53 pages • 1 hour read
Patti Callahan HenryA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
On her last day of work, Hazel encounters a volume titled Whisperwood and the River of Stars, by an American author named Peggy Andrews. Although the book is fictional, it serves as the novel’s inciting incident, underlying thematic current, and in some ways becomes the story’s “McGuffin”—a literary term used to refer to a tangible object that incites the central characters into action (normally something which the characters are searching for, such as an antidote, but sometimes something that pushes them on their journey, as is the case here). Although Peggy Andrews is a fictional character, the book’s illustrator, Pauline Baynes, was a real artist. Baynes is most famous for her work on the stories of J. R. R. Tolkien and C. S. Lewis and lived and worked in England at the time in which this book is set (although it is not specified in the novel, it’s unlikely that Peggy and Pauline would have crossed paths; more likely, the publisher would have liaised between them knowing of Pauline’s prior accomplishments). At the end of The Secret Book of Flora Lea, Pauline Baynes donates brand-new illustrations to Whisperwood after hearing Hazel’s and Peggy’s story.
Whisperwood and the River of Stars sets the protagonist on her journey, instigating a series of irreparable choices, such as Hazel’s impulse to steal the book from her shop. At one point, it becomes a crux of obsession that puts Hazel and Barnaby’s relationship and future at risk; however, it also brings her back to old friends and creates connections with new ones. In this, the book encapsulates the theme of The Double-Edged Power of Hope, showing the potential for healing in what the Whisperwood book can offer while also showing the damage it can do to the present moment.
Although Peggy’s version of Whisperwood is strongly influenced by Hazel’s childhood storytelling, it has since evolved and grown to become Peggy’s own creation. It includes fairy tale characters who ultimately, in their own worlds, meet tragic ends; in Whisperwood, they’re given new life by avoiding their potential pitfalls and mistakes. Here, the book does something the real world cannot: It rewrites the past. Through Hazel’s adventure, however, she can use the Whisperwood book to rewrite her future and give her a second chance at being in her grown-up sister’s life. This adventure also brings Peggy and Wren together, as well as Hazel and Harry, forging numerous connections through the power of storytelling.
The natural world is both setting and recurring motif throughout the novel and contributes to its overall mood, tone, and themes. Coming from the middle of London, Hazel and Flora would have had very little experience with a rural, woodland environment. While the reality was shockingly disconcerting for many children at this time, for Hazel and Flora it became a way to step into the story world of their imaginings both literally and physically. Something that had existed previously only in books was now something they could see and touch. At times, Hazel feels guilty for allowing herself to live in this world while so much pain and trauma is being inflicted on her home: “it seemed impossible, or maybe unfair, that they lived this idyllic life while elsewhere bombs dropped and people died and soldiers arrived at hospitals, torn apart” (215). However, for a time, this natural landscape becomes a source of wonder and restoration. Soon, in the absorbent way that children have, Hazel and Flora learn to become a part of this land:
Bridie taught them to watch for the green leafy hogweed that would burn their skin, and they discovered the difference between the call of a willow tit and a nightingale. Flora could name flowers like the ox-eye daisy, meadowsweet, and adder’s-tongue fern (214).
After the traumatic events of her childhood, Hazel returns to city life and leaves the countryside behind her. However, the natural world still comes up as a recurring motif throughout her life, such as in descriptions of fabrics and in the floral design of her favorite teacup. This suggests that she is unconsciously maintaining a link between herself and this childhood place, finding small and unobtrusive ways to bring these memories into her daily life.
Hazel’s aspirations as a writer are something she cherishes early in life, but then disowns after failing to protect her sister. Her storytelling becomes something she has unconsciously forbidden herself; however, her attraction to a prized pen illustrates her need to allow these stories a way to come out. Prior to the events of the novel’s later timeline, Hazel attends an auction with a particular interest in “a silver engraved fountain pen from Virginia Woolf’s estate. It couldn’t be said what she wrote with it, but Hazel imagined the essay ‘A Room of One’s Own’” (32). The pen serves as a point of connection between Hazel and Barnaby, who are both after the same piece of memorabilia. Later, Barnaby impresses Hazel by gifting her the pen.
Despite its role as one of Hazel’s most prized possessions, it doesn’t get much use early in the novel apart from Hazel using it to list the people who might know of Whisperwood. Rather, it is presented as a tangible connection between Hazel and Barnaby and Barnaby’s understanding of Hazel’s dream. It’s not until much later that the Virginia Woolf pen comes to represent her final choice for her future: “Her pen moved across the paper, her heart opened, her breath evened out, and she returned to her first love, the love she’d once left in fear and guilt: story” (336). It’s through this sacred object that Hazel both literally and figuratively writes herself into a new life.
By Patti Callahan Henry