Inheritance

“Who knew, she thought, that love could snuff out like a candle in a stiff breeze? And leave no trace. None at all.”

Sonya’s reflections reveal how easily her feelings for Brandon dissipate after his betrayal is exposed, and she is forced to reckon with the fragility of love that has been built upon societal expectations rather than genuine connection. While she later acknowledges that she never truly loved Brandon, her immediate loss of affection underscores the power of disillusionment. Sonya’s feelings contrast sharply with those of Hester, whose twisted love is transformed into centuries-long bitterness and jealousy. Together, these contrasting perspectives illustrate the idea that “love” can either dissolve under scrutiny or fester into something destructive when it is warped by obsession and resentment.

“‘I have trash bags. He has so much stuff! Where am I in this? Why didn’t I notice I have half the space he did?’ […]

‘Erosion happens gradually […] A rock’s strong, but it doesn’t notice how the water’s wearing it away.’”

This moment highlights Sonya’s journey to reclaim her worth, particularly in her personal relationships. Despite her practical and independent nature, Sonya realizes that she allowed Brandon to dominate their relationship, and this problematic dynamic is demonstrated by the imbalance in their shared space and wedding planning. She is the one who paid for most of the wedding, yet none of the arrangements reflected her taste or preferences. Winter’s observation about erosion emphasizes the idea that Brandon’s overreach was a gradual process. Her comment reminds Sonya that recognizing her strength and reclaiming her identity reaffirm her resilience.

“Collin didn’t have much interest in his family’s history, but he loved the manor. I can’t tell you how often the two of us—or a gang of us—snuck into it when we were boys. It’s quite haunted.”

Deuce’s casual remark introduces Sonya to the haunted nature of Lost Bride Manor, marking a pivotal moment in her understanding of her inheritance. His comment also underscores the manor’s allure, not only for the Poole family but also for others, despite its ghostly reputation. Collin’s deep connection to the house also proves to be significant, as his meticulous restoration reflects his dedication to preserving the Poole legacy.

“‘Your father had dreams sometimes. Recurring. One was he looked in the mirror, but the face looking back wasn’t quite his. And the man looking back was talking to him, but he couldn’t hear. He’d had them most of his life. A boy looking in the mirror at a boy with his face—almost his face […] Sometimes he’d draw the dream and show me. This is the face.’

‘A twin bond,’ Cleo murmured. ‘Always the same mirror. Full-length, freestanding, ornate frame. And this face looking back at him. Not dressed like him, but always the same age.’”

Winter’s reflection on Andrew’s recurring dreams highlights The Impact of Family Legacy in Inheritance. Although Andrew never met Collin, his dreams of his twin suggest an unbroken connection between the estranged brothers, illustrating the enduring ties of a bloodline. Sonya’s discovery of her father’s paintings in the manor, which visually link him to the Poole family and its haunted past, further emphasizes this theme. Likewise, the mirror in Andrew’s dreams serves as a recurring symbol of reflection and connection, tying together the various generations of the Poole family and their shared legacy.

“He chose death rather than me. He chose death to stay with her. Be damned to them, and now to you. Walk with them, Catherine Poole. Forever a bride.”

Hester’s words reveal the depth of her bitterness and irrationality as she fixates on Collin Poole’s choice to die rather than remain with her. Her perception of Collin’s love and the events surrounding Astrid’s death catalyze her psychological descent, fueling her self-centered belief that Collin’s suicide was an act of rejection and betrayal. Hester’s declaration emphasizes her vengeful mindset as she shifts her focus to punishing the entire Poole family, starting with Catherine. By framing Catherine as “forever a bride,” Hester seeks to condemn the woman to an eternal state of mourning and loss, and this act reflects her own inability to move past her obsession with Collin. This moment exemplifies the destructive power of jealousy and unrequited love, as Hester’s distorted worldview leads her to impose generational suffering on the Poole family.

“‘Why would they have done it? Separated the brothers?’

‘Patricia Youngsboro married Michael Poole, and like some converts became a fanatic regarding the Poole name. Though she refused to live in the manor […] To my knowledge, she never stepped foot in it. She was a hard woman, Sonya. I expect she took Collin, placed him with her daughter simply to keep the line intact. She had no reason to keep both children, not in her mind.’”

In this conversation between Sonya and Deuce, the discussion about the Pooles’ decision to put Andrew up for adoption highlights the complex dynamics and the impact of family legacy and inherited decisions. The discussion emphasizes the fact that age-old familial choices can have a lasting impact on descendants’ lives and identities. By exploring the reasons behind Andrew’s adoption, the conversation reflects the tension between personal desires and the larger family history, suggesting that the legacy of familial expectations and decisions have altered Sonya’s path in unforeseen ways. This exchange illustrates that family history, even in its painful or hidden aspects, continues to echo through the lives of subsequent generations.

