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Rachel KadishA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The narrative resumes in April 2001. In the days since he received Marisa’s email, Aaron has been unable to think of anything else, and has lost interest in the research project. When Helen tells him that they urgently need to go to the Eastons’ house in Richmond, he reluctantly agrees.
When Aaron and Helen meet in Richmond, she shows him a copy she has made of the final, recently unsealed document. The document is much newer, dated May 1691. It contains an awkward poem, describing how the poem’s author is watching a woman die, and refusing to honor her request to burn her documents. The author also describes an affectionate and respectful (although not romantic) relationship to the woman, whom he admires for her brilliance and unconventional approach to life. The poem is signed by Alvaro HaLevy.
Helen and Aaron realize that Ester married not Manuel HaLevy, but his brother Alvaro, who had been condemned for being gay. The poem also implies that she carried on writing throughout her marriage, and that there may be more documents hidden in the house. Ian and Bridgette let Helen and Aaron in, since part of the house has been converted into public space. Helen and Aaron pry open a wall panel, and pull out a thick leather folio filled with documents, but before they can look too closely, Bridgette catches them. Helen offers to buy the documents on the spot for 20,000 pounds—she wants them for her own private usage, so that she can be assured she will be the only one to publish on the findings they might contain.
Aaron is stunned, and concerned that Helen is using her own money, especially since she has just retired. Helen, however, tells him to keep Bridgette occupied so that she can get the necessary funds, as she knows that the documents are rare and valuable. While Bridgette and Aaron are alone, she wonders whether she should refuse to sell, or let other academics know about these additional papers. Bridgette dislikes Helen and feels threatened by her. Aaron pacifies Bridgette by feigning disdain toward Helen. He eventually confides in her that he is going to be a father. Resigned, Bridgette accepts that she is going to sell the papers to Helen even though she knows she could likely get much more money from someone else.
After Helen pays, Helen and Aaron leave with the folio of documents and immediately go to inspect them. They quickly realize that this collection of documents is much more valuable, and has been preserved much more carefully: “[A]ll along Ester had held back the best” (502). The documents include copies of many letters that “Thomas Farrow” (i.e., Ester) wrote to important philosophers and thinkers, and their responses. There are even original letters from Spinoza.
Depending on the time of their composition, the letters are signed with different names, as Ester assumed and wrote under various male identities. In her correspondence with Spinoza, the two of them seemed to have arrived at mutual respect for each other’s arguments, and he alludes to having figured out her true identity. Astonished but happy with their discovery, Aaron and Helen part ways.
The narrative resumes in August 1667. Ester is now living happily in Richmond, and has been married for almost a year. After she proposed her plan to Benjamin HaLevy in September 1665 and he agreed, he sent word to summon his son Alvaro home. Months later, Alvaro made his way home to England, and while the Great Fire raged in London, Alvaro and Ester married in Richmond in September 1666. Benjamin records the marriage as occurring between Ester and Manuel (leading to subsequent incorrect records) because he is still embittered about the loss of his other son.
Over the next few months, Ester nurses her father-in-law and he dies peacefully less than a year after the wedding. Ester tells her husband the truth about her desire to write, and he encourages her. When she learns that Thomas Farrow has died in an accident, Ester begins using different names. She also arranges to publish some of Rabbi Mendes’s writing. Ester writes to John once, and hears that he is married and happy; he admits that he was not willing to take risks in the same way that she was. As John confesses, “I am not a bold man, Ester, except in my own wish to be so” (518).
Ester and Alvaro have a happy and companionable life together. He has a discreet relationship with another man, and Ester is happy to see him loving and being loved. However, they disagree on one thing: Ester often asks Alvaro to promise to destroy all of her writings and papers upon her death, and he always refuses. Eventually, Alvaro implies to Ester that he will destroy the documents if she predeceases him.
The narrative resumes in April 2001. Alone in her home, Helen looks at one document that she withheld even from Aaron when they looked at the folio together. The document, in Ester’s handwriting, is dated from the week before her death. In this document, which she frames as a confession, Ester summarizes the key events of her life. She expresses her frustration with how, as a woman, she had to fight so hard to have an intellectual life, and her regret that she lied to and deceived Rabbi Mendes for years. However, in the end, Ester is unrepentant: “I was ever ill-suited for this world and could not bend my nature to it” (531). Ester also writes lovingly of her family, and their own struggles and regrets. At the end of the document, Ester affirms that she wants Alvaro to burn all of her documents, and accepts that she will leave nothing behind.
After she finishes reading, Helen writes a document of her own. In the morning, she goes to the post office and mails the letter to Israel.
In August 1667, Ester and Alvaro frolic together in the river near their home. He teaches her how to swim.
In April 2001, Aaron has not heard from Helen for several days, and leaves her anxious messages. He is surprised that she has not been in touch in the wake of purchasing the additional documents. While he waits to hear from Helen, Aaron tells his supervisor that he wants to switch his dissertation topic and focus on the findings from the Richmond documents. Then, he goes to attend a service at a London synagogue. When he has still not heard from Helen, he and one of the librarians go to her flat. Inside, they find Helen, who has passed away. It is implied that she may have died by suicide rather than face a slow decline.
After Aaron makes all of the arrangements, he finds an envelope addressed to him on Helen’s desk. Helen tells him that she wishes she could have worked on the documents with him, but that her time had come. She entrusts the documents she purchased to him, and urges him to make use of them for his dissertation. Stunned, Aaron reads through the final document that Ester wrote before her death (the one that Helen initially hid from him). In the document, Ester details the lives of her mother and grandmother, mentioning her mother’s story that she (Constantina) was the child of an affair between Ester’s grandmother and an English writer.
