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60 pages 2 hours read

Nora Roberts

Inheritance

Fiction | Novel | Adult | Published in 2023

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Part 2, Chapter 16-Part 3, Chapter 23Chapter Summaries & Analyses

Part 2: “The Manor”- Part 3: “Spirits”

Part 2, Chapter 16 Summary

Content Warning: This section of the guide includes discussion of death and sexual content.

Sonya and Trey have dinner together and bond over their preferences for certain books and movies. Sonya meets Bree Marshall, the restaurant’s chef and Trey’s friend and former girlfriend. Sonya and Bree commiserate over past relationships. Back at home, Trey reiterates that Sonya can call him whenever she needs to.

Sonya shops for groceries in preparation for the Doyles’ dinner party, but she discovers that the ghosts have already put everything away. The next day, Sonya worries while cooking a pot roast. She talks with Cleo and then hears the dumbwaiter. When Yoda does not growl at it, Sonya gains the courage to investigate. Inside the dumbwaiter, she finds a hand-painted Limoges serving platter, which she recognizes as a wedding gift for Lisbeth, one of the lost brides.

Part 2, Chapter 17 Summary

Sonya cleans up and gets dressed for the dinner party. She hears doors slamming in the Gold Room but ignores the noise. A gale develops outside, scaring Yoda, but Sonya repeats to herself that it is not real. The friendly ghosts attempt to soothe her.

Anna arrives first with her husband, Seth. Anna informs Sonya that her sales have already increased. Ace and his wife, Paula, arrive along with Trey, and Deuce arrives with his wife, Corrine, shortly afterward. The dinner party goes well despite the slamming doors. After dinner, the group moves to the music room. Corrine, who was friends with Johanna, mentions that Johanna used to play the piano. Sonya wonders if Johanna is the piano-playing ghost. Sonya goes to the kitchen to start cleaning but finds that the ghosts have already tidied the entire room. Deuce offers to help Sonya identify the various ghosts in the manor.

That night, Sonya dreams of Astrid at a dinner party with Collin and his family a few weeks before their wedding. In the dream, the party scene freezes, and Astrid speaks directly to Sonya, asking her to find the wedding rings and declaring that Sonya is the only one who can do so. The party scene unfreezes, and Sonya wakes up. She walks to Astrid’s portrait and promises to help.

Part 2, Chapter 18 Summary

Sonya writes down the details of her dream in the morning and wonders about the identity of the ghost who cleans up after her.

The narrative shifts to 1892, focusing on Agatha Winward Poole, Owen Poole’s new wife. Although she liked Owen, Marianne Poole’s son, their marriage appeared to be more about social status than love. The wedding was grand, but Agatha choked to death on food during the celebration. As she died, she watched Hester enter the room and steal her custom-made wedding ring.

The narrative returns to the present. Sonya sends marketing proposals to the Doyle law firm and a local florist. Sonya’s former boss contacts her about a new campaign for Ryder Sports. The client explicitly requests Sonya, so her boss provides Sonya’s contact information and informs her about the upcoming proposal request. Trey visits briefly and shares that the law firm officially wants to hire Sonya. He makes plans to return later that evening.

When Trey returns, Sonya tells him about her dream of Astrid and her belief that Astrid is the piano-playing ghost. Sonya comments that Yoda can see the ghosts, and Trey confirms that his dog, Mookie, can see them, too. Trey shares ghost stories from his past. At age five, he spoke with a man who warned him about the “witch” before disappearing. At age 12, Clover appeared while Trey practiced playing guitar; she complimented his playing and encouraged him to learn “Satisfaction.” Hearing this story, Sonya realizes that Clover is the DJ ghost.

Part 2, Chapter 19 Summary

Sonya tries to initiate a romantic moment with Trey, but he steps back and expresses concerns about starting a relationship in the midst of Sonya’s significant life challenges. Sonya explains what happened with her ex-fiancé, Brandon, and Trey kisses her. The kiss becomes more intimate, and they move to the bedroom to have sex. Later, Sonya worries that the ghosts may have watched them, but Trey reassures her.

At three o’clock in the morning, Trey hears the grandfather clock in the second parlor. He recalls that Collin never wound the clock because he found it too loud. Trey investigates and discovers that Sonya did not wind the clock either. He feels a blast of cold air and hears the piano playing. He then turns to see Clover, who tells him that the clock is tied to Hester. Clover explains that Trey can now see her because of his deepening relationship with Sonya. Clover warns Trey about Hester and urges him to help Sonya retrieve the wedding rings. After Clover disappears, Trey changes the time on the clock and then returns to bed. The following day, Trey tells Sonya about the clock and leaves Mookie with her before heading out.

