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58 pages 1 hour read

Audrey Blake

The Girl in His Shadow

Fiction | Novel | Adult | Published in 2021

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Prologue-Chapter 7Chapter Summaries & Analyses

Prologue Summary

Content Warning: Both the source text and this guide contain descriptions of rape, attempted suicide, and abortion.

Dr. Horace Croft visits cholera patients in London as the virulent disease leaves the city in fear. He stops at the Beady home, but when no one answers the door, he enters and finds everyone dead except for one small girl. He carries her from the house, instructing neighbors to call someone to collect the bodies. When he gets home, his housekeeper, Mrs. Phipps, initially fears cholera but cares for the girl and quickly grows to love her. When the girl recovers enough to speak, she introduces herself as Eleanor but goes by Nora. Mrs. Phipps confronts Croft, asking what he intends to do with Nora. When he suggests that the parish might care for her, Mrs. Phipps tartly informs him that she wants to keep the girl. Mrs. Phipps cannot find the words to explain why, but Croft senses her emotion and agrees, not wanting to lose the only housekeeper who will tolerate him. He is glad that he will be able to test Nora’s immunity to cholera during future outbreaks.

Chapter 1 Summary

It is 1845, 13 years later. Nora opens the door, expecting to see an applicant for a hallboy position. Instead, she meets Dr. Daniel Gibson, a well-dressed man who says he is Croft’s new under surgeon, inspiring Nora’s immediate resentment. Daniel silently curses Croft’s absentmindedness in forgetting to alert his housekeeper that Daniel would be arriving; he questions his decision to come. His upper-crust family has tried to dissuade him from becoming a surgeon, but he considers it a noble pursuit and a test of his own skill and courage. He decides that dealing with one ill-tempered woman is a small price to pay for the benefit of Croft’s tutelage, as Croft is a celebrated surgeon at St. Bartholomew’s Hospital. As Mrs. Phipps shows him around the home and clinic, she explains that Nora is Croft’s ward. Daniel asks where he will sleep, and she does not yet know. The second-floor rooms are full of specimens, and the third floor is where Mrs. Phipps and Nora sleep, so it would be improper for him to sleep there. He shudders at the thought of bumping into Mrs. Phipps in her dressing gown. Though the house is shabby, the clinic is modern and bright.

Chapter 2 Summary

Nora resents Croft’s carelessness, knowing that he did not consider her feelings when he decided to hire Daniel. Nora goes to the hospital and confronts Croft about Daniel. Croft explains that Daniel is a promising doctor who needs more surgical experience. She worries what Daniel will think about her being in the surgery, and Croft assures her that they will figure it out. She worries that Daniel might not be discreet. Croft is nonchalant, telling her to avoid the surgery for a week so that he can assess Daniel’s temperament.

Meanwhile, Daniel finds the house to be in appalling condition, with several unused rooms and no furniture covers. Mrs. Phipps gives him the bedroom adjacent to Croft’s. When Daniel is alone, he opens the door between the rooms and notes how disordered Croft’s space is. He unpacks, pleased by his own fastidious organization. When Nora and Croft find him, Daniel is surprised to see that they do not change for dinner. Daniel suggests that he and Croft talk shop after dinner so as to avoid boring Mrs. Phipps and Nora.

Chapter 3 Summary

For three days, Daniel keeps busy in the clinic, marveling at the fact that Croft studies plant and animal anatomy in addition to his expertise on humans. One night, a boy arrives, asking the doctor to come and help the midwife with a woman in childbirth. When Croft and Daniel arrive, Croft works to free the baby’s shoulders. Once the child is born, the mother requires stitches, and Daniel must remind himself to think of her as a body rather than a person in order to inure himself to her pained whimpers. Her relieved husband goes to pour drinks, but the woman suddenly loses consciousness. She gushes blood, and they cannot save her. Watching her grief-stricken husband, Daniel wipes away tears, ashamed of his emotion. Croft speaks to the husband gently and gives him laudanum. Once the man is sedated, Croft asks permission to operate on his wife’s body to learn what happened. Daniel understands Croft’s reasoning but struggles to accept the idea of dissecting someone who just smiled at him. He walks home alone, and when Nora asks what happened, he tells her that she wouldn’t understand.