“What were the choices? She had a bed-making intruder, she’d done it on autopilot, or the place was haunted. With bed-making ghosts.”

Sonya’s frustrated attempt to rationalize the strange occurrences in the house reflects her deeply ingrained practical nature and her resistance to acknowledging the supernatural. Her dismissive, offhand tone also suggests her need to focus on logical explanations rather than embracing the unexplainable, and it is clear that she is struggling to accept the reality of her new circumstances. This quote encapsulates Sonya’s attempt to impose reason on a situation that defies logic.

“Again and again, over and over, year by year, and bride by bride. Find the seven rings. Break the curse.”

Astrid’s repeated plea for Sonya to break the curse emphasizes the cyclical nature of the Poole family’s suffering, highlighting the generational trauma. The phrase “again and again” emphasizes the sense of inevitability that has marked the Pooles’ fate, suggesting that the curse is not just a supernatural force but a deadly legacy perpetuated through time. This moment also encapsulates the struggle between fate and agency, as Sonya must confront both the weight of her family’s history and her own role in either perpetuating or ending the cycle.

“‘I’m pretty steady on my feet. And I’m not going anywhere.’ Her voice seemed to echo back to her as she walked to the staircase. As she climbed, the clock struck three.”

Sonya’s declaration emphasizes her resilience and foreshadows her acceptance of the house’s haunting presence and its family legacy. The clock striking at precisely three o’clock in the morning, traditionally known as “the witching hour,” intensifies the supernatural atmosphere, highlighting the tension between Sonya’s practical resolve and the ghostly forces at play. Because the clock chimes even when it has not been wound, its sonorous voice symbolizes the inescapability of the past and the relentless pull of the family’s curse. Sonya’s refusal to be deterred by the ghostly presence marks a pivotal moment in her journey to confront the weight of her family’s history and her role within it, symbolizing her acceptance of the impact of family legacy.

“‘He must have loved her, really loved her, to have this painted after.’

‘And hanged himself as soon as it was finished,’ Sonya added.

‘Which is awful. Tragic all around. But she’s still here, isn’t she? Young and beautiful. So, where do we start?’”

In this conversation, the contrast between Sonya’s and Cleo’s responses to Collin Poole’s portrait of Astrid underscores their differing perspectives on love and tragedy. Cleo’s remark that Collin must have loved Astrid reflects an idealized view of Collin’s feelings. At the same time, Sonya’s more pragmatic addition about Collin’s later suicide acknowledges the destructive consequences of love. This exchange highlights the tension between the romanticization of love and the painful reality of its aftermath, as well as Sonya’s determination to break free from the cycles of the past and find a resolution. The scene also highlights the impact of family legacy, as Sonya’s uncle Collin also painted a portrait of his late wife, Johanna.

“‘They—they—God, I can’t sit down.” She pushed up, paced around the plants. “They open doors, shut them. Move things. Music starts playing on my iPad. Sometimes they open all the kitchen cabinets. They clean out the wood-burning fireplaces and set the logs—I think they bring logs in, too. They make up my bed in the morning, and turn it down at night.’

‘Do you thank them?’

Sonya goggled. ‘Thank them?’

‘If someone made up my bed and turned it down for me, I’d thank them.’”

The contrast between Sonya’s increasing distress and Cleo’s pragmatic approach to the ghosts reveals the differing ways in which they cope with supernatural events. Sonya’s frantic descriptions of the ghosts’ actions highlight her growing sense of invasion and helplessness as she struggles to reconcile her rational worldview with the inexplicable phenomena around her. However, Cleo’s suggestion to “thank them” brings her up short, introducing a more accepting and whimsical perspective. In essence, Cleo suggests that the spirits, while unsettling, might be offering Sonya a form of care or assistance. This exchange underscores the tension between Sonya’s fear and Cleo’s more detached, practical attitude.

“‘No one could explain why she went out in the storm. But when they found her the next day, she wasn’t wearing her wedding ring. They never found it.’

‘Hester Dobbs’s curse, according to local legend.’ Owen stirred the sauce. ‘A bride every generation dies—on her wedding day, or within the year. At the manor.’”

Trey’s recounting of Catherine’s death and the missing wedding ring ties this event to the longstanding curse that haunts the Poole family, further revealing the legacy of Hester’s vengeance. The mystery surrounding Catherine’s decision to go out into the storm, coupled with the disappearance of her wedding ring, emphasizes the inexplicable nature of the curse, suggesting that the force behind it transcends all rational explanations. Owen’s mention of the “bride every generation” also reinforces the cyclical nature of the curse, highlighting the inescapable fate that plagues the women of the family.

“I was the ghost there. Hester Dobbs had that right. On the other side of the mirror—or whatever the hell it is—I was the ghost.”

