51 pages • 1-hour read
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Clara wakes from feverish dreams about the day before. She’s relieved when she looks outside to see the Cumbria landscape. There’s something familiar about the place that makes her want to paint and reminds her of Bronwyn’s story. She runs into Moira, who gives her something to wear. When she looks outside again, she sees Charlie and Wynnie coming toward the house.
Dr. Finlay returns to examine Clara. After he assures her that she’s doing all right, Clara joins Pippa. They chat about the house and Clara’s work until Wynnie and Charlie return. Pippa tells the group that she works with the local theater and alludes to the adaptation of Bronwyn’s play, A World Apart. Afterward, Clara asks Charlie if they can ask Pippa about Bronwyn now, but he’s unsure.
In the study, Charlie tells Clara about the house and grounds. He explains that he can’t tell Pippa about the papers because he’s afraid of hurting her. Feeling hopeless, Clara wonders aloud if finding Bronwyn is a lost cause. The conversation turns intimate, and Clara feels a sudden desire to be close to Charlie. Archie and his wife Adelaide’s arrival interrupts them. Alone afterward, Clara tells herself that she needs to get home. She needs her drawing supplies and doesn’t want to miss the upcoming Caldecott Awards.
Clara examines the few pages that she and Moira saved on the day the woman stole Bronwyn’s satchel. While alphabetizing the remaining entries, she wonders if Davis’s version of her mother was correct. She wishes that she had someone to talk to and writes Lilia a letter.
Clara joins the Jamesons, meeting Archie and Adelaide. She marvels at how welcoming everyone is and wishes that she understood Bronwyn’s connection to this family.
A few days later, Clara and Charlie take a walk in the snow. Charlie tells her more about Callum’s past and the history of the house. They also talk about family and relationships; Clara opens up about Nat, and Charlie opens up about Chelsea. Then, they arrive at the cottages on the property. Clara is shocked to see a sign near a walled garden with one of Bronwyn’s words.
Charlie promises to help Clara find Bronwyn no matter what. Clara breaks down, admitting that she’s been tense for days. She blames herself for the mess into which she’s gotten herself and Wynnie. Charlie reassures her. Then, Wynnie runs out of the trees, exclaiming at the solo walk she took. Clara and Charlie warn her about wandering off alone. Wynnie dismisses their fears, confident that only “good things will happen” in Cumbria (201).
Charlie overhears Clara talking to Timothy on the phone. He’s glad that she’s there and hopes he can help her; he hasn’t had this protective impulse in some time. Then, he finds Archie and asks him about Bronwyn’s papers. Archie doesn’t know anything about them but teases Charlie about liking Clara. Charlie rejoins Wynnie and asks her more about Emjie.
That evening, Clara, Charlie, Wynnie, Moira, and Pippa go to see A World Apart. Clara and Wynnie are thrilled to run into Finneas, who lives nearby. After the play, Pippa introduces Clara to the director, Louisa Mayfair. Louisa is delighted to learn that Clara is Bronwyn’s daughter and works for Eliza; Eliza adapted A World Apart.
Back at home, Clara and Charlie tell Pippa about finding Bronwyn’s papers in Callum’s study. Pippa doesn’t know anything about it and is surprised to learn that Clara is Bronwyn’s daughter and works for Eliza. She explains that Eliza is from Maine but married Callum’s friend Thomas, a local man. Thrilled by these connections, Clara realizes that she’s been painting the very place where Eliza has lived for years.
After putting Wynnie to bed, Clara joins Charlie in the drawing room. They talk about music, language, and translation. Callum also invented words. The conversation turns back to Bronwyn’s mystery. Charlie agrees to introduce Clara to Eliza. Then, he plays Clara a song. He notices her crying, and the two share a passionate kiss. Clara doesn’t want the moment to end but hears Wynnie calling her.
Clara wakes up thinking about her and Charlie’s kiss. She joins him, Pippa, and Wynnie for breakfast. They talk about childhood, illustrating, and memory. Clara’s stories move Pippa. She used to have a painting club with her sister and cousins Nelle and Isolde years ago. She also informs Clara that Beatrix Potter used to live nearby. They agree to visit her house later.
Clara and Wynnie walk to Beatrix Potter’s cottage. They bump into Finneas, and he tells them about Potter—he used to know her. He also knows Eliza and loves that Clara illustrates her books. He wishes Clara well, hoping that she finds what she’s looking for.
Back at the house, Clara and Charlie sit together. He touches her hair and recites a T. S. Eliot poem for her. Clara knows the poem from Bronwyn.
