56 pages • 1 hour read
Kate AtkinsonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: The source text and this guide discuss instances of sexual violence, domestic violence, death by suicide, termination of a pregnancy, and child loss.
Ursula enters a warm German café, joins a table full of men, and comments on the rain. She pulls a gun from her handbag—her father’s service revolver from the Great War—and points it at the Führer. Ursula knows she has “One breath. One shot” (4). She pulls the trigger, and “Darkness [falls]” (4).
A baby is born, and “All the world [came] down to this. One breath” (7). But the baby does not breathe. Sylvie is giving birth early, without Dr. Fellowes, helped only by her maid, Bridget. The cord is wrapped around the neck, and the infant is blue.
Dr. Fellowes arrives at Fox Corner and cuts the cord from around the baby girl’s neck. He reports that the midwife was caught in the snow at Chalfont St. Peter. Bridget is 14, from Ireland, 10 years younger than Sylvie. Sylvie’s father was a society artist and her first love was her pony, Tiffin. She holds her third child lovingly.
The cook, Mrs. Glover, brings Sylvie a breakfast tray and reports that Dr. Fellowes was called away. “Such a fine line between living and dying” (18), Sylvie thinks, reflecting how her father died by slipping on a rug. When his debts were discovered, the family sank into poverty. Her mother, Lottie, died of consumption. At 18, Sylvie married a banker, Hugh, and they settled in a house near Beaconsfield. Sylvie spotted a fox in their yard and named the house Fox Corner. She introduces the new baby, whom she names Ursula, to her other children, Maurice and Pamela.
Hugh receives a telegram from his sister Isobel (Izzy), who has given birth to a baby in Germany. Hugh went to Paris to retrieve Izzy when she ran away with her married lover, which is why he was away for Ursula’s birth. Adelaide, their mother, refused to take Izzy in. She was sent abroad and her baby boy has been adopted by a German family. Ursula watches the changing seasons from her baby pram, which has a charm shaped like a tiny silver hare dangling from the hood. She is left outside in her pram often and once is nearly forgotten overnight. Maurice pours leaves into the baby carriage, and Hugh rescues Ursula.
The family vacations in Cornwall. Sylvie and Bridget sit on the beach, reading. Pamela persuades Ursula, now five, to go into the water, and Ursula drowns.
Sylvie cradles her newborn and thinks of what she should telegram to Hugh, who is fetching his sister from Paris. “They had triumphed over death this night,” and Sylvie wonders “when death would seek his revenge” (31). Sylvie sings to the baby and thinks, “One could lose everything in the blink of an eye, the slip of a foot” (32).
An artist, Mr. Winton, is painting the little girls on the Cornwall beach. He sees them in distress and rescues them. Sylvie thanks him by inviting him to tea.
Sylvie’s school friends visit to see the new baby, Edward. Sylvie calls Ursula and Teddy her two little bears. Ursula plays with their dog while Maurice and Pamela fight over tennis. Sylvie thinks of motherhood as her destiny. Hugh announces that Austria has declared war on Serbia. The friends are impressed that the house has electricity.
Sylvie and Bridget take the children to watch the harvest being brought in. Sylvie admires George Glover, Mrs. Glover’s golden-haired, handsome son. He sends home two baby rabbits for the girls. Sylvie and Hugh discuss their next-door neighbors, the Coles, who are Jewish. Ursula and Pamela make a nest in the garden for the baby rabbits and are distressed when foxes eat the babies.
Hugh is at the Front. He left thinking of war as an adventure, but his letters have changed of late. Bridget’s sweetheart, Sam Wellington, also enlisted. Bridget reports that zeppelins dropped bombs on Norfolk. Izzy visited for Christmas; she never speaks about her baby. Ursula is trying to learn how to knit with a knitting doll she received for Christmas. Maurice throws the doll out the attic window, and when Ursula tries to retrieve it from the roof, she falls.
Dr. Fellowes eats some of Mrs. Glover’s piccalilli and stays overnight at Fox Corner, snowed in.
Ursula is about to go out on the roof after her doll when “something made her hesitate. A little doubt” (67). Instead, she joins her siblings for tea. Sylvie has begun raising chickens. George Glover was injured in a gas attack. Ursula had brought the rabbit George gave her inside for a time, where it lived in her dollhouse. Bridget learns that Sam Wellington has been killed.
It is Teddy’s birthday, and Teddy is Sylvie’s favorite, so she plans a party. Bridget takes the younger children to visit Mrs. Dodd, the mother of Clarence Dodd, Bridget’s new sweetheart, who wears a tin mask on half his face due to injuries from the war. Clarence shows them the gardens of the Hall where he once worked, which are now overgrown by weeds. All three sons of the family who lived at the Hall were killed in the war.
Because of the victory, the children have the day off school and play in the yard, trying to get a glimpse of the five Shawcross daughters who have moved in next door. Hugh is still away at the Front, along with Izzy, who drove an ambulance in the war. Mrs. Glover reports that George isn’t George anymore. Bridget and Clarence are going to London to celebrate the armistice, but Mrs. Glover fears the influenza epidemic. Ursula visits with them when they return, and the next day wakes with a fever. She has caught influenza from Bridget, and she soon dies.
Mrs. Glover wakes Mr. Fellowes to tell him he’s needed: A farmer has been trampled by a bull.