Sonya’s self-identification as a “ghost” during her moments in the mirror-world illustrates the deepening connection between her and the haunting forces within the manor, and these ideas are symbolized by the mirror itself. Initially, the mirror serves as a passive window through which Sonya witnesses the deaths of Astrid and Catherine, safely distanced from these past tragedies. However, after crossing directly into the past to witness Catherine’s death, Sonya’s experience shifts from observation to participation, and this shift reveals her inability to change the course of history despite her best efforts. Hester’s comment that Sonya is only a ghost emphasizes Sonya’s role as an outsider. When she steps into the past, she becomes trapped in a liminal space, as she cannot intervene in events that have already occurred. This moment reflects Sonya’s struggle with her own sense of agency; the mirror symbolizes her isolation in the midst of an event that she cannot affect, and her frustration reinforces the inescapable nature of family legacy.

“She said I’d face a betrayal, which would hurt but provide a fortunate escape and open opportunities. I’d be wise to take both. And that I’d make my home in a house of history and secrets overlooking the sea.”

Cleo’s grandmother, a witch, offers a cryptic prophecy that extends the reach of the supernatural beyond the confines of Lost Bride Manor, suggesting that the influence of fate and mysticism is pervasive throughout Sonya’s life. The prediction of betrayal, though painful, ultimately provides “a fortunate escape” and opens “opportunities,” foreshadowing the emotional and personal challenges that Sonya will face as she navigates her relationship with the manor and her family’s legacy. The mention of a “house of history and secrets overlooking the sea” further ties Sonya’s fate to the manor, symbolizing how the past—laden with hidden truths—will shape her future. This prophecy highlights the interwoven nature of fate and supernatural influences. It also reinforces that Sonya’s journey is predetermined by forces beyond her control, making her eventual decisions inevitable.

“Then she walked into the foyer, looked up at Astrid’s portrait. ‘I heard you. I don’t know what it means or what to do about it, but I heard you.’ But the house, and whatever walked in it, stayed silent.”

By directly addressing Astrid’s portrait, Sonya significantly shifts her relationship with the house and the curse that haunts her family. By acknowledging that she has “heard” Astrid, Sonya takes a proactive step toward engaging with the supernatural forces at play, and this moment therefore signals her growing recognition of her responsibility to break the cycle of suffering. The fact that the house remains “silent” in response emphasizes the tension between Sonya’s willingness to confront the past and the ominous, unyielding nature of the curse itself. This scene therefore reveals Sonya’s internal struggle; she is compelled to help even as she finds herself trapped by the same forces that have plagued her ancestors. This dynamic highlights the complex intersection of fate, agency, and the impact of family legacy.

“She takes the ring from my finger, the beautiful wedding ring designed only for me. She puts it on her finger where she wears three others. She looks at me, and I am so afraid. She looks at me and smiles a terrible smile, and I am more afraid still. Then she is gone, as I am.”

The exchange between Agatha and Hester regarding the wedding ring illustrates a significant departure from the experiences of the other lost brides. Agatha’s attachment to her ring is rooted not in love but in maintaining appearances and social status. Thus, Hester’s act of taking the ring highlights the superficial nature of Agatha’s marriage. The “terrible smile” that Hester gives Agatha before disappearing intensifies the sense of betrayal. However, the moment also reveals that at the moment of her death, Agatha grieves the loss of her carefully constructed outward identity. In this context, Inheritance subtly critiques the societal pressures prioritize status symbols over genuine emotional connections. The narrative thus positions Agatha’s experience as a commentary on the hollow nature of certain social contracts.

“She lifted her left hand, tapped her ring finger with the other. ‘That fucking witch took it, so you watch out for her, got it? Then that old bitch—Charlie’s mom—she took care of the rest. He shouldn’t’ve done what he did, kill himself like that. I mean, wow, I didn’t have a choice, but he did. And that’s how she got her hands on my babies, my little boys. I was pretty pissed at him for a while. But, well, shit, I love him.’ ‘Is…Is he here, too?’ For a ghost, he thought, she had a smile like the summer sun. ‘Well, yeah, what do you think? Lots of us here. It’s the freaking curse. So, that’s it for now.’”

Clover’s ghost reveals the complexity of her emotions, blending resentment with love as she reflects on the choices and events that led to her death. Her bitterness toward the “witch” who took her ring combines with the blame she places on Charlie for his suicide, highlighting the deep sense of injustice that she feels. However, her admission of love for him suggests that enduring emotional connections can persist even beyond death. Additionally, the mention of “the curse” ties Clover’s experience to the larger supernatural forces at work in the Poole family, implying that the ghosts are not just victims of their own actions but are bound by a cyclical, inherited fate. This conversation highlights the tension between personal agency and the inescapable nature of the curse, indicating that love, anger, and loss continue to haunt the spirits, compounding their suffering even in the afterlife.

