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This chapter consists of three letters: two to Dr. Simon Jordan and one written by Simon to his friend Dr. Edward Murchie. All are dated April, 1859.
The first letter is from Dr. Joseph Workman, Superintendent of the Provincial Lunatic Asylum in Toronto. He cannot tell Simon much about Grace Marks, because he took over the asylum only a few months before she was returned to prison. She spent 15 months in the asylum, leaving in August 1853.
The next letter is from Simon’s mother. She has forwarded Dr. Workman’s letter and encourages Simon to establish himself well in a safe, good paying profession, like textile manufacturing, rather than continuing to study insane people. Her health is also a concern, and she refers to herself as an invalid. She is also worried about Simon’s health and advises him to eat well and not to overexert himself mentally.
Simon writes to his friend that he hopes to advance knowledge of the working of the mind in his current assignment.
Simon narrates this chapter. He never expected that he would have to make his living as a doctor; he expected that he would dabble in medicine for a while, then settle down and take over his wealthy father’s textile mills. The unexpected, severe collapse of his father’s business—followed by his death—has changed the direction of Simon’s life, turning what was to be a comfortable and rich life into one of anxious care. Gone are the mills, the large house run by a staff of domestic servants, and with them, his carefree life. His inheritance is small, and he uses most of it to take care of his mother. Simon protects his mother from the knowledge of their exact circumstances, saying, “His father was self-made, but his mother was constructed by others, and such edifices are notoriously fragile” (56). He hopes to parlay this assignment with Grace into patronage and methods for his own a private asylum.
He falls into a reverie about his first meeting with Grace. As he enters her cell, he imagines he sees a slight, hysterical, waif with large, frightened eyes. He is surprised to have his vision shift and Grace appear tall and self-possessed, with assessing, not mad, eyes. He realizes that he is already in trouble and must be careful not to let his imagination take over.
The maid brings his breakfast into his room; he thinks of her as a pig and imagines her hung up like a ham. This association, Dora – pig – ham, is clearly the type of association he expected from Grace when he presented her the apple.
Grace narrates this chapter. Two guards bring Grace over to the Governor’s mansion every day that she works there and sees Simon. The guards make lewd and ribald jokes at her expense to entertain themselves. The Governor’s daughters—Lydia and Marianne—practice their charms on Simon by finding excuses to interrupt his sessions with Grace.
While she talks to Simon, Grace sews quilt blocks. He begins each session by giving her something and asking her what that thing reminds her of: a dried blue flower, a pear, or an onion. She finds it difficult to talk to him, since she hasn’t talked much over the last 15 years. Simon encourages her by talking about himself and his past.
This chapter begins with a letter from Dr. Samuel Bannerling to Simon. Dr. Bannerling was the asylum superintendent for most of Grace’s internment there. He believes she is a cunning, deceitful liar, and certainly not mad. He asserts that Grace pretended to be mad in order to escape the confines of the prison. He implores Simon to resist the pleading of the do-gooders trying to gain Grace’s release, because she is where she belongs. She certainly committed the crimes with which she was charged. Were she to be released, Dr. Bannerling is confident that she would kill again.
Simon gets dressed and readies himself to meet his employer, Reverend Enoch Verringer. He tries to sneak out of the house, but his landlady stops him. She wants to know if his breakfast egg was cooked properly since she cooked it herself. Trapped by the requirements of polite society, he stops to talk to her and agrees that the egg was delicious, though it was not. Mrs. Humphrey is lonely, and he wants to avoid any additional intimacy with her.
Simon describes Rev. Verringer, who is no older than 35, as an intelligent, politically astute Methodist minister. Verringer heads the Committee seeking a report from Simon that they can use to help gain Grace a pardon. However, the Committee also wants to be sure that their efforts stand a good chance of being successful—that Grace is indeed innocent—before putting a petition forth. Verringer recognizes that Simon can benefit professionally from this assignment, and he reassures Simon that he will be paid whether or not he reports negatively or positively as to Grace’s innocence.
Simon attends a Sunday gathering at the Governor’s residence. He meets Mrs. Quennell, a noted Spiritualist and women’s advocate, and Dr. Jerome DuPont, a self-described “Neuro-hypnotist.” Dr. DuPont asserts that hypnotic sessions can alleviate amnesia. Simon is skeptical but hesitates to confront DuPont. Simon shares his methods with DuPont, which consist of suggestion and the association of ideas. Simon hopes to restore Grace’s memory by reconnecting the broken chain of thought.
Miss Lydia shows Simon her mother’s scrapbook full of criminals, displaying the pages with Grace’s case. Lydia flirts and presses herself against Simon; Simon is certain that Lydia, an innocent girl, has no idea what she is doing. Simon muses that he should probably let his mother find him a nice, malleable, young woman for a wife and get married. Though he’s aware of Lydia’s attractiveness, he really is more attracted by Grace, reporting that when he is with her: “[h]e is in the presence of a female animal; something foxlike and alert. He senses an answering alertness along his own skin, a sensation as of bristles lifting” (90).
Grace’s sewing quilt blocks, her constant references to textile and quilt patterns within her narration, and the quilting pattern titles for each section of the novel symbolically mirror the structure of the novel; both the characters within the novel and the reader must put together a whole out of separate pieces of cloth. This patchwork method of constructing a narrative, a novel, or the “truth,” becomes the central unifying motif in the novel.
From Grace’s narration, the reader can see how Simon builds trust with her. He talks about himself in a non-threatening way, sharing information about himself to set her at ease. In his letter to his friend Edward Murchie, he reveals his methods of “association.” The items he brings are not random, but intentional items meant to reconnect Grace’s memories to the present, to bring submerged memories into the light of day. For example, he brings root vegetables meant to bring up underground, grave, cellar, or corpse associations for Grace, but these items cause Grace only amusement or bafflement (90).
Grace appears to cooperate completely, but she hides her intelligence and true thoughts from Simon from the beginning. She is capable of hiding whatever she chooses from him. In many ways, though Simon is intelligent, capable, and gentle, he is no match for Grace. The reader knows this from the beginning. However, they each need something substantial from the other—Grace a pardon and Simon a professional success—so this battle of wits is a high-stakes game.
Simon’s place in Kingston society, as a desirable match for one of the Governor’s daughters, highlights Simon’s place in the upper class and drops him right in the middle of upper class society’s marriage game. Simon privately bemoans and despises the social mores of his class, but he takes advantage of his position when it suits him. For example, he hates the restricted, uncomfortable clothing, the cravats and stocks, and the tight trousers, that identify him as a gentleman, but he wears them because he wants the advantages that go along with being identified as a gentleman.
However, Simon’s judgment is not always accurate. For example, though he knows that Lydia is flirting with him, he assumes that she is too innocent to deliberately attempt to seduce him. At the same time, he is more attracted to the dangerous, beautiful, and mysterious Grace than he is to commonplace, young, upper-class, mindless, and insipid women, such as Lydia.
Both narrators in this novel have credibility issues; neither can be completely trusted. Simon’s blindness, due to his sexual attraction to Grace, hinders his objectivity and pulls him into the shadowy world of his own desires and murky intentions.
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By Margaret Atwood