Chapter 13 Summary and Analysis

⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.

Summary

The chapter opens with Verity and Gerard Laurent in the greenhouse, where Verity is painting newly blooming flowers. Gerard is effusive in his praise, calling her work “exquisite” and admitting that he was wrong to dismiss his wife Dauphine’s suggestion to hire a painter from Salann. Verity feels a pang of anxiety at the mention of Salann, worrying that her sister Camille might write to Gerard and reveal unflattering truths about her. She briefly considers sending a real letter to Camille but decides against it.

Gerard’s mood turns reflective as he laments that his son Alexander shows no interest in his botanical work, calling it “frivolous” and even “blasphemous.” Gerard compares Alexander to his own strict, devout father, and the two share a moment of understanding about stubbornness. Gerard explains his grafting process, describing how he created year-round strawberries by crossbreeding a winter-hardy wild berry with his greenhouse crop. He compares the act of creation to painting, suggesting that both make one feel “a bit like a god.” Verity is unsettled by his casual irreverence toward the gods but does not voice her discomfort.

As the evening winds down, Gerard names his newest flower Callistephus constancensia after Constance, not Dauphine as Verity assumes. He then invites her to see one last spectacle: the black wraiths, night-blooming flowers with dark petals and white-ringed centers that resemble demonic eyes. Gerard explains that he planted them to scare off an owl that was destroying his flowerbeds, and claims the seeds came from the Sanctum, the land of the gods. He speaks openly about his desire to improve upon the gods’ creations, and Verity grows increasingly uneasy with his ambition.

On the way back to the house, Verity notices a cluster of nine tombstones under a willow tree. Gerard reveals they belong to his children—children who “just weren’t meant to be.” Verity is stunned and heartbroken, realizing that Dauphine must have suffered many losses. Gerard shows little emotion, dismissing the graves as if they no longer trouble him.

Inside, Gerard leads Verity through a hidden servants’ staircase, explaining that the original builders of Chauntilalie concealed all staff passages to preserve the house’s beauty. When they reach her rooms, Gerard notices the scent of her candles—sage and salt—and identifies them as a traditional ward against ghosts. Verity’s heart races as she realizes her sister Annaleigh has been sending her these candles for years, knowing Verity can see spirits. She fears Gerard may have deduced her secret, but he gives nothing away, bidding her pleasant dreams before leaving.

Key Events

Gerard praises Verity’s painting and admits Dauphine was right to suggest hiring her.
Verity worries about Camille writing to Gerard and revealing her past.
Gerard discusses Alexander’s rejection of his work and compares his son to his own strict father.
Gerard explains his grafting process, including the creation of year-round strawberries.
Gerard names a new flower after Constance, not Dauphine.
Gerard shows Verity the black wraiths, night-blooming flowers with seeds allegedly from the Sanctum.
Verity discovers nine tombstones in the garden; Gerard reveals they are his deceased children.
Gerard shows Verity a hidden servants’ staircase and explains the house’s concealed passages.
Gerard identifies the sage and salt in Verity’s candles as a ward against ghosts, alarming her.
Verity realizes Annaleigh has been sending the candles because she knows about Verity’s ability to see spirits.

Character Development

Verity continues to navigate her dual anxieties: her fear of being exposed as someone who sees spirits, and her unease with Gerard’s godlike ambitions. Her internal conflict deepens as she realizes that Annaleigh’s gifts were not mere sentiment but a deliberate acknowledgment of her secret. Verity’s discomfort with Gerard’s irreverence shows her respect for the gods, contrasting with his hubris.

Gerard is revealed as a man of contradictions. He is warm and appreciative of Verity’s talent, yet his ambition borders on blasphemy. His casual dismissal of his children’s graves is chilling, suggesting a man who has compartmentalized grief or who views his creations as more important than his losses. His decision to name a flower after Constance—a figure not yet explained—hints at a deeper, possibly painful history.

Alexander is discussed but not present. Gerard’s description of him as devout and strict, like his grandfather, sets up a generational conflict that may become central to the story.

Themes, Symbols, or Motifs

Divine ambition and blasphemy are central to this chapter. Gerard’s belief that he can improve upon the gods’ creations, and his claim that he feels “like a god” over his estate, directly challenge the natural order. His use of seeds from the Sanctum further emphasizes his willingness to trespass into sacred territory.

Grief and loss are symbolized by the nine tombstones under the willow tree. The image of the graves “like chicks tucked under their mother’s wings” contrasts the tenderness of the image with the coldness of Gerard’s dismissal. The willow tree, often associated with mourning, reinforces the theme.

Secrecy and hidden passages are literalized in the concealed servants’ staircase. The house itself hides its workings, just as Gerard hides his true nature and Verity hides her ability to see spirits. The candles, with their sage and salt, become a symbol of Annaleigh’s secret knowledge and Verity’s fear of exposure.

Superstition is woven throughout, from the warding properties of the candles to Gerard’s claim about the Sanctum seeds. Verity’s reaction to the candles suggests that superstition may be rooted in truth, and that Gerard is more perceptive than he appears.

Why This Chapter Matters

This chapter is pivotal for several reasons. It deepens the mystery of Gerard Laurent, revealing both his grief and his dangerous ambition. The revelation of the nine tombstones raises questions about the fate of his children and the nature of his marriage to Dauphine. The mention of Constance introduces a new name that may hold significance in the larger narrative.

The chapter also escalates Verity’s personal stakes. Her realization that Annaleigh’s candles were a deliberate acknowledgment of her ability to see spirits—and Gerard’s apparent recognition of their purpose—puts her secret in jeopardy. The chapter ends on a note of uncertainty, with Verity unsure whether Gerard has guessed her truth.

Finally, the chapter establishes the thematic tension between creation and hubris, setting the stage for potential conflict between Gerard’s ambitions and the gods he seeks to surpass.

Study Questions and Answers

1. Why does Gerard name the new flower after Constance rather than Dauphine, and what might this reveal about his character?

Gerard’s choice to name the flower Callistephus constancensia after Constance, rather than his wife Dauphine, suggests that Constance holds a significant place in his past. The fact that he later retracts the name, saying he is “not sure that’s entirely the right name,” implies that the association is painful or complicated. This moment hints at a hidden history—perhaps a lost love or a deceased relative—that Gerard is not ready to confront. It also reinforces his tendency to immortalize his own creations and attachments, rather than honoring his present relationships.

2. How does Gerard’s attitude toward his children’s graves contrast with his attitude toward his botanical creations?

Gerard speaks of his flowers with pride and passion, describing them as marvels and achievements. In contrast, he dismisses his children’s graves with a vague, almost detached phrase: “They just weren’t meant to be.” This contrast suggests that Gerard invests his emotional energy in his creations, which he can control and perfect, rather than in the unpredictable, imperfect outcomes of human life. His grief, if present, is buried beneath his obsession with improvement.

3. What does Verity’s reaction to the sage and salt candles reveal about her state of mind and her relationship with her sister Annaleigh?

Verity’s immediate recognition that Annaleigh has been sending the candles for years—on birthdays, blessing days, and “just because”—reveals that she has long suspected her sister knew about her ability to see spirits. The realization that Gerard might also know fills her with fear, as she has worked to keep her secret hidden. This moment deepens her sense of vulnerability and suggests that her family’s awareness of her gift is more widespread than she had hoped. It also highlights the protective, if unspoken, bond between Verity and Annaleigh.