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Rachel KadishA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The narrative resumes in March 2001. Helen’s health is continuing to decline, and she and Aaron have not been able to uncover any further links between Thomas Farrow and Ester Velasquez. Unexpectedly, she discovers that Wilton has already been able to publish an article in a scholarly journal, reporting on some of the key findings from the documents discovered in Richmond. Wilton’s article reveals that the documents prove that at least one Jewish woman worked as a scribe in early modern England, that the Jewish community in Florence experienced significant crises over the possibility of a Messiah figure, and provide evidence into the case of Alvaro HaLevy being forced into naval service as punishment for engaging in sexual activity with members of the same sex. Wilton reports that Alvaro died when his ship was wrecked in 1667.
At the library, somewhat crushed by what Wilton has been able to achieve, Helen suggests to Aaron that he should consider joining Wilton’s team. Aaron stubbornly refuses and continues to be protective of the documents. Aaron does not think that Wilton’s description of the letter where Ester wrote about her own feelings and impressions gave her enough respect.
Aaron also shares an update with Helen: He received a response to a query he had sent to an American graduate student who studies Thomas Farrow. The Farrow expert notes that Farrow worked as an actor for a time, and had a short but intense period of philosophical correspondence between 1665 and 1667. Letters have been uncovered between Farrow and other thinkers showing that he was quite novel and innovative in his philosophical and theological thoughts. Helen and Aaron continue to wonder if Ester could have been responsible for some of these writings, and whether her use of Thomas Farrow’s name meant she knew the historical man.
The narrative resumes in June 1665. Ester continues to secretly correspond with Spinoza; Manuel HaLevy has also now repeatedly offered her money, knowing that times are hard for the household. While Ester feels compelled to accept the gift, she tells Manuel that she still refuses to marry him.
Thomas and John take Mary and Ester to sail along the river Thames in a rented boat. During the outing, they notice that many people who can afford to do so are beginning to move out of London due to increasing outbreaks of the plague. Mary confides that her own father has moved out to the countryside; she refuses to join him because she dislikes the woman he is now living with. Manuel HaLevy has also told Ester that he is going to leave London.
They sail out of the city and then disembark, where Ester marvels at the beauty and peace of the countryside. While Mary and Thomas slip away, John and Ester kiss for the first time. Ester finally concedes that she is attracted to him, but struggles to explain to him that he does not know who she truly is: “[S]he wasn’t the kind of woman he thought she was. He had to know” (359). John misinterprets what Ester is trying to tell him: He thinks that she is ashamed of sometimes hiding her Jewish faith, and reassures her that it is only natural to hide who one is when one is persecuted.
Before Ester can explain further, they have to board the boat to go back. By now, Thomas is drunk and seems agitated. While sailing down the Thames, Thomas takes the boat down a dangerous route and nearly capsizes them. Mary and Ester are both terrified. After some passersby help Mary and Ester back to the shore, Mary confides what has led to Thomas’s reckless behavior: she told him that she is pregnant with his child. Ester is very worried by this news. Mary seems to accept that her father is going to disown her, and believes that Thomas is going to provide for her and their child. Later, John attempts to comfort Ester and she allows herself to briefly fantasize about what a life with him could be like.
In March 2001, Helen and Aaron come to the end of the documents, which end abruptly with the death of Rabbi Mendes on July 8, 1665. The only remaining document is one that is still sealed and is being carefully prepared to be opened. Helen and Aaron wonder about Ester: She might have died during the plague of 1665, or she might have married and stopped writing once Rabbi Mendes died and no longer needed her.
Aaron tracks down further evidence in the local records of Richmond (where the documents were discovered, although not where the Rabbi or Ester seem to have lived). There is a record that on September 4, 1666, Ester married Manuel HaLevy in Richmond. This also clarifies how the documents got to the house in Richmond: Ester must have brought them with her when she married.
Aaron finds himself saddened by what this seems to have revealed about the end of Ester’s story: After Rabbi Mendes died, she stopped writing and resigned herself to the security that came with marrying a man that she had previously rejected. Aaron asks the archivist in Richmond to let him know if she finds a record of Ester’s death. In a melancholy haze, Aaron wanders over to the house in Richmond where the documents were first found. Bridgette greets him, and they resume the flirtation they experienced when he was first looking at the documents months earlier. Bridgette and Aaron have sex, but when he leaves afterward, he feels more confused and lonelier than ever: “[I]t was simply that a spontaneous hook-up was no longer right for him […] He’d changed enough in these past months to know that his old life was hollow” (383).
While Ester remains committed to her intellectual explorations, she also experiences a sexual and romantic awakening as she spends more time with John. In this new context, in which “she felt she understood Mary’s desire to give a man all” (359), Ester becomes a more vulnerable and conflicted character. It also increases the tension in her choice and the suspense about her fate: her feelings for John raise the stakes around both Ester’s desire to remain unmarried, and Manuel HaLevy’s attempts to woo her.
The episode in which Ester, Mary, John, and Thomas Farrow sail up the river Thames to spend the day in the countryside introduces a new setting in which it is possible for new aspects of Ester’s character to emerge. The scene features beautiful imagery of the English countryside on a spring day. Ester marvels that “never had Ester felt a place to be so alive […] all about them was green” (358). The lush, fertile springtime setting evokes imagery of rebirth, as Ester explores the possibility of being a new kind of woman, one who can follow the desires of both her heart and mind. In this Edenic setting, she feels safe from consequences and constraints, leading her to finally share her feelings with John.
Throughout the scene, water imagery also emerges to contrast with the imagery of fire that is often present. Sailing up the river mirrors Ester’s sea voyage when she first came to England, and foreshadows her subsequent voyage to Richmond when she finally leaves London during the plague. Water imagery often refers to symbolic ideas of rebirths or new starts; at key junctures in Ester’s story, fire functions to purge or wipe away the old, while water functions to symbolize the possibility of a new start.
However, the moment where Ester begins to explore opening herself up to love and desire is quickly followed by evidence for how dangerous these decisions can be for women. Mary’s illegitimate pregnancy reveals that, at many points in history, women who chose to defy social norms could face serious consequences. Ester’s caution is not misplaced, and the pregnancy indicates a shift in the historical plotline towards darker events to come.
When Helen and Aaron come upon evidence that Ester eventually married and moved to Richmond, this information challenges their conception of her, suggesting that her former habit of Choosing Risk Over Caution came to an abrupt end with the Rabbi’s death. Despite the expectation that professional historians will attempt to be objective and impartial, Helen and Aaron have clearly formed an emotional connection with Ester, and even projected their own values onto her. As Aaron admits to himself, “he’d wanted Ester’s story to serve up something staggering: some triumphal parade showcasing the very qualities Aaron wished to see in his own reflection” (374).
This reflection functions partially as a warning to readers of historical fiction, such as The Weight of Ink. While there may be powerful stories that have been lost to time, individuals are also still most often products of their time, and, unlike fiction, history can yield narratives that end tragically or inconclusively. Aaron is forced to humble himself and admit that “history was indifferent to him. It didn’t matter what he wanted” (374). Helen and Aaron’s disappointment reflects the theme of Barriers Between Individuals From Different Cultures and Beliefs—if Ester’s life no longer conforms to what they wanted from her, then they once again feel the distance, historically and socially, between themselves and her.
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