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Martha Hall KellyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
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Chapter Summaries & Analyses
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Themes
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Stars are a recurring motif throughout the novel, most often associated with Luba. While her birth name means “Love,” the name she takes at the end of the story, Lyra, is borrowed from a celestial constellation. Stars are a symbol of both hope in times of darkness and of intellectual ambition, as she makes it a priority from a very young age to learn about the celestial sphere.
The first mention of stars comes in the prologue, told from Luba’s perspective when she’s a very young girl. Eliza and Sofya bring her to a planetarium near the Eiffel Tower so she can see the stars spread across the sky in a controlled, heightened space. Although she is initially distrustful of Sofya and Eliza’s friendship, seeing Eliza as a rival for her sister’s attention, this act of kindness and sorority ultimately brings them together as a family: “As we lay there, the celestial world playing above us, it struck me that I had never lost my sister. Just acquired a spectacular new one” (4). Later, Luba finds a way to repay Sofya for this gift when she recreates the night sky on her ceiling with cut out bits of foil. These stars become symbolic of her own hope and inner light when their home is overtaken by bandits. All the lights are extinguished, leaving only the silver stars behind.
Luba works stars into her personal vernacular as a vow she repeats at moments of heightened significance throughout the novel: “I swear by God’s stars.” Over the course of the novel, this expression becomes a means of foreshadowing developments in the plot and of establishing Sofya’s character, ironically, as one who steers by her own stars and whose promises therefore cannot always be taken at face value. Early in the novel, when Luba says, “I swear by God’s stars,” Sofya admonishes her, saying “You only say that when you lie” (95). This interaction has a playful quality as each sister acknowledges an old habit. Later, Luba uses the same phrase when she promises Varinka to meet her and escape together—letting the reader know ahead of time that she has no intention of keeping her word. Examined closely, the expression contains a hint of its own untrustworthiness, as the stars themselves, as seen from Earth, are always shifting and rotating and never stay in one position for long. When this refrain appears one more time, as the very last line in the novel, it signals Luba’s liberation: “But I’ll keep my mind on my new American life, study hard my English, and not question a thing. I swear by God’s stars” (421). By her own stars, that is, she will embrace her new American life while remaining free to question everything, to remember her old Russian life with complex nostalgia, and to retain her Russian identity while growing into an American one.
Before Sofya’s life takes a dark and tragic turn, she expresses an interest in the cultivated roses her gardener has brought from all over the world. After she escapes and navigates her broken home, she discovers one of these roses amidst the debris: “I turned to find one white rose growing out of it all, a Katharina Zeimet. Mr. Gardener’s rose. A true survivor” (253).
This rose becomes her constant companion on her travels, its hardiness and growth paralleling her own. She protects it from the elements, and in its way, it takes care of her in return: “During overcast days, I rode with the stem against my skin, the thorns pricking me with every jolt of the wagon, forcing me awake and aware. In bright sun, I opened my coat just long enough to provide the plant with energy” (285). Later, when she arrives at the apothecary where her old family friends work, Sofya requests molasses and vinegar to help restore the tired rose. While they have a unique symbiotic relationship, these moments also highlight Sofya’s need to care for and nurture something now that her family is gone.
The rose also reflects the themes of sisterhood and unity, as Luba notices when she and Sofya are reunited that her rose has two buds beginning to bloom. When Sofya explains that the rose has traveled with her since Russia, Luba remarks, “Poor lost roses. Like us, I suppose” (370). This is the moment that gives the novel its title, highlighting the importance of the parallel between this rose and the journey the women take across the narrative. By the end of the novel, the rose has traveled back with Sofya to America, reaching a stage of completion: “Thanks to a new china pot it seemed happy to be back in its original home. What a trip that little plant had taken” (410). In this way it completes a cycle and is ready to begin anew, just like Sofya and Luba.
Clothing plays an important role in the novel, with certain pieces often symbolizing inner transformations or Social and Economic Divides. Additionally, clothing often communicates implied messages to the outside world. Agnessa summarizes this idea by saying, “People judge you first by how you look and second by what you say” (20). Although this is intended to refer to Sofya’s place in upper class society, the phrase has a double meaning; Agnessa and the rest of her family are judged by the working classes for how they look and punished for it, rather than granted mercy for their words and deeds. Later, it’s Agnessa’s attitude towards her clothing that puts Varinka’s journey into motion, such as her anger at a stain on her clothes causing Varinka to take on a new role within the household as Max’s caretaker.
Clothing also symbolizes Eliza’s transformation as she enters and then leaves behind her period of mourning. This causes her to consider the nature of mourning clothing itself: “How tired I was of black. Early Christians in the second century wore white in mourning. What misguided soul had turned society toward black?” (173). Yet even though she expresses distaste for the fashion, she continues to wear it out of loyalty to Henry until her charity work renews her sense of living. Notably, this transformation is portrayed using a largely objective narrative voice. When Eliza puts her black clothes away and puts on a white gown, there is no interiority; the text simply relays the motions and allows the reader to infer what the action truly means for the character. Finally, clothing plays an enormous role in the subplot involving Varinka’s mother. Once she finds work crafting exclusive clothing designs, she is recognized for her talents in a way she never was by Varinka or Taras. This gives her the power to renew her sense of self and live by her own agency.