Chapter 21 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

After leaving the hospital, Pepper and Ike return to the hotel only to find it swarming with reporters. The news of Ula's work—and the existence of parallel universes—has broken, and the doctors have already begun fielding requests from universities and government agencies about the bodies. Pepper asks the cabdriver to drop them in the square instead, and the two walk through the city as the sun sets. Pepper notices several women in black hoodies following them at a discreet distance; Ike initially doesn't see them, but as they approach the church, the Ulas converge.

They arrive at the church, still cordoned off with police tape, though locals have left flowers near the spot where charred remains were found. The door is unlocked, and Pepper steps inside, followed by the Ulas. Inside, they take roll: Ursula, Compact, Talons, Vermont, Specs, and Key are present; Blue is in the morgue, and Boot is still missing. The Ulas gather their hidden belongings from confessionals, hollowed-out hymnals, and loose bricks. Pepper and Ike search the church for any clue to the missing portraits. In the sacristy, they find a locked metal cabinet. After picking the lock, they discover thousands of letters tied in bundles and a dusty hatbox containing personal items: a yearbook, photographs, an unopened letter to Tilda, a report card, notes in pigpen cipher, gallery programs, a check, Pepper and Ike's engagement announcement, seeds, a dog's tooth, and a pressed marigold. But there is no clue to the portraits' whereabouts.

Pepper notices that the altar has been moved slightly, exposing a thin strip of tile. With the help of the Ulas and Ike, she pushes it aside, revealing a trapdoor. Despite Ike's protests, Pepper lowers herself into the crypt below. She finds an open sarcophagus with older remains and four additional bodies—all Ulas, in various states of desiccation. Ula Zero had mentioned that sometimes Ulas came through dead; these are the ones who didn't survive the transition. Pepper notices shoe prints leading to a wall, and after scraping away spackle, she discovers a hidden door. Ike joins her, and they enter a climate-controlled room filled with dozens of paintings. Among them are unfinished portraits of Tilda and Pepper, each with subtle differences from the real people—different settings or details. Pepper recognizes herself in one painting, though her face is unfinished. Then they find a row of thirteen self-portraits, each depicting a different Ula. Pepper realizes these are the portraits that could send each Ula home if destroyed.

They bring the portraits up to the sanctuary. Pepper gives each Ula her own portrait, explaining that destroying it might allow them to return to their own universes, though she admits she doesn't know for certain. The Ulas react with a mix of fear, hope, and grief. Pepper then retrieves a sharp knife from the sacristy and stands before Blue's portrait, preparing to destroy it, knowing that Blue's body is in the morgue and that this act might be the only way to send her back—or to end her existence.

Key Events

Pepper and Ike return to find the hotel surrounded by reporters; the news of Ula's work has broken.
They walk through the city, and Pepper notices several Ulas following them in black hoodies.
They enter the church, Ula's former studio, and take roll; Blue is dead, Boot is missing.
They search the church and find a locked cabinet with thousands of letters and a hatbox of personal items, but no clue to the portraits.
Pepper notices the altar has been moved slightly and, with help, moves it to reveal a trapdoor.
Descending into the crypt, Pepper finds four dead Ulas and older remains, then discovers a hidden door.
Behind the door is a climate-controlled room full of paintings, including unfinished portraits of Tilda and Pepper and thirteen self-portraits.
The group brings the portraits up; Pepper gives each Ula her own portrait, explaining that destruction may send them home.
Pepper prepares to destroy Blue's portrait.

Character Development

Pepper emerges as a determined leader, taking charge of the search and making the difficult decision to give the Ulas their portraits. Her grief over Ula's death is palpable, but she channels it into action. She also shows vulnerability, admitting she doesn't know what will happen when the portraits are destroyed.
Ike provides steady support, physically helping Pepper and offering emotional grounding. His humor and concern (like worrying about snakes and mummy curses) lighten the tension, but he also respects Pepper's agency, letting go when she asks.
The Ulas display a range of emotions: Ursula's impatience gives way to uncertainty, Compact's composure cracks, Key cries quietly, and Specs steps back from her portrait as if it's toxic. Their fear and hope are evident as they face the possibility of returning home or staying in a universe that isn't theirs.
Pepper's relationship with Ike deepens; they share a kiss and a moment of connection, and Pepper reflects that she can't imagine a universe without him.

