44 pages • 1 hour read
Adrienne YoungA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Realizing she is no longer in 2023, June begins walking and finds the farmhouse, restored to its original state, and a man whose voice she recognizes from her “episodes.” He asks what she’s doing there and then is surprised to realize they haven’t met. He ushers her inside, worried someone has seen her. He departs, telling her to stay in the house. She feels compelled to enter a bedroom that contains women’s clothes. She finds a photograph of the man with his arms around a woman: her.
June runs from the house. The man—who tells her his name is Eamon Stone—knows her, though she doesn’t know him yet. He finds her quickly, exhorting her to come back to the house before she’s seen. A police deputy sees them, and Eamon attempts to smooth things over. He says June has just come back from visiting her mother, who is doing better. Eamon tells June they met five years ago and are married but that she disappeared a year earlier. June is relieved when Eamon takes her to the flower farm and they meet Esther Farrow, her great-great-grandmother. June sees a young girl but cannot “bring herself to ask who she [is]” (108)—she is certain she doesn’t want to know. When June asks Esther about Susanna, she learns that it is 1951, and Susanna is dead.
June stays in the farmhouse after Eamon and the girl depart. In the morning, June asks Esther what is happening to her. Esther explains that the door appears to all Farrow women. They all eventually go through it, and time begins to fray when they do. Esther also tells June that the first time she traveled through time was from 2024 to 1946, rather than 2023 to 1951. The target year is determined by the locket watch. Finally, June learns that she can only make three crossings through time and has already made two in this body.
June’s grandmother, Margaret, alive, comes down the stairs. She is a young woman and embraces June. Esther warns June that she shouldn’t let Margaret get too attached—June broke both Eamon’s and Margaret’s hearts when she left before. Esther won’t tell June the particulars of why she returned to the future.
Esther takes June back to Eamon’s farmhouse. Eamon is angry with June but tells her she can stay until the door reappears. He reveals that Annie is his child with the version of June that came back five years earlier but that this version of June isn’t really the girl’s mother. When June suggests that she must have had a reason for leaving, he tells her, “[T]here’s no reason good enough. Not for what we’ve been through” (131). He leaves the house. June has a memory of swimming with Mason in the Adeline river, which she is sure has never happened.
In the morning, Eamon works in the fields, and Margaret brings Annie over. Margaret stays to watch the child. She tells June that they are cautious because when she left before, Annie had been home alone. June can’t believe she would have done that but feels sick at the thought that it could be true.
June experiences a vivid memory in another timeline, of meeting Eamon when his horse escaped. She eats an awkward dinner with Eamon and Annie and then searches the bedroom for clues. She finds newspaper articles about Nathaniel’s and Susanna’s deaths and a list of dates: 1912, 1946, 1950, and 1951.
June decides she must remember why she left. She tries to trigger memories by going about old routines with muscle memory. A police officer, Caleb, arrives to “have that little talk [he’s] been waiting so long for” with June, leaving after a tense conversation with Eamon (161). Eamon tells June that Caleb has been interviewing everyone about Nathaniel’s murder, which happened just before she left. She gets the sense he’s hiding something.
As Margaret watches, June works in the garden again. She wonders why she left, and Annie sits quietly beside her. When Eamon returns, he announces that June will go with Esther into town the following day to be seen and keep people from becoming more suspicious.
This section of the novel is driven by its gradual revelation of the people and circumstances in 1951, rather than overt action. A long conversation with Esther provides both June and the reader with information about the curse’s rules and how it enables time travel. June’s tense interactions with Eamon reveal the damage done by her previous departure. She grapples with trying to figure out who he is, why she changed her mind about never having a family or children, and particularly why she left. This section focuses on how June navigates her identity and experiences in an unfamiliar world and takes on a disorienting and uncanny tone that mimics her emotions.
Young explores Misogyny and Mob Behavior in the Small Town, vaguely alluding to potential danger to the Stone family from other inhabitants of the town. Jasper also provides a sense of consistency. It is a constant, a town that “[sits] nestled by the riverbank as if it ha[s] never changed” (101).
This section primarily focuses on The Connection Between Memory and Identity. June attempts to remember the version of herself who lived with Eamon and was Annie’s mother. She tries to ground herself by working in the garden, “impulsively tearing at the mounds of clover and dandelion and nut grass. [She] rip[s] them from the earth, frantically trying to clear the overgrowth as the panic [rises] inside of [her]” (142). This passage evokes the motif of flowers, which, like the town of Jasper, are a constant throughout the different time periods.
June struggles with internal conflict. Her sense of self had been anchored by her decision to end the curse, an identity she loses when she realizes she has a child. She also grapples with the fact that she left Annie by herself. June is both “ashamed” and “envious” of “the June who’d married Eamon and had borne his child” (153). She sees this version of herself as selfish but longs for the experience of family connection. The phrasing—“the June who”— emphasizes how June feels divorced from this other version of herself. Throughout these chapters, she is adrift from her identity.
June, who experienced maternal abandonment, is appalled at the possibility that she did the same thing to Annie: “I’d never do that. Ever. So why did it turn my stomach? Why did I have the feeling that she wasn’t lying?” (141). Young emphasizes the contrast between June’s actions and how she thinks of herself. In this way, the novel focuses on the apparent contrast between two versions of June’s self. By the end of the novel, it will become clear that there is not a strict duality: June did not abandon her daughter out of cowardice but to save her from the curse, an action aligned with the identity of the present-day June.
Esther’s conversation with June reveals the rules of the novel’s magical realist conceit. It also unpacks how the curse is not related to mental illness: “Sick? It has nothing to do with being sick. It’s more like having two sets of eyes, one that sees this world and one that sees the other” (114). Rather than originating with mental health, as June previously believed, the curse changes the Farrow women’s relationship with time and precipitates what is perceived as “madness.”
By Adrienne Young