrounding colors distort. When Cyrus jumps to take her hand, their hands pass directly through each other. An unseen force pulls Sophie from the wall, sending her tumbling over the other side.
Sophie lands in the Hedges, where Oliver, who heard her scream, manages to catch her, with the boxwoods absorbing the rest of the fall. She is startled to learn that she has emerged in an entirely different part of Lilymoor from where she entered the secret garden. Sophie immediately runs back to the Wildflower Garden, but the blue door has vanished.
Oliver notices a scratch on her cheek and insists on cleaning it in the main kitchen. While he tends to her injury, Sophie asks him about any secret gardens at Lilymoor. He admits that Cyrus would be more knowledgeable about the estate’s gardens because of the time he spent with Henry, but adds that Cyrus hates the estate and has not returned in years. When Sophie asks whether Cyrus might be missing, Oliver dismisses the possibility, explaining that Eula speaks with him regularly.
After leaving the house, Sophie remains preoccupied with Cyrus and the mysterious garden. Oliver asks her to dinner, but she absentmindedly declines, explaining that she already has food at the cottage. Only after returning home does she realize that he was asking her on a date. She consults her Magic 8 Ball, which confirms her suspicion with the response “WITHOUT A DOUBT” (132).
Over the next few days, Sophie frequently encounters Oliver around Lilymoor, but she continues to avoid his romantic advances because she does not want to become involved with someone during her temporary stay. During a visit to Eula’s room, she learns that the party invitation to Cyrus was resent and that he replied, saying he is considering attending. Eula also reveals two confusing facts: Cyrus is the lawyer who drafts Sophie’s employment contracts, and she spoke with him on the phone just yesterday. This baffles Sophie, as the Cyrus in the garden has no cell service and appears to be trapped.
Later, while surveying the Willow Grove, Sophie calls her mother, who is vacationing with her stepfather and friends. They discuss the additional work required for the bicentennial celebration and Sophie’s uncertainty about her career. Her mother recalls how Sophie once devoted considerable effort to saving a dying houseplant as a child, encouraging her to recognize the value of pursuing something she cares about even when the outcome is uncertain. However, Sophie is disappointed when her mother reveals that she will not be visiting Lilymoor as previously discussed.
Sitting beneath a willow tree, Sophie hears someone shouting at Damnit. She ends the call and, spotting the blue door against the fence hiding the Reservoir, goes through. She finds Cyrus standing on a bench, trying to defend himself from the aggressive goose. Sophie successfully lures Damnit away with her shovel, but it turns on her and chases her out of the garden. As she flees, she promises Cyrus she will return soon, but the door vanishes the moment she is outside.
The chapter titles in this section deploy untranslatable words to map Sophie’s internal conflict between her emotional reality and her outward experiences, but their significance expands as she begins forming relationships beyond her memories of Harrie. When Oliver enters her cottage in Chapter 10, titled Estrenar, a Spanish word associated with experiencing something for the first time, the term reflects an unexpected disruption to Sophie’s carefully isolated existence. Their flirtatious banter in Flâner, a French word describing leisurely wandering, introduces the possibility of an unplanned romantic connection. Conversely, her subsequent lunch date is titled Lítost, a Czech word for the self-inflicted torment of confronting one’s own misery, revealing that her discomfort stems from an internal conflict rooted in her grief rather than from Oliver himself. These terms develop the theme of The Magic of Language by providing a precise vocabulary for Sophie’s complex psychological state. Readers can apply this vocabulary to the emotional struggle that Sophie herself struggles to articulate. Harrie’s linguistic language remains an active presence in Sophie’s life, even as she begins encountering experiences without her.