Themes, Symbols, or Motifs

Multiverse and parallel universes: The chapter reinforces the idea that countless versions of reality exist, and that Ula's paintings have the power to bridge them. The presence of multiple Ulas and the unfinished portraits highlight the fragility of identity across universes.
Art as power: Ula's paintings are not just representations; they are tools that can transport or trap individuals. The act of destruction becomes a transformative act, suggesting that art holds life-or-death consequences.
Destruction as transformation: Pepper's plan to destroy the portraits is framed as a potential escape for the Ulas. The chapter suggests that destruction can be a form of liberation, though the outcome is uncertain.
Grief and loss: Pepper's grief for Ula and Blue permeates the chapter. The dead Ulas in the crypt symbolize the cost of Ula's experiments and the violence inherent in crossing universes.
Identity and selfhood: The unfinished portraits of Tilda and Pepper, and the distinct self-portraits of each Ula, emphasize that identity is multifaceted and not easily captured. The Ulas recognize their own portraits, affirming their individuality despite being versions of the same person.
Hidden secrets and discovery: The church conceals a crypt and a hidden studio, symbolizing the buried truths of Ula's life and work. Pepper's uncovering of these secrets mirrors her growing understanding of Ula's motivations.
Choice and agency: The Ulas are given a choice—to destroy their portraits and risk returning home, or to stay. Pepper also exercises agency in deciding to destroy Blue's portrait, even though she is uncertain of the outcome.
Memory and preservation: The letters and personal items in the hatbox represent Ula's attempts to preserve memories, while the portraits themselves are a form of memory made tangible.
Unfinished creation: The unfinished portraits of Tilda and Pepper suggest that Ula deliberately stopped short of completing them, perhaps out of love or fear. This motif underscores the idea that some connections are left unresolved.
Mortality and death: The crypt with dead Ulas and the older remains highlights the physical toll of interdimensional travel. Death is a constant presence, and Pepper's final act is a confrontation with mortality.

Why This Chapter Matters

This chapter is the climax of the novel's central mystery: the location and purpose of Ula's portraits. It resolves the question of where the portraits have been hidden and reveals the extent of Ula's secret work. The discovery of the hidden studio and the self-portraits gives Pepper a concrete way to help the Ulas, but it also forces her to make an impossible choice. The chapter deepens the themes of identity and sacrifice, and it sets up the final act by placing Pepper in a position of moral responsibility. The emotional weight of the scene—Pepper preparing to destroy Blue's portrait—underscores the cost of the multiverse and the bonds that transcend it.

Study Questions and Answers

Why does Pepper decide to give each Ula her own portrait, and what does she hope will happen?

Pepper gives each Ula her portrait because she believes that destroying it might allow the Ula to return to her home universe. She explains that the destruction of a portrait is a way for the subject to go back or go somewhere else, though she admits she doesn't know for certain. This act gives the Ulas agency to choose their own fate, even if the outcome is uncertain.

What does the discovery of the unfinished portraits of Tilda and Pepper reveal about Ula's intentions?

The unfinished portraits suggest that Ula deliberately stopped short of completing them. For Tilda, she painted everything but her face, and for Pepper, she painted the body but left the face blank. This indicates that Ula may have hesitated to bring these specific people into her universe, perhaps out of love or a desire not to trap them. It also implies that the act of painting the face is what unlocks the transfer, so by leaving them unfinished, Ula prevented them from being pulled into her world.

How does the chapter explore the theme of choice and agency?

The Ulas are given a choice: they can destroy their portraits and risk returning home, or they can stay in a universe that isn't theirs. Pepper also exercises agency by deciding to destroy Blue's portrait, even though she is unsure of the consequences. The chapter emphasizes that in a multiverse full of possibilities, individuals still have the power to make decisions that shape their lives, even when the outcomes are unknown.