Chapter 4 Summary

Nora is angry with Daniel for saying she wouldn’t understand what happened at the birth. She believes she knows more than Daniel, and the woman, Emily, was her friend. Nora thinks back to her early life at Croft’s, when she first heard patients’ screams and feared that she was living in a house of horrors. Despite her trepidations, she dreaded the day when Croft would turn her out, so she made herself as agreeable as possible, even after Mrs. Phipps said that she could stay forever. Later, Nora began to copy Croft’s messily written reports into her neat script. She went to school and tried to be as helpful as possible, though she was only 13. One night, having heard Croft lament an orderly’s disappointing sketch, Nora drew her own and left it for him. Impressed with her skill, he asked her to continue. By the time Nora turned 16, Croft realized that she was passing him tools in addition to watching his dissections, and he acknowledged his increased efficiency while working with her. Finally, one day, Croft enlisted Nora’s help during a difficult amputation. These days, although she has only been present at a few live surgeries, she often assists with childbirth and ailments in the clinic. Now, she decides to sneak into the surgery to find out why Emily died.

Chapter 5 Summary

Nora finds a two-inch tear in Emily’s uterus, and Croft, when he awakens, is pleased with her work. She fears that he does not worry enough about what others would think of her work in the clinic. Croft has no respect for those he sees as his intellectual inferiors, including the chair of surgery at St. Barts, Dr. Silas Vickery. Croft is a surgical trailblazer, but Vickery prefers more traditional, conservative methods. Nora understands why her work in the clinic must be secret, but she is still irritated by Daniel’s glowing appraisal of the “excellent dissection” that he assumes Croft to have performed.

Later, Daniel sees a female patient who wants Nora in the room too, and he is unnerved to have Nora beside him as he examines the woman’s inflamed genitalia. When he diagnoses a swollen Bartholin’s gland, Nora softly corrects him; it is a swollen Skene’s gland. He acknowledges his mistake and treats the woman. When Nora mentions that Croft has a book on female ailments, he resists the urge to snap at her.

Chapter 6 Summary

St. Bart’s is a charity and teaching hospital where board surgeons are paid handsomely and revered by students and younger doctors. Entering the surgical theater, Daniel notes the absence of his best friend and colleague, Dr. Harry Trimble, and watches as Vickery and Croft assess a boy’s head wound. They disagree about the boy’s condition, and when Croft proves to be nearer the truth in his assessment, Vickery grows irritated and resentful.

Nora treats a girl named Lucy for severe stomach pains and wants to keep her overnight, but Lucy’s father insists on taking the girl home. Nora and Mrs. Phipps chat about Daniel, and Nora says that Daniel believes in the notion of “separate spheres” for men and women, a common idea that relegates women to the domestic arena while men can freely enjoy the political, social, and occupational aspects of society. Mrs. Phipps asks if Nora would like anything from the market, suggesting new stockings or some lace for her gray dress. Nora gets defensive, eschewing the idea that she should dress more becomingly and insisting that she is happy as she is.

Chapter 7 Summary

Daniel prepares to attend dinner with his parents. Croft says that he forgot about a dinner with the hospital board, so he too will be absent. Nora and Mrs. Phipps share a quiet meal before Nora goes downstairs to work. Later that night, she is awakened by the clinic bell and knows that the visitors must be the men who dig up bodies and sell them to the doctor for his research. They are delivering Lucy, the girl whom Nora treated a few days earlier. Nora washes the body and begins the dissection to find out how Lucy died. When she hears the door open, she assumes that it is Croft and asks him for help. She turns to see Daniel looking at her in horror.

Prologue-Chapter 7 Analysis

The text is narrated by a third-person omniscient speaker who spends more time describing Nora’s and Daniel’s thoughts and feelings than those of Dr. Croft or Mrs. Phipps. In this way, Nora and Daniel are revealed to be round characters, complex and layered. Croft and Mrs. Phipps, on the other hand, are flat characters whose actions and speech consistently align with their thoughts. Croft is artless, absentminded, and often tactless; if he doesn’t say something, it is because he has not yet thought of it. His demeanor is aptly demonstrated when he first realizes that the 16-year-old Nora is assisting him during surgery instead of his usual orderly, for his only response is to look at her and grunt, “What happened to Jones?” (51). When Nora reminds him of the orderly’s trip, Croft perceives that she is more competent than he is and says so. Thus, there is no need to spend time on Croft’s private thoughts, because he doesn’t have many that he keeps to himself. Similarly, Mrs. Phipps is so straightforward that her thoughts require little exposition. Nora, on the other hand, hides hurt feelings that Croft has hired Daniel, while Daniel conceals his fear that he has made a mistake in coming.