Ursula hears Bridget coming home from the armistice celebrations, and “a wave of something horrible washed over her, a great dread, as if something truly treacherous were about to happen” (91). She had the same feeling when she followed Pamela into the sea in Cornwall and they were rescued. She knows they mustn’t go downstairs and see Bridget. The next morning, Bridget is sick, and Sylvie keeps the children home. The butcher’s boy, Fred Smith, delivers a hare. They notice Teddy is missing. Ursula finds him with Bridget, who is dead. Both Teddy and Ursula contract the flu and die. Sylvie is more concerned about losing Teddy than Ursula.
Sylvie, holding Ursula, looks out the window to see George Glover riding one of his great Shire horses. He looks magnificent.
Ursula posts a note on the door telling Bridget not to come in. The next morning, Pamela is missing, and Sylvie says she sent her to Mrs. Dodd’s to fetch Bridget. Ursula, panicked, runs to get her. The chapter ends with “Darkness soon fell again” (106).
Bridget and Mrs. Glover talk in the kitchen. When Dr. Fellowes’s car could not be dug out, George Glover came over with one of his horses. Mrs. Glover tells Bridget to find a flower for Mrs. Todd’s breakfast tray.
Bridget has a sprained ankle and says she was pushed down the stairs. She is determined to go to the celebrations anyway. Darkness falls once more.
Atkinson opens the novel in media res, with an attempted assassination of Adolf Hitler. Ursula is not named until the end of this first scene, and the reader is given almost no information about her. She is English but has some familiarity with German culture, food, and language, and she has rehearsed this moment.
This initial chapter introduces the question of what a person with foreknowledge might do to change the course of history—especially to stop events that will cause widespread devastation and cost millions of lives. The mention that Ursula is using her father’s revolver from the Great War foreshadows the significance of that earlier conflict in the narrative, while the chapter’s ending leaves suspense around the question of whether Ursula is successful.
The fictional construct of Ursula’s repeated rebirths is established in the next two chapters, when she first dies at birth and then is rescued by the doctor. The narrative returns to this day to signal a new start for Ursula, framing a different moment each time, thus furthering the character development, context, and setting while establishing a key theme—the tension between Fate and Choice. In the initial birth scene, Ursula dies because her mother’s doctor is not present to cut the umbilical cord from around her neck. In her second birth, the doctor arrives in time, and thus she lives. The narrative will return to this theme again and again—noting the tiny accidents and coincidences that can make the difference between life and death or determine the course of a life. Ursula—given the chance to live her life over and over—must learn how to exert control over events through her choices and how to accept what she cannot control.
Many chapters from Sylvie’s point of view reveal her to have a vivid inner life marked by loss and attachment. She loses her faith in God as a child when her beloved pony, Tiffin, unexpectedly dies, and the memory of this loss remains a source of bitterness for the rest of her life. Many of the other secondary characters remain largely the same throughout the novel, across all of Ursula’s many lives. Though Ursula’s life turns out differently every time—both through her own choices and through the action of chance—Maurice, Pamela, Hugh, Bridget, and Mrs. Glover all remain the same people, with the same lives. George and Clarence are injured in the war in the same ways; Bridget will contract influenza if she goes to London for the celebration of the signing of the armistice. This continuity helps keep a difficult narrative premise coherent but also suggests that some aspects of fate and character are and always will be the same. The repeated language, like the phrases concerning the breath and the shot, and the images of snow and cold and darkness falling, add to this effect.
Only Ursula seems aware—though at first unconsciously—of what is happening, and as her lives pile up, this awareness grows. What begins as dread around an event that cost her a previous life—wading in the surf with Pamela, rescuing her doll from the roof—becomes, in the cycle of the armistice, an attempt to actively prevent the death of her siblings and Bridget. Sylvie voices the bittersweet reflection that lingers most powerfully over these sections; given the example of her father’s death, which changed the trajectory of her life the powerful role chance plays in any life, and how thin the line can be between life and death. Life can end in a moment—or a breath, which is the image Atkinson most frequently uses to symbolize existence.
Sylvie’s narrative is more compelling than Ursula’s in these early sections, illustrating the effects of memory and grief. Sylvie defines herself by her adoration of babies and idealization of motherhood, though in fact, she is not a very attentive mother, as she leaves the baby’s pram outside for lengths of time and doesn’t watch her children at the beach. Sylvie adores the mythical construct and meaning of motherhood more than the actual physical labor, positing one approach to The Search for Meaning. Her favoritism for Teddy and her changing relationship with her husband reflect the novel’s theme of human connection as a source of meaning, which is refracted through other mother/son relationships, including Mrs. Dodd and Clarence, Mrs. Glover and George, as well as the attachment Ursula feels for her siblings, Pamela and Teddy.
Appropriate to framing the deeper philosophical perspectives on human nature and life, Atkinson’s prose style is deceptively simple, built on sentences that vary in rhythm and are full of vivid imagery and precise detail. Sections are polyphonic, finding space for the voices of other characters as overheard asides, sometimes set apart in parenthesis. The point of view of individual sections is largely close third-person, but the added voices allow for the detailed development of a large ensemble cast of characters and a perspective of limited omniscience. In incorporating imagery of the seasons, farming, and the fate of estates like the nearby Hall and the family who lived there, Atkinson illustrates her English setting and frames an elegy for a lost pastoral era, ended by the unprecedented destruction and lingering scars of the Great War.
By Kate Atkinson