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71 pages 2 hours read

Joanna Quinn

The Whalebone Theatre

Fiction | Novel | Adult | Published in 2022

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Part 3Chapter Summaries & Analyses

Part 3: “Act Three: 1939-1941”

Part 3, Chapter 36 Summary: “Parties”

October 1939

Britain is now at war with Germany, and Rosalind hosts what is likely to be her last party. Cristabel and Flossie both look uncomfortable and wear ill-fitting dresses. Flossie hopes to meet a husband at the party but is self-conscious about her weight and general appearance, while Cristabel resents the idea of waiting to be chosen by a man.

Although Willoughby applied for war service, he was rejected, so he intends to use Perry’s influence at the War Office to secure 18-year-old Digby a high-ranking position in the Royal Air Force (RAF). Maudie asserts that Digby is not built for warfare, but Willoughby insists that his son will “do what he must” (227). Meanwhile, Digby tells Cristabel of his plans to enlist as a private in the army. He does not want preferential treatment over other men. During the party, Flossie eavesdrops on the men, who are mostly confident that the Nazis can be beaten quickly. However, Perry warns that the war is likely to be brutal.

Part 3, Chapter 37 Summary: “D to C”

In a letter to Cristabel, Digby reveals that he is training as a private in the army. He describes making friends with another soldier named Groves. Groves is from Yorkshire and comes from a family of miners. Digby enjoys being treated like an ordinary person.

Part 3, Chapter 38 Summary: “C to D”

Cristabel writes to Digby about his parents’ distress when they realized he had joined the army. Willoughby was angry, while Rosalind was distraught. Cristabel admits that she and Flossie are also devastated. Cristabel has joined the Women’s Auxiliary Airforce (WAAF). Meanwhile, Perry has left for London, hiring Leon as his driver. Before leaving, Perry advised Cristabel to tell her senior officers that she speaks both French and German.

Part 3, Chapter 39 Summary: “D to C”

Digby responds enthusiastically to Cristabel’s news of joining the WAAF, declaring that she is “born for adventure” (242).

Part 3, Chapter 40 Summary: “C to D”

In a letter to Digby, Cristabel describes training with other recruits. She has been selected for “Special Duties.”

Part 3, Chapter 41 Summary: “Blackout”

November 1939

Apart from the few servants left at Chilcombe, only Flossie, Rosalind, and Willoughby remain. Rosalind feels that Willoughby is detached and uninterested in her. She increasingly turns to alcohol and sleeping pills, while Flossie spends her time reading romantic novels.

Part 3, Chapter 42 Summary: “Postcard”

Digby sends a postcard to Willoughby from Dover. He reveals that he is waiting to be sent to France and wants to make his family proud.

Part 3, Chapter 43 Summary: “Note on Pink Notepaper with a Box of Turkish Delight”

Myrtle sends a note to Flossie with a box of Turkish Delight. She describes how profoundly London’s National Gallery has been transformed; it now hosts concerts instead of paintings.

Part 3, Chapter 44 Summary: “Christmas Card”

December,1939

In a Christmas card to Leon, Cristabel light-heartedly refers to his unsuccessful attempt to sleep with her. She reminds Leon that she is not like other women.

Part 3, Chapter 45 Summary: “C to D”

January,1940

Cristabel writes to Digby that she is now an “Operations Plotter.” Her job is to interpret radio signals and plot the position of planes. Cristabel speculates that staging a play in the summer now seems unlikely. Perry believes that the war may last years. Flossie is now using The Whalebone Theatre as a vegetable garden.

Part 3, Chapter 46 Summary: “Notebook Pages”

May 26, 1940. France.

Digby writes a note to Cristabel, although he cannot send it. British troops are in retreat from the German forces. In the process, he and four other soldiers, including Groves, have become separated from their battalion. Digby is unable to sleep and cannot stop shaking.

May 27, 1940

Digby witnesses German planes bombing French civilians as they try to escape the villages and towns.

May 28, 1940

Digby describes sheltering in a recently abandoned house. He and Groves drink wine by candlelight.

May 30, 1940

Digby recites Shakespeare to his friends to lift their mood. Groves also tries to boost morale with his sense of humor. The men sleep in a pigsty.

June 2, 1940

Reaching the coastal town of Dunkirk, Digby and his comrades find thousands of soldiers waiting to be evacuated as German pilots drop bombs from overhead. Small boats are deployed from British destroyers to collect the men a few at a time. Digby waits for rescue for two days. A soldier next to him shoots himself in the head.

June 4, 1940

Digby and many other soldiers wade into the sea when a British fishing boat appears. Groves helps Digby to climb aboard but disappears under the water before Digby can pull him to safety. The fisherman refuses to stop as Digby shouts Groves’s name. Digby ends his account by noting that he is now on a train in England.

Part 3, Chapter 47 Summary: “Incomplete Letter”

June 25, 1940

Flossie writes an incomplete letter to Cristabel, revealing that Rosalind has gone to London and Willoughby to Ireland. However, Flossie is not alone, for child evacuees are now staying at Chilcombe. Consequently, she now sleeps in Rosalind’s room. Flossie also describes Digby’s brief visit. Digby believes that he will be sent to North Africa to train as an officer. Meanwhile, Britain is currently preparing for the potential invasion of German forces. Local Defence Volunteers practice military exercises in the Chilcombe woods before coming to the house for tea. The house’s valuables have been wrapped up, and the glass dome in the ceiling has been removed.

Part 3, Chapter 48 Summary: “C to D”

September 1940

Cristabel writes to Digby from Fighter Command, which is located at a country house. She knows that she will not be permitted to post the letter. Cristabel is conducting covert efforts to track approaching German aircraft. Based on her findings, RAF fighters are sent to intercept the German pilots. Cristabel wishes that she could make a more direct contribution to the war effort.