Part 2, Chapter 20 Summary

Trey returns after attending court and shares stories about a contentious divorce case that he is handling. He tells Sonya that the judge eventually cited his client’s ex-husband for contempt. Trey asks to see Sonya’s mood board for the Ryder Sports campaign. They also discuss their weekend plans. Sonya is expecting her mother to visit, and Trey plans to attend a cousin’s wedding. They settle in to watch a movie in the library. Trey compliments Sonya’s work on Ryder Sports, and they sleep together.

Just before three o’clock in the morning, the clock starts ticking and loudly chimes the hour. Sonya and Trey go downstairs and hear the piano playing “Barbara Allen” again. The music stops as they enter the music room. While continuing down the hall, they hear the piano crash and doors slamming around them. Something brushes past Sonya, leaving a cold burn on her arm. Trey offers to move Sonya to his place, but she refuses. The ice burn on her arm fades quickly, and Trey resets the clock again.

Part 3, Chapter 21 Summary

Under Bree’s guidance, Sonya bakes bread for her mother’s visit. The ghosts wrap the loaf in a towel for her. When Winter arrives, she instantly falls in love with the house and Yoda. Sonya gives her a tour and offers her one of Andrew’s paintings from Collin’s office, but Winter refuses, insisting that the painting belongs in the manor. Sonya tells her mother about the ghosts and mentions that she is dating Trey. Winter shares that she occasionally senses Andrew’s ghost. The ghosts remain quiet throughout Winter’s visit. After Winter leaves, Sonya takes Yoda outside to play and notices a shadow in the window. She waves, and the shadow waves back. The Gold Room’s windows open and shut, but Sonya ignores them.

Part 3, Chapter 22 Summary

Sonya dreams of the mirror again and witnesses Agatha’s wedding. In the dream, she watches Hester enter the room unseen and place a small cake on a waiter’s tray. Agatha eats the cake, and Sonya tries unsuccessfully to stop her. Agatha dies of anaphylaxis as Hester repeats her curse.

The following day, Sonya documents the dream. That evening, Trey picks her up for dinner. Sonya tells Trey that the clock resets itself to three o’clock each night and shares her dream of Agatha’s death. She concludes that Agatha likely died from an allergic reaction. Trey suspects that Astrid may be facilitating Sonya’s dreams. They discuss their weekends and chat with Bree before returning home. Trey suggests that Owen build a doghouse for Yoda.

The clock chimes at three o’clock that night, but Trey soothes Sonya back to sleep.

Part 3, Chapter 23 Summary

Anna follows Sonya to the manor and finds Cleo’s car in the driveway. They meet Cleo in the kitchen, and she describes the supernatural elements of her arrival. Cleo recalls hearing the servant’s bells ringing, after which the Gold Room’s bell began ringing repeatedly. Doors opened and closed, the TV turned on at maximum volume, and she felt a cold wind pass her before everything went silent. After Cleo describes these experiences, the general conversation shifts to Anna’s baby and her request to update the website with an ad for an open house on May Day weekend.

After Anna leaves, Sonya and Cleo make plans to attend a local concert on Monday. They pause to rest from unpacking Cleo’s belongings and then return to discover that the ghosts have already unpacked everything. Clover plays “Good Golly Miss Molly,” indicating that the cleaning ghost is named Molly, and Sonya and Cleo thank the ghosts for their help. Later, Sonya finds a portrait of Clover in a studio closet. She and Cleo recognize it as Andrew’s work and move it to the music room beside Johanna’s portrait. Sonya texts Winter about the painting, but Winter does not recognize it. That night, Sonya sleeps through the clock’s three o’clock chime.

Part 2, Chapter 16-Part 3, Chapter 23 Analysis

This section explores The Interplay Between Past and Present, with ghosts and inherited legacies shaping Sonya’s understanding of herself and her family. The intensifying encounters with the restless ghosts of Lost Bride Manor indicate that the revenants are not merely passive remnants of the past; instead, they actively seek resolution for their unfinished business. Astrid, the first of the lost brides, communicates with Sonya through dreams, asking her to recover the seven wedding rings that Hester stole over the years, and it is clear that these rings hold the key to breaking the curse that binds the lost brides’ spirits to the manor. Likewise, Sonya’s early encounters with the ghosts foreshadow her eventual realization that it will be her burden to resolve the Pooles’ legacy of suffering. As the ghosts slowly reveal more details about their tragic pasts, Sonya fully accepts the presence of the supernatural and begins to engage with the ghosts directly, moving beyond fear or skepticism and openly acknowledging The Impact of Family Legacy. She also embraces her role of addressing the many unresolved conflicts from the Poole family’s past. Notably, her decision to fulfill Astrid’s request to find the wedding rings illustrates the profound interplay between familial ties and the lingering impact of historical events.