Ester quotes a phrase that Constantina sometimes used to brag about her beauty, and the beauty of her mother; this exact phrasing is also substantiated from other documents that Aaron has seen from the Amsterdam Jewish community. Notably, the phrase is the same one that Shakespeare used in Sonnet 144, describing a woman he loved but could not be with. Based on the dates, it seems possible that Ester’s grandmother could have had an affair with William Shakespeare, and that Ester could therefore be one of his descendants.
Aaron is overwhelmed by all of the content he has to work with. First and foremost, he wants to tell Ester’s story, but he is also eager to explore the possible link to Shakespeare. Aaron quickly thinks about future plans: He will continue to work with his current supervisor, and make sure that Helen receives credit for the publications detailing Ester’s scholarly contributions. He thinks he may eventually collaborate with Wilton, after all, and he plans to eventually sell the papers, earning himself enough money to support Marisa and their child. Hastily, he reaches out to Marisa, telling her that “what I have to say is complicated but really very simple” (555).
A short chapter depicts Ester swimming in the river, marveling at the security and happiness she has achieved.
This chapter reprints the letter that Helen composed the night before she died— even though he has been dead for years, she wrote to Dror. She expresses her love for him, and her awareness that her own death is coming soon: “I never understood how truly a wounded heart could love” (558).
A short chapter depicts Ester in the river with her husband, learning to swim and trusting him to help her feel safe.
The final section of the novel reveals Ester’s imperfect but thriving fate. She compromises her strong desire to remain unmarried, but she does so willingly, knowing that she wants to protect herself and be assured of survival. In the latter portion of her life, Ester comes to accept without bitterness that “nowhere in the known world, it seemed to her, could she live as she’d been created: at once a creature of body and of mind” (517). She ultimately has to live without sexuality or romantic love, but in exchange, she is able to engage in intellectual work and truly know and be known. While Ester and her husband do not have a romantic relationship, they do truly know and respect each other. When she first tells Alvaro about her writing and her Love of Learning and Scholarship, “he neither condemned her nor made any suggestion that she cease her writing. The possibility did not seem to occur to him” (519). Since Alvaro has suffered due to other people trying to condemn and control his core nature, he has compassion for Ester.
While their marriage is unconventional, Ester and Alvaro ultimately have a loving partnership. It is within this framework that Alvaro defies Ester’s request that he burn her papers after her death. Ironically, after Ester deceived others during her lifetime, someone deceives her, but also out of love. Alvaro is also more optimistic than Ester: In her final document, she resigns herself that a time will never come when a woman’s intellectual pursuits will be taken seriously, writing, “let me dispense with my foolish dream of leaving the tracery of my thought whole, perhaps to be read in an age in which there is greater kindness” (534). Yet, in the years 2000 and 2001, when her documents are uncovered, there is an imperfect but kinder age in which Helen and Aaron can appreciate Ester in a way that was not possible during her own lifetime. In this way, they succeed in overcoming the Barriers Between Individuals From Different Cultures and Beliefs, rescuing and preserving Ester’s legacy.
With the discovery of the last of the documents, Helen and Aaron are finally triumphant and rewarded with a conclusion to Ester’s story that aligns with the fate they wanted for her. Looking at her final documents, they detect “all that remained in the wake of that final now was a satisfaction as heavy as sleep” (508). While Ester’s life was imperfect, she survived, she wrote, and her ideas will now live on and potentially inspire new generations.
Helen’s need for private, solitary communion with Ester reflects a parallelism between both women at the end of their lives: Helen ends up reading Ester’s final confession on the night before she dies. Since she has reached a satisfactory point in her scholarly work, Helen’s death is marked by peace and acceptance. Her death is also balanced by Aaron beginning a new life, in some ways making the choice that Helen was afraid to make by Choosing Risk Over Caution. When Aaron confides in Helen about Marisa’s pregnancy, she urges him, “don’t turn your back just because it terrifies you” (488).
While Helen ends her life more or less at peace, she achieves that peace by finally accepting her deep regret about the choices she has made. Documenting Ester’s life allows Helen to reevaluate her own: “she had, somewhere across the years, forgotten what she’d once understood. What Ester Velasquez had understood. That desire was the only truth worth following” (528). By the time she comes to this conclusion, it is too late for Helen to do anything other than urge Aaron to make different choices. By writing to Dror on the night before she dies, Helen symbolically atones for having rejected him and turned her back on love. This redemption is complete when she rephrases a cruel comment she made while breaking off the relationship. While Helen initially accused Dror of having replaced his “heart with history,” she now writes, “There is a hole where my heart once was. In its place, your history” (559). Helen dedicates her life’s work, and all the time she has spent conserving Jewish history, to finally understanding Dror and who he was.
In a final plot twist, the narrative closes with a hint at a potential connection between Ester and Shakespeare: She may be his granddaughter. This plot twist provides some further explanation for Ester’s intellectual abilities and desire to write—she may have inherited them, just as she seems to have inherited a stubborn and rebellious personality from her mother and grandmother. This late plot twist also provides a response to the tension around which stories belong to whom, implying that ultimately there is no separation between English and Jewish history. Shakespeare is arguably one of England’s greatest cultural and historical legacies, and fusing him as part of Ester’s story again invokes the idea of overcoming Barriers Between Individuals From Different Cultures and Beliefs.
Ester’s story ends with several short chapters depicting her frolicking in the river with her husband and learning to swim. These scenes show her in a rare moment of playfulness and spontaneity: While she never abandons her intellectual pursuits, she also becomes someone who can experience joy and pleasure, particularly due to physical sensation. Marveling at the sensation of water on her skin, Ester thinks that “this, she saw, was the reason […] this shock of pleasure” (557). The imagery of water evokes renewal, rebirth, and cleansing, revealing Ester at the start of a new chapter of her life, and ultimately triumphant.
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