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Content Warning: This section of the guide includes discussion of illness and death.
A conscious, sentient house on a cliff, known for its wild and beautiful gardens, has outlasted two sets of owners. The house grows fond of its third owners, a couple who treat its grounds with reverence. When the couple finds they cannot have children, they decide to create a different kind of family by turning the private estate into a public garden. They build paths and a parking lot, formally naming the magical house Lilymoor. The narrator states that Lilymoor is “where [they] fell in love” (2).
Sophie Drear and her best friend, Harriett “Harrie” Fisher, arrive at Lilymoor House and Gardens in Odette, Maine, the final stop on their post-college road trip. A flashback reveals they met as freshmen at Duke and bonded over a PBS documentary about the gardens. Sophie had described her intense desire to visit as a kind of homesickness for a place she has never been, which Harrie, a collector of untranslatable words, identified as the German word fernweh.
In the present, Sophie, a biology major, and Harrie, an aspiring novelist, explore Lilymoor. Sophie is skeptical of the local legend that one can hear their true love in the gardens, but Harrie believes in the magic of the place. After getting briefly separated in a hedge maze, Sophie finds Harrie, who jokes she was talking to the voice of her true love.
As sunset approaches, they discuss their imminent separation—Harrie is heading to graduate school at UCLA, while Sophie will intern at the New York Botanical Garden. Saddened by the thought, they make a pact to return to Lilymoor together in 10 years for its 200th anniversary, sealing the promise with linked pinkies.
Ten years later, Sophie is the new head gardener at Lilymoor, on a temporary summer assignment from the New York Botanical Garden to restore the grounds for the upcoming bicentennial celebration. She rescues an elderly visitor from the aggressive resident goose, Damnit, while Reggie, the border collie tasked with controlling the bird, proves useless. She is observed by Wykofski, the resident groundskeeper and handyman, who calls her “Sunny.”
Sophie reflects on the challenges of her job. Lilymoor has fallen into disrepair since its owner, Eula Beck, has aged, and important records were lost in a fire 16 years prior. Sophie is currently struggling to identify a mysterious vine that is spreading through the hedge maze. As she works, she is struck by the memory that this day marks the tenth anniversary of her and Harrie’s visit.
As evening falls, a cool breeze blows through the maze, and a previously unseen blue door suddenly appears in a hedge wall. Intrigued, Sophie opens it and steps inside.
Sophie enters a small, keyhole-shaped garden that appears unfinished rather than neglected, with a partially constructed gazebo, an overturned wheelbarrow, and scattered, unplanted seed packets. She discovers a man with copper hair, dressed in an expensive suit, asleep under a large willow tree.
Sophie wakes him to let him know the gardens are closing for the night. The man is initially disoriented, then becomes rude and dismissive, claiming he was merely resting and knows the gardens better than she does. He seems to believe he is at a party and grows frustrated when he cannot get cell service. As they argue, they hear sirens approaching in the distance. Worried that there has been an emergency, Sophie leaves the man in the strange garden, assuming he can find his own way out.
Leaving the Hedges, Sophie meets Wykofski, and they rush to find the Events Coordinator, Juliette, fearing she is the reason for the approaching sirens. They find Juliette safe in the kitchen garden just as a fire truck, playing loud music, arrives at the manor. Atop the truck is an elderly woman whom Juliette identifies as Eula Beck, the owner of Lilymoor.
Eula, who was supposed to remain in outpatient rehabilitation while recovering from a hip fracture, announces that she persuaded the staff to release her because she was bored. Firefighters help her down and give Juliette her medical instructions. Having never met her in person, Sophie is formally introduced to Eula, who greets her as “the magical Sophie Drear” (31).
Sophie is uncomfortable being called “magical,” believing her skill with plants is based on scientific knowledge rather than supernatural abilities. She reflects on her inability to save people from illness and death despite her ability to care for plants. After Eula dismisses the firefighters, she remarks that there is comfort in knowing someone you love will love longer than you. The sentiment makes Sophie think of ya’aburnee, one of Harrie’s untranslatable words.
