52 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of death and sexual content.
When Rose is eight, 16-year-old Marsh Felon falls off her roof during a repair and convalesces in the Williams’ home. Rose brings him breakfast, books, and supplies to make fishing lures. After his recovery, Felon remains close to Rose’s family. At university, he discovers a book by Winthrop Young on roof climbing and learns to scale buildings in the night. In London, he befriends a fellow stegophilist, or building climber, named Ruth Howard. An agent for British Intelligence, Ruth recruits him to spy on coastal towns suspected of German sympathies.
When Felon is 21 and Rose 14, he teaches her how to hunt birds, fish, and fire a shotgun. Rose learns about wildlife and chalk hills, and she bonds with Felon during her father’s absences. Years later, Felon and Rose reconnect in Suffolk. Rose lives in London with her husband and Rachel, and she is pregnant with Nathaniel. Felon is disappointed that Rose did not pursue a career as a linguist, whereas Rose sees him as the same childhood friend. Felon also lives in London and has a BBC radio program as a naturalist. Secretly, he works for intelligence and rebuilds a private cottage not far from White Paint. Felon’s skill as a spy is often attributed to his background in animal behavior. He will eventually recruit Rose as a radio operative.
As an adult, Nathaniel wonders if Felon chose Rose’s path for her or if she led the life she always wanted.
During the Blitz, Rose evacuates the children to Suffolk to stay with her parents. Her husband is in Asia, and Rose’s mother chastises her for marrying young. Bombers fly over the coastal towns, and when the planes depart, Rose takes Rachel out at dawn and waits for daylight. She recalls Felon’s advice to protect her loved ones and is compelled to get involved and gain control. She walks toward Felon’s cottage.
Felon recruits Rose, and together they work missions throughout Europe. They masquerade as uncle and niece, but Felon develops sexual desire for her. Rose rises in the ranks from working small missions on the Grosvenor House Hotel roof to becoming a chief operative in harvesting data. Under the codename “Viola,” she travels the world and once parachuted into the Low Countries to replace a killed operator.
As an adult, Nathaniel is uncertain of how Rose responded to Felon. He imagines their relationship was beyond teacher and student and included many changing facets as they grew old together.
At the archives, Nathaniel makes a transparency copy of his mother’s hand-drawn map and matches its contour lines to a map in the collection. The drawing is later revealed to be of a location in Italy where Felon was based and where Rose worked as an informant to root out remaining fascists in post-war guerilla groups.
A colleague at the archives requests Nathaniel to translate an audio recording in Italian recovered outside Naples after the war. Nathaniel hears a woman interrogating an Englishman, later revealed to be Marsh Felon. The woman is looking for Viola and blames her for aiding the Yugoslav Partisans who massacred her family and executed countless villagers in mass graves. Felon lies about knowing Viola’s identity but carelessly divulges that she has birthmarks shaped like the astral plough, or the Big Dipper. Nathaniel thinks about Felon’s favorite poem, Thomas Hardy’s “The Eve of Waterloo.”
The narrative flashes back to the brief love affair Rose and Felon had on the night of her parents’ funeral. In another flashback, Rose travels to Italy to warn Felon that his cover has been compromised and he needs to escape. The following day, they are ambushed, and Felon is captured and interrogated. Felon is released once they confirm Viola’s location and identity.
Rose is captured separately and escapes with knife wounds on her arm from the interrogation. Months later, Felon meets Rose in Paris to celebrate the end of their mission. They visit the Bibliothèque Mazarin and wander through the collection. At the hotel, Rose privately reminisces about their friendship and how Felon became a self-made man who guided her. Felon expects to rekindle their affair, but Rose leaves him at the hotel.
Nathaniel remembers his last days with his mother in White Paint. She regarded the house and the generations of women who lived in it as her inheritance. Rose does not see herself in Nathaniel, but she suspects they are similarly distrustful and private. She tells him that her secrecy protected him and Rachel, and she trusted The Moth to keep them safe. Nathaniel retorts that he didn’t feel safe as a child and that they won’t have another opportunity to talk until he returns from college in the winter. Rose replies that silence is a necessity.
Nathaniel imagines Rose’s last moments in October. Instead of an Englishman, it was a young woman who tracked Viola/Rose down and shot her dead through the greenhouse window.
In the archives, Nathaniel learns that Olive Lawrence secretly charted the weather to prepare for the D-Day invasion. He also discovers the dossier and home address of Norman Marshall, The Darter. The Darter had worked for intelligence transporting nitroglycerine in and out of Waltham Abbey, a former gunpowder mill that became a secret research center after the war. Nathaniel sees the heroism of civilians, including chemists, linguists, beekeepers, and ornithologists, who used their expertise to network as undercover agents during and after the war.
Nathaniel visits The Darter at his home and is disappointed that his former mentor is uninterested in reminiscing about the past. Married to a woman named Sophie and with a daughter, The Darter reservedly chats with Nathaniel and focuses on the present. He has not seen Olive and doesn’t respond when Nathaniel asks about Agnes. Nathaniel leaves, unsure if The Darter is angry or hurt by Nathaniel’s own abrupt disappearance from his life.