The introduction of Oliver establishes a similar internal conflict for Sophie with competing versions of reality and romantic potential. Oliver is a tangible, grounded presence who exists in the ordinary world, while Cyrus is confined to an inaccessible garden governed by seemingly impossible rules. Additionally, their differences are more complicated than a simple opposition between reality and fantasy. Oliver conceals guilt over Eula’s accident and an unwillingness to assume responsibility for Lilymoor, while Cyrus’s abrasive behavior reflects his increasingly desperate situation. Oliver admits that he does not want to inherit the state, stating “I don’t want to be stuck here” (100). His language creates an ironic parallel with Cyrus, who is literally trapped within its grounds. Both men are connected to Lilymoor by their shared history, but neither appears capable of freely embracing that connection—or escaping from it. Their contrasting circumstances establish a romantic conflict for Sophie while introducing questions about obligation and belonging, similar issues with which Sophie grapples in her personal life.
At the same time, the mystery surrounding Cyrus develops through a series of carefully time revelations to build suspense and tension around Lilymoor. Sophie’s discovery of his photograph in Eula’s bedroom reveals that he is a tangible member of the Beck family, while Oliver’s destruction of Cyrus’s invitation underscores a history of resentment between the cousins. The mystery intensifies when Sophie learns that Eula and Oliver are in regular contact with a “real” Cyrus, a successful lawyer who is decidedly not missing. The narrative is restricted to Sophie’s perspective, encouraging speculation about whether the Cyrus in the garden may be a ghost, a memory, or an alternate version of himself. Rather than immediately revealing the garden’s rules, Poston distributes clues across seemingly unrelated conversations and encounters as the physical mystery becomes one that challenges the characters’ understanding of the novel’s reality itself.
Eula’s bedroom, described as a “living reliquary,” offers an important counterpoint to Sophie’s emotional isolation and introduces another perspective on the theme of The Lasting Nature of Grief. While the garden shows a moment of trauma frozen in time, Eula’s room is a vivid, cluttered, and living space filled with photographs and mementos of her late husband, Henry. Its abundance shows how memory has become an integral part of her everyday surroundings rather than something she has attempted to conceal, ultimately providing Sophie with a potential path forward that contrasts sharply with her own paralysis. However, Eula admits that living with so much loss has become exhausting, noting “I’m grateful to be alive, but it’s tiring when the people you’ve shared your life with the longest are all gone” (113). Her grief has accumulated over many years, emphasizing the persistence of grief throughout a lifetime. This perspective also provides a contrast to Sophie’s reaction to Sanchez’s engagement, which shows her resentment toward those who appear capable of continuing their lives after loss. His announcement emphasizes Sophie’s difficulty reconciling the passage of time with the permanence of her best friend’s absence and her continued struggle with grief, even if it differs from Eula’s own.
The invasive honeysuckle vines increasingly connect Lilymoor’s ordinary horticultural problems to the supernatural mystery at its center. Initially, Sophie regards the vines as a professional nuisance, but their spread from the Hedges into the Rose Court threatens the carefully maintained beauty of the estate. Her recognition of the same vines along the secret garden’s walls connects the spaces that otherwise appear impossible to reconcile. The vines develop as a symbol of entanglement, underscoring how unresolved problems can spread beyond their original boundaries. This idea also highlights the theme of The Healing Power of Nature, as the source of Lilymoor’s decay, both physical and supernatural, is one and the same. Sophie’s work to clear the vines is a physical manifestation of her psychological effort to process her loss. At the same time, Wykofski’s intervention and advice to step back offers a contrasting approach to these challenges. When Sophie becomes consumed by frustration, he encourages her to take a break and reconsider her pessimistic outlook, reminding her, “[w]e live in a world that likes to take, but the world likes to give, too” (107). Their discussion of the chapter’s titular “Taarradhim,” a compromise in which neither party loses, emphasizes that restoration requires cooperation rather than relentless individual effort. This idea is a reminder than Sophie’s work in the gardens can foster meaningful human connections even when the plants themselves are unmanageable, highlighting how her journey of healing is centered on nature itself in more ways than one.



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By Ashley Poston