61 pages • 2 hours read
Diane SetterfieldA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Content Warning: The source material includes descriptions of murder, death by suicide, and sexual assault.
Margaret arrives at the bookshop that she and her father own in London, and she sees a letter left on the front steps. The handwriting is strange and old-fashioned. She goes inside and opens the letter. It is from one of England’s most famous and notoriously reticent authors, Vida Winter. She writes that she has always told journalists fictional stories when they ask about her personal life, so much so that it became a badge of honor to interview her and listen to one of her stories. One day, a young man comes to interview her and asks her to tell the truth. She considers it but tells him a fictional story instead. Afterward, she realizes that she must tell the true story one day. Now, 30 years later, she has decided that it is time to tell the story, and she wants to tell it to Margaret. She invites Margaret to come to her home in Yorkshire the following Monday. Margaret has never read one of Vida’s books, but she knows the writer’s reputation as England’s bestselling author. She recalls a time when they received four of Vida’s books at the shop and sold three of them within hours. Her father began reading and became deeply immersed in the fourth, an incident that has always stayed in Margaret’s memory. Margaret wonders why Vida has chosen now to tell her story, and why she has chosen Margaret as the person to whom she will tell it.
Margaret and her father run the bookshop, which rarely has any walk-in customers. Their real source of income is her father’s acquisition and selling of rare books to clients through international book fairs. From the time she was 11, Margaret has been working in the bookshop in some capacity and, over the years, has become an indispensable part of the bookshop’s operations. She is well-versed in the collections featured in the bookshop, but most particularly, her interest lies in 19th-century literature. Margaret has also written several short biographies, mostly for her own pleasure, though a number of them have been published and collected. She assumes that Vida has discovered her name through her published biographies, but Margaret sees herself as just an amateur and plans to write Vida and refuse her request.
Margaret’s mother has never liked the bookshop. Her mother has always had fragile health and sleeps in the spare bedroom, which none of them speak of. When Margaret was younger, she found a box of important papers under her mother’s bed. Among them, she found her own birth certificate and another, which was nearly identical except for the name. Margaret realizes that she had a twin; when she sees a death certificate, she realizes that her twin died the day they were born. She never told her parents about her discovery.
Margaret goes downstairs and takes the only copy of a Vida Winter book that they have from the cabinet where they keep the rarest, most expensive books. She takes it upstairs and reads it, and when she is done, it is daylight. She is confused because the book is called Thirteen Tales, and yet there are only 12 stories in the book. Margaret’s father is distraught about what he assumes is the theft of the book. Margaret tells him she borrowed it and read it the previous night. He explains the mystery of the title and tells her that the thirteenth tale has never been included in the book, and it is a longstanding literary mystery.
Margaret then tells him about the letter she received and that she has decided to meet Vida. Margaret takes several days off work to prepare for the meeting and reads several of Vida’s books, as well as interviews of her. As she tells her father later, she cannot find out anything about Vida’s personal life. Margaret spends the afternoon at her parents’ house, and she and her father talk more about Vida. Margaret looks at a wedding portrait of her parents, reflecting on how her birth and the death of her twin changed her mother from a vibrant woman to one who is afraid of life.
Margaret travels by train to visit Vida. Vida’s driver, Maurice, picks up Margaret at the train station in Yorkshire. They drive further and further into the country and out into the moors. By the time they arrive at Vida’s house, it is dark. Judith, the housekeeper, opens the door and shows Margaret to her suite of rooms in the house. She brings sandwiches for Margaret and asks her to meet Vida in the library of the house at eight o’clock in the evening.
Margaret arrives at the library 20 minutes early for her meeting with Vida. She becomes so engrossed in one of Vida’s novels while she waits that she doesn’t notice Vida has been in the room all along. Vida says she knows that Margaret plans to turn down her biography proposal because she fears Vida will not tell the truth. Margaret agrees to write the book if Vida tells her three true things that are verifiable by public record. She discovers that Vida’s name was originally Adeline March, and she was born at St. Bartholomew’s Hospital in London. Then Vida tells her that she lived at Angelfield, and there was a fire. She cries the name “Emmeline” and shows Margaret her hand, which is badly scarred from burns. Margaret realizes that Vida had a twin as well and decides she needs to stay and tell the story.
