55 pages • 1 hour read
Kaliane BradleyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Back at his ship in 1847, Gore tells his crew that he killed a man when he shot at what he thought was a seal. The man was a native of the region. Gore’s crew calls them "Esquimaux" (Inuit). Gore suggests leaving gifts of tobacco and steel knives by the body to assure the Inuit that they mean no further harm. A shout goes up from the men on deck, and the crew watches a party of Inuit moving toward the ships.
It’s September. The narrator helps Maggie practice to retake her acclimatization test. A conversation between Maggie and Arthur indicates that he’s now openly gay or bisexual and is adjusting to society’s acceptance of this. Graham introduces Cardingham to the narrator. Like Maggie and Arthur, she’s taken aback by his sexism. She senses that he hates her for being a woman with modern notions of equality. Maggie catches a cold and nearly dies because her body has no immunity to modern viral strains. She’s treated at the Ministry for nearly a week before being discharged. Arthur gets sick too, though not as severely. When the narrator catches it, Graham makes her soup and brings it to her in bed. Eventually, Graham catches it too. He insists that she not tell the Ministry, so Arthur and Maggie help the narrator care for him.
The narrator recalls her complete terror of spiders at age eight. Her father helped her overcome it by describing the giant spider in their front yard in ways that humanized it. He named her Missus Legs and said she spent four years at architecture school to learn how to build webs. Now the narrator compares herself to a spider. She’s not sure what’s going on with the Ministry, but like the spider, she’ll quietly watch and wait. Quentin contacts her and arranges a secret meeting. He tells her that Graham’s sketch depicts a weapon from the future. Their project isn’t about scientific advancement, he says, but about a weapon. The narrator fears the consequences of her contact with Quentin. She asks him to bring her proof about the weapon, but she plans to turn him in afterward to keep herself safe. Then she returns to the story of the spider, saying she killed a butterfly and fed it to the spider, though not out of childish brutality. She still feared the spider and felt that the safest option was to placate it, to join its side.
Adela appoints herself as the narrator’s new handler and calls Quentin’s absence a defection. Adela says the Brigadier doesn’t work for the British government; he’s a spy. The Ministry knew this and has been monitoring him, but now he’s gone off their grid. The expats are expected to get jobs after their bridge year. The narrator sees Graham secretly taking a Ministry field agent exam. She feels protective of him but also wants him, romantically, more than ever. Amid a huge storm, she finds him leading the neighborhood response using equipment he pilfered from the Ministry, including high-visibility jackets and a powerful storm light. She realizes how adept he is at using his charm to his advantage.
Shortly before Christmas, Graham and the narrator have Maggie and Arthur over for dinner. Arthur brings a handcrafted adaptation of a theremin, an instrument that responds to hand movements within its electromagnetic fields. The expats demonstrate that they have some control over whether the instrument can detect them by manipulating their hereness and thereness. The narrator is with her parents and sister on Christmas. Graham calls her, and they have a warm, perhaps even flirtatious, conversation.
Ten native Inuit board the Erebus. A member of Gore’s crew with some knowledge of their language attempts to explain the death of the man Gore shot and offer an apology. The crew gives them gifts. The man’s wife asks which one is Gore, saying she wants to look at him. Gore considers offering himself as a replacement husband of sorts but in the end, just repeats that he’s sorry. The group of natives accepts the crew’s explanation and leaves, but Gore can’t forget the look on the woman’s face.
The narrator attends a ceremony for Graham and Cardingham’s admittance into the field agent training program. Quentin appears beside her in the crowd of spectators. He slips her a document folder, which she shoves into her purse. He’s about to explain something about the time-door when he’s shot in the head. Hearing the gunshots, the crowd nearly stampedes the narrator trying to flee. When the police respond, she tells them it must have been a sniper. Graham offers to take her purse home just before she’s taken to the Ministry for questioning. Back at home, she sobs from the trauma of witnessing Quentin’s violent death. The document from Quentin is a report from 18 months before the expat project began, when police responding to a noise complaint found the bodies of five teenagers and a blue door with a machine on the other side. An MI5 agent reached through the door and grabbed the machine, which explains how the British government obtained the ability to time travel. Quentin was a field agent on that case.