Part 3, Chapter 49 Summary: “A Nightclub in Piccadilly”

March 1941

The German bombing campaign known as the Blitz is underway in London, and civilians regularly shelter in the Tube stations at night. However, Rosalind prefers to visit other underground venues such as bars and jazz clubs because she enjoys the attention of the servicemen who frequent them. As Rosalind arrives at the Café de Paris to meet Myrtle, a German bomb falls through the nightclub’s ventilator shaft and explodes.

Part 3, Chapter 50 Summary: “Note on Pink Notepaper with a Bouquet of Roses”

March 17, 1941

Myrtle sends a note of condolence to Flossie and Cristabel, accompanied by flowers. She remarks on her luck in being rescued from the ruins of the Café de Paris. Reflecting on Rosalind’s death, Myrtle suggests that it may have been a blessing for a woman who “never wanted to grow old” (275). She urges the young women to remember Rosalind fondly but not to follow her example. Myrtle also explains that she cannot attend Rosalind’s funeral because she is transporting valuable artworks to New York to keep them safe. While there, she will also attend Taras’s new exhibition.

Part 3, Chapter 51 Summary: “Exhibition Catalogue”

The catalog from Taras’s New York exhibition reveals that the artist trained in France along with Modigliani and Chagall. The paintings on display include titles such as The Faceless Woman of the Roses, Cristabella the First (a portrait of a fierce girl with a sword in her hand), Mademoiselle Aubert Takes Up Arms, Maudie at Chilcombe, Miss Florence, and Bones by Moonlight.

Part 3 Analysis

As the Seagrave children are catapulted into an adulthood that is haunted by wartime atrocities and dangers, the outbreak and progression of World War II dramatically changes the trajectories of their lives, thereby highlighting The Transformative Force of War as all members of the Seagrave family go “tumbling off in different directions” (245). This tumultuous time frame is preceded by one last chapter of almost desperate calm, for the tone of Rosalind’s final party captures the impending doom of people who are only just beginning to realize the imminence of the war’s impact on their lives. In this scene, the recurring theme of Playacting as a Societal Microcosm takes center stage as the Seagrave family members try to assume their respective social roles with varying degrees of success. For example, Flossie and Cristabel’s unflattering and ill-fitting dresses symbolize their discomfort with the role of debutante, and Cristabel’s tendency to question the purpose of her passive position in the proceedings foreshadows her future pursuit of active and traditionally “masculine” roles in the war effort. While Cristabel chafes at her limited role in the proceedings, Rosalind is in her element as the party hostess, and her reluctance to allow the war to interfere with her role is indicated by her refusal to draw Chilcombe’s blackout curtains. Rosalind’s prioritization of enjoyment over safety foreshadows her future death at the nightclub in the midst of the London Blitz.

With the full outbreak of World War II, the author finds multiple ways to suggest that war can have both negative and positive impacts on individuals and society as a whole. While the inseparable younger generation of the Seagrave family is physically divided by the events of World War II, Cristabel and Digby both seize the opportunity to escape their prescribed social roles. For example, while Digby is obligated to enlist, he subverts his father’s plans and does so on his own terms, eschewing a safer, privileged position in the RAF to instead join the army as an ordinary private. Meanwhile, Cristabel’s decision to join the WAAF holds true to the fiercely brave attributes that Taras saw and praised in her so many years ago.

In a further example of The Transformative Force of War¸ Digby’s camaraderie with fellow trainees emphasizes that despite (or perhaps because of) its inherently destructive nature, war can also be a great social equalizer. Digby’s close relationship with working-class Sam Groves demonstrates the common reality that military service has the power to erode class barriers and bring together people from different walks of life. The implication that Digby falls in love with Groves suggests that he is also undergoing a sexual coming-of-age. However, Digby’s experience of conflict inevitably involves an irretrievable loss of innocence. Before joining the army, his expectations of war are derived from adventure books, and this blithe mindset is revealed when he is questioned about his suitability for fighting in a conflict, for he naively declares that he has “played lots of soldiers on stage” (233). As the traumas of war take their toll, however, the tone of Digby’s letters shifts from his usual cheerful register to an increasingly bleak perspective. Quinn’s attention to historical detail is also evident in the fact that Digby’s notebook entries are meant to describe the traumatic events at Dunkirk; these events are based on the real-life experiences of British and French troops that were continuously bombed and shelled by German forces while waiting for evacuation from France. Thus, within the context of the novel, Digby emerges from this experience wiser and more mature but also psychologically scarred. While he tries to conceal the toll that the brutality of war has taken on him, Cristabel “can sense a jitteriness inside him, an erratic energy, like a fly trapped in a glass” (315).

The Transformative Force of War is also indicated in Chilcombe’s evolution, for the country estate becomes a place of practicality rather than privilege as evacuees take refuge within its walls. The Whalebone Theatre is similarly transformed from a creative space into a space to grow much-needed food. In a letter to Cristabel, Flossie describes how the war has changed the idyllic landscape beyond recognition, stating, “Lorries have been trundling through the village all week, taking sandbags and barbed wire down to the beach, and the Local Defence Volunteers are doing drills in our woods” (263). Alongside Chilcombe’s change of use, Flossie also undergoes a transformation as she takes over the role of the “lady” of the house. This development highlights an unexpectedly positive moment of personal growth, for in Chilcombe’s former incarnation, Flossie felt unequal to its grandeur, but as the estate becomes more utilitarian, she feels increasingly at home and makes the role her own. Flossie’s appropriation of her mother’s position is symbolically emphasized when she moves into Rosalind’s room. Ultimately, Rosalind’s passing indicates the end of an era, leaving Chilcombe in the hands of the younger Seagrave generation and preparing the way for even more radical changes.

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