Over lunch, Clara and Charlie tell Pippa more about Bronwyn’s papers. Then, they head to Eliza’s house in Hawkshead. Clara secretly hopes that Eliza will be Bronwyn, but Eliza looks nothing like her mother. Eliza welcomes them in and tells them about her friendship with Callum. He’s the one who found Clara’s work and connected her and Eliza.
That evening, Clara thinks about life back at home. She hasn’t talked to Nat and guesses that he’s upset with her. She needs to return for the Caldecott Awards but is also enjoying Cumbria. Back in their bedroom, Clara and Wynnie discover an easel, palette, paint, and brushes from Charlie. Clara starts painting. Then, Wynnie notices a clue on one of Bronwyn’s papers: One of her lines is an acrostic spelling “violets.” Violets were Bronwyn’s favorite flower.
After digging out Pippa’s old painting supplies for Clara, Charlie hunts for Callum’s old typewriter. He hopes that Clara might use it to type Bronwyn’s pages. During his search, he remembers listening to Callum work late into the night when he was a boy. He realizes that Callum and Bronwyn have a lot in common, particularly creatively. He wonders again about their connection. His mind jumps to Clara and their kiss, and he wants to be closer to her.
Throughout Chapters 30-44, Clara’s experiences in Cumbria develop her character and personal growth journey. The longer that she is away from her Bluffton home, the more questions she is forced to ask about herself. The beauty of the natural world, the Jamesons’ kindness and generosity, the accumulating revelations about her mother, and her burgeoning feelings for Charlie complicate Clara’s previous sense of home and identity. She still wants to solve the mystery of Bronwyn’s whereabouts, but this adventure challenges Clara’s understanding of what she wants and needs to be happy.
Clara’s internal conflicts awaken her creative impulses, thus establishing the theme of Artistic Creation as a Form of Self-Expression and Self-Discovery. Because Clara is far away from home, she starts to long for her art studio back in Bluffton. Being in Cumbria makes her want to create because she’s eager to translate the landscape’s effect on her into an illustration and make sense of her new experiences. When she looks outside the morning after her arrival, for example, she remarks, “All was a symphony of colors and textures, and my eyes couldn’t find one place to rest. Inside me, something opened. I’d seen this land before, hadn’t I?” (166). The beauty of the Lake District landscape feels familiar to Clara, but it also raises new questions. Indeed, the longer she is there, the more unsure Clara feels about her decision to leave home. The place is beautiful and welcoming, but she doesn’t know if it holds the answers she seeks.
Furthermore, Clara is afraid of growing attached to Cumbria and the Jamesons because she will eventually have to return home and leave them. The experience of connecting with and having to leave Cumbria and the Jamesons echoes Clara’s encounters with loss as a child, further developing The Impact of the Past on the Present. The only way for her to navigate these complex facets of her internal experience is to paint:
This was not my land or my people. I would not be stuck here in a life that wasn’t mine and miss out on the life that belonged to me. If I stayed much longer, we’d miss our ship home, but I refused to miss the Caldecott Awards. My hand was still warm from Charlie’s, and a thrill I couldn’t yet name. What I’d give for a sketch pad and charcoals, for an easel and watercolors, even for a pencil and notebook (183).
Clara longs for art supplies in this scene because she longs for self-understanding. She tries to reconcile her simultaneous attachment to Cumbria and desire to return home and also tries to enjoy and stave off her intensifying feelings for Charlie. If she had her art supplies, she could make sense of these emotions in a creative, fluid manner. Art, the novel thus shows, offers Clara a way to process the ineffable facets of her internal world.
Allusions to the other characters’ artistic pursuits further this thematic exploration. While Bronwyn and Callum were more prone to writing than drawing, their artistic passions also helped them make sense of their psyches. Callum would tell “stories [about] the importance of language to define the world, the hidden secrets of an unseen world” (191). Bronwyn invented a language to reify her inarticulable feelings. Pippa was part of a painting club with her friends and works with the local theater company. Beatrix Potter lived in the area and shared her stories with the locals. Eliza is also a writer with a creative mind and openly discusses the mysterious nature of making art with Clara and Charlie. These references to art and the artist’s life reiterate the power of artistic creation to capture the mysteries of the human heart. Therefore, Clara must reawaken her artistic practice in the narrative present to fully solve her internal conflicts and make peace with her past. When Charlie gives her the art supplies, he offers her a gateway back into self-expression.



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