In the wake of Quentin’s death, security on the expat/bridge teams increases. The expats’ travel privileges are revoked. Adela instructs the narrator to train to retake the field agent aptitude exams, which she failed twice in the past. However, the narrator develops acute depression, which she attributes to trauma. She’s barely able to get out of bed, eat, or shower. Graham tries to help. He encourages her to take vitamin D and join him for runs, and he makes her come downstairs for meals. In addition, he has Arthur and Maggie visit regularly. The narrator learns that when Maggie was extracted, she was locked in an attic because she had the bubonic plague. Simellia also visits, seemingly desperate for someone to talk to. The narrator barely engages with Simellia, so she leaves feeling defeated.
Talking with Graham about karma and faith, the narrator accidentally mentions Auschwitz, which Graham hasn’t yet learned about. He educates himself about the Holocaust and is horrified. Soon after, the narrator learns that Seventeen-ninety-three, Anne Spencer, was shot and killed as she tried to escape from the Ministry. They hold a funeral for her, but the Ministry tells the other expats she died by suicide. The narrator tries to find out more about Quentin’s death and finds her own fingerprint in the access history of the sabotaged surveillance system. Someone is framing her, and she suspects it’s the Brigadier. She and Graham run into him and Salese as they leave a bar one night. They attempt to kill Graham and the narrator using a weapon that shoots a blue light. Graham and the narrator fight back and escape on Graham’s motorcycle. When they return home, still drunk, the narrator kisses Graham. He’s initially shocked but then kisses her back, passionately. When she tries to go further, he stops it in a panic and locks himself in his room.
The narrator’s character development comes into greater focus in these chapters as she begins to question her motives and the morality of her choices. This examination takes place mainly through the lens of her relationships with three people: Graham, Quentin, and Adela. In hindsight, she recognizes that she’s obsessed with Graham. Her obsession interferes with her ability to do her job, which is to look after him. Instead, he ends up trying to take care of her, evoking images of a child no longer able to rely on a once-trusted adult or a therapy patient having to emotionally support the therapist. The narrator’s guilt over this shift, and her inability to “remedy the situation” (195), makes her hate everything and freezes her in a cycle of shame and depression.
With Quentin, the narrator knows her plan to turn him in to the Ministry is about protecting herself. It reminds her of the spider from her childhood and how she fed it a butterfly. In this metaphor, the spider represents the Ministry, an institution that has become predatory in its secrecy and abuse of power. The narrator sees her loyalty to the Ministry as siding with the predator, the stronger of two sides, to stay safe, even if it means harming the innocent, like the butterfly or Quentin. She recognizes this motivation but doesn’t do anything to change the outcome. In the future, she’ll wish she had made different choices in response.
Adela begins to feel like a mother figure to the narrator in these chapters. However, the narrator indicates that her reasons for trying to impress Adela are similar to her reasons for siding with the spider and the Ministry. She wants to be protected. She notes that Adela took her “under her armored wing” and that she craved Adela’s ability to seem “so steel-plated that it left no obvious vulnerability” (183). In addition, the narrator acknowledges the role of her inherited maternal trauma in her shifting relationship with Adela. Her observations suggest a faulty system for making personal choices, which is likely to leave her with regrets and burned bridges.
The narrator’s inner conflicts regarding her motives and her tangled relationships prompt a shift in the level of interiority she reveals. Coinciding with this shift, she adds a new layer to her narrative voice in which she addresses readers directly on several occasions. She says things like “[y]ou’re angry, maybe, that I could have been this callow” (155), and “I expect, when you finish this account, that you will have a clear image of him, enough to pastiche and anticipate him. I’m glad of it. I need him to be alive to someone else” (182). In addressing readers, she emphasizes that she’s telling her story at a future time, when hindsight allows her more clarity on what she should have done differently. This is important to the book’s message about time, redemption, and forgiveness, which will be developed in later chapters.
Before the overall message about time solidifies, it takes on symbolic meaning, which becomes more apparent in these chapters. When Adela tells the narrator about Quentin’s defection and references their secret meeting, the narrator notes, “Time happened to me very quickly, and then very slowly. Panic as much as grief warps the way internal time works” (154). Her panic is triggered by fear of getting in trouble for seeming to have been in league with a traitor, and this fear guides her subsequent choices. She later writes, “At the crux of all the time-travel hypotheses was the question: How do you measure a person?” (182). These observations portray time as a symbolic measurement of a person’s identity and of all the events and choices that shape it.
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