“When I finally got you to sleep the night after the horrible day your father died, I didn’t know how I’d cope […] And I saw him. I went into our room, and he was there. He told me we’d be all right, that he’d loved me every minute of every day since we met […] No, I never did. I thought it was grief. But it wasn’t, not only. Sometimes I’d feel his hand on my cheek as I fell asleep. I still do now and then. Or hear his voice inside my head when I’m struggling with a decision or problem. ‘Trust your gut, babe, then check in with your heart.’”

Winter’s reflection on her experience with Andrew’s death reveals the depth of her emotional connection to him, highlighting The Interplay Between Past and Present. Initially attributing her sensations to grief, Winter later acknowledges that this connection goes beyond mourning, as Andrew’s voice and touch still provides her with guidance in her moments of vulnerability. This idea speaks to the enduring power of love and suggests that Andrew’s influence remains a source of strength for Winter, offering comfort and clarity.

“How did he paint her—the woman who died giving birth to him? How did it get here, in the manor? Did he dream of her, the way he did the manor, the mirror, his brother? I think that must be it.”

This quote highlights Andrew’s deep, supernatural connection to his mother, Clover, even though he never knew her, and this aspect of the novel illustrates the impact of family legacy. Sonya’s speculation that Andrew “dreamed” of Clover aligns with the recurring theme of inherited memory and familial bonds that transcend time and death. The mysterious appearance of the portrait in the manor reinforces the idea that the house is a nexus for unresolved legacies and emotional ties. By linking Andrew’s artistic intuition to his dreams, the passage suggests that his creations are manifestations of his subconscious link to the past and his family’s haunted history.

“I have a theory […] I don’t think it’s that far out based on, we’ll say, the rules of this particular road. You said it’s as if you go through the mirror and into another time. There’s a school of thought that hauntings are just people out of their own time. Like a slip in time. Maybe this is a combination. And maybe the two portraits—Johanna and Clover—were, basically, on the other side of the mirror.”

Cleo offers a theoretical explanation for Sonya’s supernatural experiences, suggesting that hauntings might manifest as people displaced from their own time, and this observation aligns with Sonya’s encounters with the mirror. By linking the two portraits—Johanna and Clover—to this idea, Cleo proposes that the women are not merely ghosts but individuals trapped between times. This concept reinforces the idea that the manor and the curse blur the boundaries between the past and present. Cleo’s theory therefore confirms that the house is essentially a liminal space in which time, memory, and the supernatural collide, and Roberts suggests that the spirits are not just lingering but are instead actively entangled in the fabric of time. Cleo’s hypothesis adds a layer of intellectual curiosity to the mystery, framing the hauntings as both a temporal anomaly and a spiritual one.

“And it’s wonderful, too, that the brothers who never knew each other have their paintings side by side.”

Corrine reflects on the impact of family legacy by connecting the works of Collin and Andrew, two brothers separated by time yet united through their art. The juxtaposition of their respective paintings—Collin’s portrait of Johanna and Andrew’s portrait of Clover—symbolizes the enduring ties between generations and the shared experiences that persist despite physical or temporal separation. This moment reflects the broader theme of inherited connection, showing how art becomes a medium through which familial bonds and unresolved legacies are preserved and communicated across time.

“In the music room where you put her portrait. I’d come to bring Collin some food, a week or so after her funeral. I went into the music room—we’d had good times there. I sat and cried for her, for Collin, for myself. And there she was, in the wedding dress I’d helped her pick out. She said, ‘Don’t cry anymore, Corry.’ She and Deuce are the only ones who’ve ever called me that. ‘I had love, and I still have love. Don’t let him stop living. Be here for him.’”

Corrine discusses Johanna’s enduring emotional presence, even after her death, highlighting the interplay between past and present. Johanna’s appearance in her wedding dress symbolizes the life and love that she shared with Collin, while her words to Corrine reflect her selflessness and her desire that those she left behind will find healing and continue living. By urging Corrine to support Collin, Johanna’s spirit reinforces the importance of human connection and resilience in the face of grief. The shared intimacy of the nickname “Corry” emphasizes the deep bond between the women, further illustrating that love and memory are integral to overcoming loss and maintaining the strength of familial and emotional ties.

“‘Mom told me what she had with Dad was magic.’ Cleo glanced back. ‘And you want that?’

‘Yeah. Don’t you?’

‘Damn right I do. I think everybody in the world wants that, and the lucky make it. Because you don’t find magic, Sonya, you make it.’”

This conversation between Sonya and Cleo explores the idea of love as both a desire and a deliberate creation, emphasizing the distinction between idealized romance and the effort required to sustain a real connection. Sonya’s yearning for the “magic” that her parents shared highlights her longing for a connection that is just as profound and transformative. However, Cleo’s response reframes this ideal, as she asserts that the “magic” in relationships is not stumbled upon but actively cultivated.