The contrast between Nora’s unconventional upbringing and Daniel’s adherence to social conventions juxtaposes conflicting philosophies, for Nora deliberately ignores Women’s Lack of Agency in the Victorian Era and pursues her interest in medicine regardless of the social prohibitions that surround her. She still practices medicine in the clinic under Croft’s direction even though Henry VIII banned female doctors as early as 1540 and the Apothecaries’ Act of 1815 has made the Society of Apothecaries responsible for penalizing unlicensed practitioners. Essentially, although she is practicing medicine illegally according to Victorian England’s standards, her expertise and training make her a practicing physician in all but name. Thus, she is rightly incensed when Daniel says she wouldn’t understand what happened after Emily’s labor, for as the narrative states, “She knew just as much as Daniel Gibson did—more, even” (45). This assertion is proven when she corrects his misdiagnosis of another female patient’s complaint. These highly charged exchanges demonstrate that Nora is in no way the “delicate” figure that Victorian women are perceived to be, and she lacks a conventional femininity that even Mrs. Phipps alludes to when she suggests that Nora might want “something more colorful” (70) than her usual no-frills gray dress.

Daniel, on the other hand, serves as a foil to Nora in many ways, for he is exacting in his adherence to social traditions and does not question The Arbitrary Nature of Social Conventions. For example, when Mrs. Phipps mentions that he cannot have a room on the third floor, where she and Emily sleep, he agrees with alacrity, as “[t]he thought of bumping into the housekeeper in her dressing gown on the way to her bath produced an inward shudder” (18). Despite spending all day looking at uncovered bodies, including women’s genitalia, he is shocked by the idea of encountering Mrs. Phipps in her robe. This is a very upper-class concern, as is Daniel’s assessment of Nora’s dress as being inappropriate for dinner and his peremptory expectation that she will change her attire immediately. Furthermore, Daniel expects Croft to “sigh apologetically and make some comment about the sensibilities of ladies” (30), as though Nora’s capriciousness should be acknowledged as a frustrating tendency of her sex. Finally, Daniel suggests that he and Croft pause their discussion of medicine so as not to “bore the ladies” at dinner (31). In his mind, the details of the medical profession are not fit for “ladies” ears and would be of no interest to them. These interactions make it clear that Daniel believes women, especially those of Nora’s class, “belong in a separate sphere” (68), as Nora puts it. While men are permitted to embrace a multifaceted identity made up of familial, political, religious, and occupational responsibilities and interests, Victorian women’s identities are assumed to be comprised of the “sweet ordering” of the domestic sphere: the raising of children and the comforting of husbands. The dramatic irony created by Daniel’s ignorance of Nora’s training and the extent of her work in the surgery generates tension until the inevitable revelation of her skills, which comes at the very end of Chapter 7.

From the very beginning, Audrey Blake’s use of figurative language is designed to highlight a myriad of character traits and establish the mood of each scene. This stylistic aspect first becomes apparent when Mrs. Phipps overcomes her initial apprehension about taking in a child afflicted with cholera and comes to feel that Nora is a “miracle, a baby brought by a river in a rush basket” like Moses (7). In the Bible, Moses’s mother sends him down the Nile River in a basket to save him from being murdered, and he is found and saved by the Pharaoh’s daughter. Without Mrs. Phipps’s care, Nora probably would have died, just as Moses would have without the actions of Pharaoh’s daughter. This biblical allusion highlights both the depths of Mrs. Phipps’s affections for Nora and her emphasis on a more devout outlook—personality quirks that contradict her otherwise intimidating nature. Likewise, when Croft first brings Nora home, Mrs. Phipps is “resolute as any soldier facing a hopeless battle” (6) when she ascends the stairs to nurse the sick girl. This simile highlights her loyalty as a housekeeper to Dr. Croft, as well as her fortitude when given an unpleasant but meaningful task. That she changes so quickly from mimicking a soldier in a hopeless situation to believing that she has been blessed with a miracle serves as a testament to her devotion to God and to Croft. In addition, when the narrator describes the morning fog and summer heat collecting “like a wet rag over the city,” or the putrid odors that “insinuate[e] their way into the house” (10), the simile and personification create a gloomy, menacing mood, suggesting that Nora’s world is about to be disturbed. Thus, Blake’s use of figurative language helps to provide characterization, create tension, and foreshadow the conflicts to come.

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