That evening, Eula gathers Sophie, Juliette, and Wykofski on the veranda. Before the meeting, Sophie mentions the mysterious blue door and unfinished garden, but Eula insists that no such door exists in the Hedges. Eula then announces that according to her late husband Henry’s will, she must name a successor to oversee Lilymoor. She plans to announce her retirement and the estate’s new steward at the bicentennial party in approximately a month and a half. Juliette and Wykofski are stunned by the short timeline. Eula mentions Henry’s niece as one possibility, then names her great-nephews Oliver and Cyrus, an idea that her staff does not seem to endorse. She then instructs Juliette to publicize her retirement and the upcoming celebration heavily.
Sophie returns to the small groundskeeper’s cottage where she is staying for the summer. She calls her mother and reflects internally that her supervisor at the NYBG, Jeff, suggested the Lilymoor position because he was concerned about her declining performance at work. He hoped the summer would help her decide whether she wanted to continue in her career. Sophie knows her burnout is a result of grieving Harrie, who died a year ago.
The conversation with her mother makes Sophie anxious, as she avoids discussing Harrie with people from her past. She reflects on an alternate reality where Harrie lived and on the loneliness of losing her best friend. After the call, Sophie consults a small brown journal of untranslatable words, finding an entry for a very cherished person: ciğerpare. She then picks up a Magic 8 Ball—heavier than a normal one, the first thing she unpacked when she arrived—and asks if she is “wasting [her] time”; the toy responds, “ASK AGAIN LATER” (57).
Sophie dreams she is back at Lilymoor with Harrie 10 years ago. As they explore the manor, Harrie discusses her desire to write a novel but expresses doubts about her abilities. Sophie warns her that she can’t keep putting off her writing, but she cannot bring herself to say the words. Their conversation is interrupted when they overhear an argument on the veranda between two men. One, a handsome blond man standing at the top of the steps, confronts another man with hazy features as he walks away. The blond man forces a smile and tells Sophie and Harrie to “enjoy the gardens” (60) before returning inside. The dream blurs as she and Harrie wander happily through the gardens. Sophie wakes up crying, overwhelmed by the feeling of Harrie’s absence.
The next morning, Sophie returns to the Hedges to investigate the mysterious vines but is chased by Damnit the goose. She escapes by running up the veranda steps, where Eula witnesses the encounter. She explains that her great-nephew Cyrus rescued the goose when it was young. Eula then apologizes for dismissing Sophie’s earlier mention of a secret garden, speculating that it must be one of her late husband Henry’s unfinished projects; she insists that Sophie doesn’t need to worry about it.
Eula tells Sophie that her lawyer has sent over an amended employment contract, which Sophie finds on the veranda sideboard and signs. They also discuss a mysterious flooding issue in the Wildflower Garden, which Eula confirms has been a problem. Sophie suspects the water is seeping through a stone wall bordering the off-limits Willow Grove. Later that day, a gust of wind blows Sophie’s hat over that same wall. When she looks up, she sees the blue door has reappeared, now in an entirely different location. She opens it and steps through.
Sophie finds herself back in the same unfinished garden, though she knows the Rose Court should be on the other side of the wall. She finds the rude, copper-haired man from before, who is relieved but angry to see her. He accuses her of leaving him trapped in the garden and ignoring his calls for help.
They argue, confused by each other’s version of events. Sophie insists she left him the previous day, while he claims it was only an hour ago. He also mentions she was wearing a dress, which Sophie denies. Frustrated, he demands that she open the door, which he claims is locked. To prove otherwise, Sophie grabs his lapel and the handle and pulls the door open, dragging him off-balance as she steps through. When she turns around to face him, both the man and the door have vanished, leaving only a solid stone wall. Sophie searches the wall and checks its opposite side but finds no trace of either. As a storm rolls in, she sets aside her panic to help secure the manor’s windows.
Sophie’s initial longing to visit Lilymoor is a feeling she can only describe as “far-sickness,” a term Harrie identifies with the German word “fernweh.” This act of naming establishes the novel’s central premise: that language can give shape to inarticulable feelings. The prologue personifies Lilymoor as a sentient house that observes its owners and develops an attachment to the couple who eventually name it. When the couple cannot have children, the house witnesses their decision to create a different kind of family by opening the gardens to the public. This personification positions the setting itself as a character with apparent awareness and agency, establishing the possibility that the estate possesses a magic of its own. For Sophie, Lilymoor a place of fated connection, first to Harrie and later to a deeper mystery. The use of untranslatable words as chapter titles, starting with Fernweh, presents the narrative as an exploration of complex emotional states, suggesting that Sophie’s journey requires a specialized vocabulary beyond ordinary expression. This framing introduces the theme of The Magic of Language as words are tools for navigating both the external world of the gardens and the internal landscape of memory and emotion.
