47 pages • 1 hour read
Sarah PennerA 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: This section of the guide describes and discusses the sexism, misogynistic language, and attempted sexual assault that feature in the source text.
On February 13, 1873, Lenna, the assistant to a prominent medium, prepares for a séance in an abandoned chateau in Paris. The medium, Vaudeline D’Allaire, performs séances in order to help the families of people who died of violent crimes discover the truth behind their loved ones’ deaths. The séance is taking place in the chateau because Vaudeline must perform it where the person in question died. Lenna began studying with Vaudeline because her younger sister, Evie, also studied with the medium before her death a few weeks ago. Lenna does not believe in the occult, but she does want to uncover the circumstances of her sister’s death.
Vaudeline and Lenna are joined by the parents of a young woman who was killed in the chateau. Vaudeline explains the potential hazards of the séance circle; in the past, people have died, been wounded, or have even felt compelled to engage in sex while in the presence of spirits. She explains that she follows a specific set of steps to invite spirits into the room and ensure that they only interact with the desired subject. To this end, she urges the parents to display as little emotion as possible lest a malevolent spirit take advantage of their vulnerability. Just as Vaudeline begins the incantation, the doors fly open.
On February 10, 1873, Mr. Morley, the vice president of the Department of Spiritualism within the London Séance Society, finds himself in a difficult position after the murder of the Society’s president, Mr. Volckman. For years, the Society worked to connect reliable mediums with people who desired to contact the dead. The all-male Society enjoyed relative prosperity, and Morley found that he was able to support himself and his ailing mother. He was even able to open a small business running a liquor cellar. However, Volckman’s murder was preceded by rumors that the Society was employing fraudulent mediums; these rumors negatively impacted the Society’s reputation and income. Morely, a man who already lacks self-esteem due to a large birthmark on his face, is now faced with the task of dealing with the impact of these rumors while investigating his boss’s death.
The narrative returns to Lenna’s perspective. When the doors to the séance room open, Lenna initially believes it might be a ghost. This prompts memories of her introduction to the world of spiritualism. Because of her interest in biology and archeology, she believes in rational, tangible, and scientific explanations, and her rationality and skepticism would often put her in conflict with Evie, who wholeheartedly embraced spiritualism. Now, she realizes that the intruder isn’t a ghost, but a messenger with a letter for Vaudeline. Vaudeline is horrified by the letter, which bears news of someone’s death. She is so distraught that she cannot begin the séance by herself, so Lenna begins the incantation to summon the spirits.
The narrative returns to Morely’s experiences in London on February 11, 1873. He is visited by Constable Beck, a member of the Metropolitan Police who is also involved with the Society. Morely suggests enlisting Vaudeline D’Allaire to solve the mystery of Volckman’s murder. She used to work for them but was abruptly sent to Paris some months ago. Beck agrees to her return and promises to provide security for her while she is in London, in case her investigation places her in danger.
Reading an article about ectoplasm reminds Morely of a lecture that he gave back in June, when he encountered a beautiful young woman named Evie dressed as a man. Morely, who was normally scorned by woman because of his birth defect, was surprised to find that Evie was interested in talking to him. He invited her on a walk and found her to be intensely interested in spiritualism.
The narrative returns to Lenna’s experiences on February 14, 1873. Vaudeline takes over the séance after Lenna performs the opening incantations, and the medium discovers that the murdered girl was killed by a jilted lover. The parents are dissatisfied with this revelation because they were unaware that their daughter had a lover. Lenna is disappointed by the outcome because the séance didn’t provide any tangible evidence of ghosts. After the girl’s parents leave, Vaudeline explains that the letter reported the death of Mr. Volckman, one of her associates when she worked in London. Vaudeline tells Lenna that she left London because she believed that fraudulent mediums were working within the London Séance Society. Volckman, upon beginning an investigation of his own, believed that her life was in danger. The rest of the letter is a request from a man named Morely asking Vaudeline to return to London to help ascertain the circumstances of Volckman’s murder.
Vaudeline asks Lenna to return with her to London because she believes Lenna to be one of the most talented budding mediums that she has ever tutored. Her request is accompanied by a brush of her hand against Lenna’s—physical contact that both surprises and arouses Lenna. Despite the temptation of that touch, Lenna is distressed by the idea of attending another séance that yields no proof of ghosts. She expresses this frustration to Vaudeline, who is hurt by her lack of belief. Lenna sits alone outside and is eventually joined by Vaudeline. The medium tries to touch Lenna’s hand again, but Lenna pulls away.