The next morning, Margaret meets Vida in the library so that they can begin. Vida starts the story, not with her own birth, but with the birth of a woman named Isabelle. Isabelle’s mother died in childbirth, and Isabelle’s father grieved alone in his library. He neglected his son, Charlie, who was nine, and baby Isabelle. Charlie terrorizes the household staff until almost all have left, leaving only the family, the housekeeper, the gardener, and the gamekeeper. Charlie tries to terrorize Isabelle, but she is smarter than him, and he becomes infatuated with her.
One day, Isabelle and Charlie are invited to a picnic. The local aristocracy are considering both of them as potential spouses for their children, as the Angelfields are very wealthy. Isabelle sets her sights on local neighbor boy, Roland March. She uses Charlie to distract Roland’s sister so that she can spend time with him. At the end of the summer, Isabelle tells her father that she is leaving Angelfield and disappears the same day. Isabelle’s father locks himself in his library and refuses to come out, dying several days later. Charlie is left alone in the house until one day in March, Isabelle returns. She brings with her twin baby girls, Emmeline and Adeline. She married Roland, but he died of pneumonia, and his family shuns Isabelle and their daughters. Isabelle settles back into her former life and leaves the care of the babies to the housekeeper, the Missus, and the gardener, John-the-dig. When Margaret goes back to her room that afternoon, she transcribes the story fully. She falls asleep thinking of all the questions she has, wondering if Vida is telling her the truth.
Margaret wakes up early the next morning and goes into the gardens. She realizes they are extensive and mazelike. She notices that Maurice the driver also does the gardening. She returns to the house and begins her next interview with Vida.
In Vida’s story, the housekeeper at Angelfield is named Mrs. Dunne but is known to all as the Missus. She has decided to try to raise Isabelle’s twin daughters as normally as possible, despite Isabelle and Charlie’s chaotic lifestyle. The twins resist, wrapped up in their own world, even speaking their own twin language. She notes that they seem not to understand that other people are feeling and thinking beings as they are. Because of this, they have no sense of propriety or boundaries, and they enter other people’s homes and partake of their property as they want. This causes much consternation in the village and nearby homes. One day, they destroy the topiary garden at Angelfield, the pride of John-the-dig and the result of the work of four generations of his family. They seem not to understand the impact of what they have done, but that night, Emmeline notices that the Missus and John-the-dig are sad. She does not feel guilty as a result but merely satisfied that she correctly identified their emotions. The Missus hopes, from witnessing this, that Emmeline will someday join the rest of the world.
That night, Margaret dreams that she meets her twin in the garden, but there is no recognition in the other woman’s eyes—they are blank.
Starting immediately with the arrival of Vida’s letter, Setterfield begins the story quickly and immerses the reader in it. While Margaret is contemplating whether to accept the job offer, the reader is given important information about Margaret, the protagonist of the novel. This insight serves as character development and important personal history that will influence her relationship with Vida and her actions for the rest of the novel. In addition, the reader learns about Margaret’s reading preferences; many of her favorite books are gothic literature, which gives the reader further insight into her character.
Upon Margaret’s arrival at Vida’s house, Setterfield draws immediate parallels to gothic literature. Margaret arrives at the house in the dark and is met by a reticent housekeeper, but the owner, Vida, is nowhere in sight. This scene is gothic by design, style, tone, and content, and with this, Setterfield underscores the novel’s connection to the gothic literary tradition. She also creates the impression of Margaret as a Gothic Heroine. Vida’s house is located in Yorkshire, the setting for some of gothic literature’s most famous works, Jane Eyre and Wuthering Heights. In both novels, the moors are a primary feature and are elemental to the texts. By placing Vida’s house far out into the moors, she positions Vida’s house and what will happen there in a traditional gothic setting, imbued with meaning from the works of the Brontë sisters.
In Chapter 5, Margaret finally meets Vida. The chapter also raises the specter of Margaret’s twin, with whom she is preoccupied due to her impending birthday. Almost immediately upon arriving, Margaret sees her twin in her own reflection in the window. With this choice, Setterfield sets The Bond Between Twins as one of her main themes. The idea that Vida is a twin, and the fact that the story she is telling is about twins, strikes a chord in Margaret. This keeps Margaret’s twin sister, and all the trauma and guilt associated with her, at the forefront of Margaret’s mind.
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Memory
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Mortality & Death
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