The promise Sophie and Harrie make to return to Lilymoor in 10 years is imbued with youthful optimism, a stark contrast to Sophie’s actual return a decade later, alone and burdened by loss. Harrie imagines how their lives might change in the intervening years, while Sophie is more reluctant to contemplate such a distant future. Nevertheless, Harrie insists that they return regardless of their circumstances, declaring, “[w]e’ll be different, and the garden will be different” (12). This narrative structure, which juxtaposes the hopeful past with the melancholic present, highlights The Lasting Nature of Grief. Sophie returns as a temporary employee struggling with professional burnout, a condition rooted in her unresolved sorrow over Harrie’s death. The 10th anniversary of their visit is no longer a date for a happy reunion but a painful reminder of an unfulfilled promise. This absence is reflected in the garden which is vastly different from Sophie’s memory. The physical disrepair of the gardens, particularly the mysterious vines threatening the Hedges and the unexplained flooding of the Wildflower Garden, parallels Sophie’s emotional struggles. Both Sophie and Lilymoor have experienced a period of deterioration, establishing a connection between her task of restoring the estate and her own potential for healing.
When a blue door materializes in a hedge wall where none existed before, it directly challenges Sophie’s scientifically grounded worldview and her dismissal of Lilymoor’s supernatural reputation. During her original visited, she insisted that “[t]here’s no such thing as magic,” referring to Harrie’s explanation of it as “tacky lore” (8). The appearance and subsequent relocation of the door introduces a key fantasy element that defies logic and her understanding of the natural world. Inside, Sophie discovers an unfinished garden that seems suspended between its original conception and its eventual completion. The perplexing encounter with the rude, copper-haired man, whose timeline and memories contradict her own, further destabilizes Sophie’s sense of reality. Her confusion culminates in Chapter 9, titled “Erklärungsnot,” a German word describing the difficulty of explaining oneself, which captures the characters’ inability to reconcile their conflicting experiences. For Sophie, who finds comfort in the predictable requirements of plants, these encounters introduce a world in which familiar rules no longer seem to apply. Her growing uncertainty challenges the rational perspective through which she has attempted to understand experiences beyond her control, including the death of her best friend.
After Eula speaks of the comfort of having a loved one survive you, Sophie internally recalls one of Harrie’s untranslatable words, “ya’aburnee,” which expresses the hope to die first to avoid such pain. This moment demonstrates how Sophie has inherited Harrie’s linguistic toolkit as a way to process her grief. The motif of Harrie’s untranslatable words is a private language that allows Sophie to articulate the precise contours of her sorrow, such as identifying a loved one as a “ciğerpare”—a Turkish word for a person as essential as an organ. Upon finding it, Sophie admits, “[k]nowing the word made me feel better. It put a name to this anchor” (56). In this way, words provide recognition for Sophie and a measure of comfort even when they cannot change the circumstances of loss. This practice parallels her use of floriography, the Victorian language of flowers, to assemble Harrie’s funeral arrangements. Both systems provide a coded, subtle vocabulary for sentiments too complex for direct speech. However, while Harrie’s words help Sophie identify her emotions, it is only the first step in navigating her grief, especially as she is not yet ready to move past it.
As the temporary head gardener, Sophie is tasked with reviving the estate’s fading beauty, a project that metaphorically aligns with her own stalled emotional life. Her dedication to horticulture offers both refuge and avoidance, as she finds reassurance in the familiar demands of plants while her immersion in her work also allows her to escape painful memories. This tension introduces the theme of The Healing Power of Nature, as the natural world offers Sophie comfort and an opportunity for renewal. The urgent need to prepare Lilymoor for its bicentennial establishes a deadline for the estate, while the promise of new growth introduces the possibility that Sophie, too, may eventually find a way forward.



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By Ashley Poston