After Vaudeline leaves her, Lenna reflects on a similar disagreement that she had with Evie before her death. The incident occurred on the anniversary of the death of Eloise—Lenna’s very close friend—and Eloise’s father, Mr. Heslop. Evie revealed that she had been trying to contact Eloise, and in one séance, she transcribed a message that she believed came from her friend. The message consisted of the letter L with a pair of interlocking hearts inside of a hexagon. At the time, this information disturbed Lenna, who believed that Evie must have been snooping through her belongings; she had received a hexagonally-folded letter from Eloise years ago in which Eloise described her romantic feelings for Lenna—feelings that Lenna had reciprocated. Lenna disbelieved Evie and never got the chance to apologize before her sister’s death.
Later that day, Vaudeline tells Lenna that she has arranged to go to London by herself. She admits that what hurt her the most deeply was not Lenna’s questioning of the legitimacy of her craft, but the fact that she pulled her hand away when Vaudeline tried to touch her. Vaudeline then kisses Lenna on the cheek. That night, Lenna wrestles with her desire and eventually masturbates while thinking of Vaudeline.
The opening chapters of The London Séance Society alternate between the perspectives of Lenna and Mr. Morely in a “braided” chapter structure that allows Sarah Penner to convey crucial exposition to which the protagonists themselves are not privy. Having access to information from Morely and Lenna creates an ongoing sense of dramatic irony and intensifies the narrative’s tension and momentum. For instance, the intrusion of the messenger in Chapter 3 is a prime example of dramatic irony, for Lenna and Vaudeline have no idea who the messenger is or what his letter might contain; however, the information in Chapter 2 makes this perfectly clear to Penner’s readers. Penner also employs dramatic irony in a slightly different manner at the end of Chapter 4, when Morely reveals that he knew Evie before her death. Since the narrative has already revealed that Lenna is searching for answers about Evie’s death, this revelation foreshadows a future confrontation between Lenna and Morely: one that neither character is in a position to anticipate. Thus, the braided narrative structure allows each chapter to serve as a counterpoint to the next, adding complexity to the overall plot.
While Morely’s chapters are narrated in the first person, Lenna’s are narrated in a third-person limited perspective. This stylistic choice allows Lenna’s and Morely’s narrative voices to remain entirely distinct, and Morely’s more intimate first-person narration implicitly conveys his snide, condescending personality. By contrast, Lenna’s more distant third-person narration allows Penner to gradually establish the setting and showcase Lenna’s more careful, observant personality. The dual narrative styles are also crucial to structuring the novel’s unfolding mystery, for although Morely has answers to many of the mysteries that Lenna is trying to solve, he is also a secretive liar and an unreliable narrator. Because Morely’s sections are rendered in the first person, Penner can remain selective about what information she reveals, and it is logical that Morely, the perpetrator of many crimes, would try to keep key information hidden at all costs. If his experiences were to be conveyed using a third-person perspective, these subtler nuances would have been impossible to convey.
This section of the novel also introduces several different themes, the most prominent of which can be found in Lenna’s struggle of Coping with Grief. Launching into an investigation of her sister’s death is the only way she knows to take some form of action, but as her apprenticeship progresses, the narrative hints at the depth of the grief she is experiencing, although she does not reveal her true motivations to Vaudeline for some time. Additionally, Morely’s chapters showcase the sexist mindset that permeates the Gender-Based Power Structures in Victorian England, and this theme will intensify considerably as Vaudeline and Lenna encounter a barrage of social obstacles to their investigation in London. This sections also offers one of the novel’s most striking examples of Acknowledging and Expressing Hidden Sexual Desires. After Vaudeline kisses Lenna goodnight for the first time, Lenna goes back to her room and masturbates with “her palm flat against the wall, wishing there was some incantation to make it crumble and fall away, to get her closer to the woman on the other side” (80). Lenna’s actions here underscore the reality of “forbidden” desires in Victorian society, for her passion cannot be openly celebrated; instead it must be relegated to dark rooms and isolated individuals yearning for a connection that they believe to be impossible. Despite the fact that such desires could only exist invisibly, Penner still renders the experience of Lenna’s sexual desire in exquisite detail, for her vivid descriptions ensure that the pleasure that Lenna gets from her body and imagination is made visible on the page. These deeply embodied descriptions prefigure the pleasure that both women will eventually find with one another by the novel’s end.
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