Another significant theme in this section can be found in the enduring influence of Andrew MacTavish, Sonya’s father, despite his physical absence from the narrative. For example, Winter, Sonya’s mother, shares a deeply personal account of her own encounters with Andrew’s ghost, recalling that his unseen presence comforted her during moments of grief and uncertainty after his death. As she states, “I saw him […] He told me we’d be all right, that he’d loved me every minute of every day since we met […] Sometimes I’d feel his hand on my cheek as I fell asleep. I still do now and then” (287). These encounters both soothe Winter and reassure Sonya, offering a more nuanced perspective on the potential for supernatural presences to be comforting rather than menacing. As Andrew’s influence persists, the author uses this aspect of the narrative to demonstrate that familial connections can transcend death and continue to influence the experiences of the living.

As the narrative unfolds, Andrew’s legacy also becomes evident in his artwork, which connects him to his estranged family in subtle but meaningful ways. Although Collin never got the chance to meet his twin brother, he nonetheless acquired several of Andrew’s paintings. One significant piece occupies a prominent spot in Collin’s office, symbolizing the unbroken bond between the long-separated brothers. When Sonya offers this painting to Winter, her mother declines, stating, “It feels like it belongs here […] I like knowing that something of Drew’s—besides you— has a place here” (285). This moment underscores the fragmented but enduring ties that connect the Poole and MacTavish families. The presence of Andrew’s art in the manor indicates that physical artifacts can bridge gaps in relationships and reinforce connections across generations.

The ghosts in the manor also contribute to this theme by presenting the protagonists with significant objects from the past. These items, such as a portrait of Clover and a Limoges serving platter, mysteriously appear without explanation, blurring the lines between the tangible and the supernatural. The portrait of Clover in particular resonates deeply with Sonya, who immediately identifies the artist as her father. This moment prompts her to ask questions about how the painting came to the manor and why it was created. When she delivers a spate of rhetorical questions—“How did he paint her—the woman who died giving birth to him? How did it get here, in the manor? Did he dream of her, the way he did the manor, the mirror, his brother?” (317)—her words indicate that the portrait symbolizes the enduring influence of family legacy, highlighting connections that persist even without direct interaction. Sonya’s reflections therefore underscore the mysterious nature of inheritance and the interplay between past and present.

The profound impact of Gothic literature also becomes apparent in these chapters as Roberts uses a series of dreams to create near-cinematic descriptions of the past. Likewise, Sonya’s own “ghostly” presence in the midst of long-buried interactions reinforces the blurred boundaries between past and present. In one pivotal dream, Sonya finds herself at a dinner party with Astrid and the Pooles, shortly before Astrid’s ill-fated wedding. When time freezes and Astrid directly implores Sonya to find the stolen wedding rings, this dream marks a turning point for Sonya, and she finally commits to helping the ghosts resolve their unfinished business. Only after this interaction does she begin to identify individual ghosts and recognize them as distinct personalities with specific roles. In this way, the manor becomes “populated” with a new host of spectral faces: Astrid, the piano player; Molly, the diligent cleaner; and Clover, the cheerful DJ. This evolution in Sonya’s perspective signifies her growing empathy for the ghosts’ essential humanity.

As Trey also becomes more entwined with the supernatural, he relates his own past encounters with ghosts, further establishing his connection to the manor’s otherworldly inhabitants. Most notably, Trey has a crucial encounter with Clover, who explains that the grandfather clock’s chimes are tied to Hester, the malevolent force within the house. Clover enlists Trey’s assistance in supporting Sonya’s quest to recover the rings, emphasizing the collaborative nature of their mission. Trey’s involvement deepens the narrative’s exploration of shared responsibility as the characters band together to confront the past and address various familial burdens. Thus, the interplay between past and present becomes increasingly tangible as Sonya’s understanding of the ghosts deepens. Her relationship with Trey also mirrors this development as the two work together to navigate the manor’s supernatural challenges. Their growing partnership reflects the importance of collaboration in facing unresolved histories and forging a new path into the future.

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