Only later does Nathaniel recall the framed cloth he saw on The Darter’s wall with an embroidered sentence about “wishing for a large pearl” (270) and a birthdate underneath. Nathaniel connects the reference back to Agnes and remembers that Sophie was her real name. He pieces together the missing details of Agnes’s untold story. When Nathaniel disappeared to the US and then to Suffolk, Agnes was pregnant and had come looking for him at The Darter’s. Nathaniel imagines The Darter confessing to his real identity and taking her in. He pictures a pregnant Agnes working at Waltham Abbey, packing explosives on an assembly line. Agnes and The Darter marry and name their daughter Pearl.
In Suffolk, Nathaniel spends his evenings with his pet greyhound in the walled garden of his house, a place once owned by the Malakites. He reads a book about sea peas, a vegetable that thrived during the war when mines on the beach left the land undisturbed. He thinks about The Darter, Agnes, Olive Lawrence, his mother, and the anonymous people who served as underground agents. Their stories will always remain incomplete yet formative in his life. He wonders if he has hurt anyone in his past and if he will encounter Pearl on the street or see his sister Rachel again. Nathaniel recalls his last night in White Paint after his mother’s death. He washed and ironed Rose’s clothes, hung them in the cupboard, walked across the nightingale floor, and left the house.
In the final chapters, the narrative structure becomes more complex and intertwined as each clue Nathaniel uncovers leads to more questions than answers. The novel borrows elements of the mystery and spy thriller genre while engaging with postmodern ideas of fragmentation and the constructed nature of truth. Rose’s past is narrated in a mixture of chronological order and circuitous flashbacks from multiple perspectives. The chapter “The Astral Plough” consists of fluctuating settings narrated in nonlinear fashion. The story moves backward and forward in time from a central thread: the audio recording that implicates Felon as “the Englishman” who compromised Rose’s cover, ultimately precipitating her death. Like the Astral Plough or the Big Dipper, Rose’s identity is a pattern of stars among many that form a picture in no inherent order. The narrative structure replicates Nathaniel’s iterative process of researching and remembering highlights The Subjective Nature of Memory, providing an outline of Rose’s life rather than a definitive and verifiable truth of her experiences.
Whereas the earlier chapters relied on a mixture of Nathaniel’s memories and the archival records to map his mother’s past, these last chapters describe events reconstructed from Nathaniel’s imagination using a third-person omniscient narrator. Nathaniel fills the gaps of Rose’s past with poetic reconstructions rather than archival evidence or personal testimony alone. He captures fragments of Rose’s childhood from age eight to 14 from the mediated perspective of a young Marsh Felon. The stories of Marsh’s youth are a blend of fact and fiction, replete with dialogue and internal thoughts that Nathaniel could not have been privy to. Nathaniel repeats this postmodern, metafictional approach in his narration of Rose’s death and of Agnes’s life after his disappearance. Without recourse to a definitive answer of how his mother died or how Agnes and The Darter ended up together, Nathaniel believes, “This is, I now tell myself, how it happened. […] That is what I think now” (258). This imaginative reconstruction highlights the commonalities between memoir and fiction. Nathaniel inhabits the interiority of each person as though they were characters in a novel. As both the writer and reader of his memoir, Nathaniel practices a narrative empathy that provides him with glimpses of closure rather than absolutes.
Nathaniel’s allusion to Felon’s favorite poem, Thomas Hardy’s “The Eve of Waterloo,” underlines the importance of recognizing multiple perspectives. Evoking the theme of The Lasting Impact of War, the poem describes war from the perspective of the smallest creatures in nature: “The mole’s tunneled chambers are crushed by wheels/ […] the hedgehog’s household the sapper unseals/ […] The snail draws in at the terrible tread/ […] The worm asks what can be overhead,/ And wriggles deep from a scene so grim” (231-232). The poem’s focus on the most vulnerable and invisible creatures alludes to the ways war damages children like Nathaniel and Rachel by destroying homes, disrupting families, and instilling fear. As a naturalist, Felon is similar to Olive Lawrence and Sam Malakite in his connection with nature. He inspires Rose to explore the natural world around her when she is a youth, just as Olive and Sam do for Nathaniel.
As Nathaniel searches to understand why his mother left him, he questions whether her choices were her own. He asks, “Is it Felon who chooses her, or is this something Rose always wished for?” (207). The question acknowledges Rose’s desires and highlights The Multifaceted Nature of Identity. In focusing on the unknowable events in his mother’s life, like her affair with Felon or her last spoken words, Nathaniel finds a path to understand the emotional context of his mother’s decisions from her perspective, recognizing that there is no single answer to any of his most pressing questions.
In the final chapter, Nathaniel realizes that, like his mother, he too lived a life of secrecy and abandoned loved ones—Agnes and their child. He asks himself, “But above all, most of all, how much damage did I do?” (270). The question of damage applies not only to himself, but to society at large and the lingering consequences of war, where generations experienced loss, disruption, and trauma. The novel ends ambiguously with Nathaniel in his walled garden with his pet greyhound. He is comforted by the animal that accepts “all [his] separateness and uncertainties” (279). The walled garden symbolizes Nathaniel’s melancholic longing for security; he is safe but isolated from the world. He ends the novel with a memory of ironing his mother’s clothes, particularly the blue cardigan she wore that hid the scars on her arms. The scene of ironing serves as a bookend to the novel’s epigraph: “Most of the great battles are fought in the creases of topographical maps” (Location 71). Though Nathaniel uncovered more questions than answers, he has smoothed the metaphorical wrinkles in his mother’s mysterious past and is ready to leave them behind closed doors.



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