54 pages • 1 hour read
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Stella attempts to extend her stay at her hotel, but without advance notice, her room has already been booked by a new guest. Stella decides to stop by Shakespeare and Company and then spend the afternoon looking for a new hotel.
She reads the dozens of thank-you notes written to George when she arrives at the shop and wonders how people can live there. Rachel notices Stella looking at the notes and tells her more about the shop’s history and how George came to own it.
George enters and says that the friend he had planned to contact about Victorine’s paintings has just come into the shop. To Stella’s surprise, the friend in question is Jules, whom she has not seen since she rushed away from dinner the other night. He tells her that he stopped by the store to look for the book Stella mentioned, Murder in the Church, before going to Vezelay. Somewhat reassured by George and Rachel’s trust in Jules, Stella agrees to accompany him.
On the way to Vezelay, Jules asks about her search for Victorine’s paintings, and Stella explains why she’s interested in finding them: to prevent the artist from being erased from history. Jules suggests starting by learning more about Victorine, including where and when she was born.
They arrive in Vezelay and visit the cathedral, where Stella reflects on what it must have been like for people to experience the grand space when it was first built. For lunch, Jules takes her to a restaurant called L’Esperance, where his close friend is the owner, Chef Maneau. The two eat and drink lavishly, and after several courses, Stella falls asleep at the table.
She wakes up in a bed in Jules’s chateau. She wanders into the kitchen and runs into Jean-Marie, Jules’s son, who regards her with suspicion. When Jules enters, the two of them argue in French before Jean-Marie storms out. Jules explains that Stella fell asleep and that he and his chauffeur brought her here, and she goes back to bed.
Stella wakes up, feeling unnerved by the disruption to her normal schedule. She’s led to the dining room by a servant, where she meets Jules for breakfast. Stella asks about a sculpture in his dining room, and Jules talks about his career as an art consultant.
Jean-Marie enters, scolding his father again. The two speak mostly in French, but Stella gleans that Jean-Marie thinks his father is pursuing Stella romantically. He remarks with disgust that Stella is young enough to be his granddaughter. When Jean-Marie leaves, Jules notes how his son has changed—his mother’s death affected him deeply, and soon after, he met his “awful” fiancée, Eugenie.
After breakfast, Jules and Stella return to the cathedral for a church service and then go to lunch. On the way, Jules talks more about Jean-Marie and how his wife’s death damaged their relationship. As they sit down to have lunch, Stella reflects on the music during the church service and how it makes her “hungry for the world” (103).
Stella returns to her hotel, and the receptionist informs her that they are now full and that her room has been booked. After asking around a number of hotels in Paris—all of which are full—Stella returns to Shakespeare and Company. George leaves Stella to watch the shop and his seven-year-old daughter, Lucie, while he runs an errand. He announces that Allen Ginsberg is coming to read that evening and asks Stella to bake gingerbread, so she and Lucie bake together. Stella realizes that she enjoys cooking and is proud of how the gingerbread turns out. George returns and, seeing her settled in with Lucie, offers Stella a place to sleep. Stella initially resists, insisting that she is not a Tumbleweed, but agrees to stay for the night since she no longer has a hotel. George tells her the “rules” that Tumbleweeds are expected to follow: help around the shop when needed, read one book a day, and write an autobiography before leaving.
Stella and Rachel set up for Ginsberg’s reading. Afterward, the group sits and talks, and George asks why Stella has come to Paris. When she mentions her mother’s will, George remarks that he knew Celia. Stella tells him that she never knew her father, and George insists that she try to find him.
Stella spends the night at the bookstore. She has plans to go to the Bibliotheque Nationale to research Victorine, but George sends her on an errand instead—James Baldwin is coming that evening, and they need saffron for a dish.
Stella goes to Chez le Marocain, where the owner gives her saffron from Kashmir, which he claims is the most expensive spice in the world. When Stella returns to the bookstore, Rachel and George are stunned that the owner gave her the Kashmiri saffron. James arrives and says that they need bread, so George sends Stella out again. James suggests that she take Lucie to show her the correct kind of bread to get. As they walk to the bakery, Stella tells Lucie the story of Victorine and about her mission to find the lost paintings. Lucie asks if she can help. They arrive back at the bookstore, where Stella meets another Tumbleweed named Patrick. He, Stella, and Lucie cook the asparagus while James himself makes aioli to go with it.
Later, James, George, and Stella talk about Celia—James also knew her and says that she was in love with a “beautiful chef” (126). He describes a night when Celia brought the chef to dinner at Richard Olney’s home and how the chemistry between the two men as they cooked was electric. James recalls that Celia became enraged, throwing food, and stormed out. He doesn’t remember the chef’s name, but George remarks that it could be Stella’s father. Stella becomes uncomfortable and says that she would rather not know for sure, but George insists that she talk to Richard to find out more.
Stella dreams about her father but brushes it off as a mere fantasy, reiterating that it is better not to know who her father is. She gets up, again set on her mission to learn more about Victorine. She receives a letter from Jules—a recommendation so that she can gain entry to a library typically reserved for scholars. At the Department des Etampes, she finds a biography on Henri de Toulouse-Lautrec; Stella initially feels excited since it mentions Victorine but finds a disheartening story about how Lautrec found her drunk in a dilapidated district in Paris, “old and utterly ruined, a trollop who had wasted her life” (134). Stella is shocked.
She leaves the library in search of a hotel but continues to find them all full. One hotel has availability in a week, so Stella resolves to stay at the bookstore a few days longer. When she returns to Shakespeare and Company, she tells the others what she discovered in the biography and says that she does not believe Lautrec’s account of Victorine. George asks her what she finds fascinating about Victorine, and Stella explains that men erased her work from history and that she wants to “give [Victorine] back her own story” (136).
Stella gets acclimated to life as a Tumbleweed and decides not to book a room in another hotel after all. When she returns to the library, the librarian asks about Stella’s research, and Stella tells her about Victorine and about how the male artists’ accounts of her seem untrustworthy. The librarian suggests figuring out when Victorine was born by checking baptismal records. She points Stella to the third arrondissement and provides a list of churches to visit.
Later at the bookstore, Stella tells George about her plan to visit the churches, and he urges her to bring Lucie. In the meantime, he asks Stella to make more gingerbread since John Ashbery is coming to read that evening. Stella takes joy in making a new recipe, adding new ingredients and realizing how much she enjoys cooking.
John arrives to read his poetry. When he finishes, he convinces Daniel to read some of his work as well. Reluctantly, Daniel reads part of the biography that George insists the Tumbleweeds write about finding home at Shakespeare and Company. Stella empathizes with his work and feels like she’s part of a community now that she’s a Tumbleweed. Daniel describes how coming to Shakespeare and Company felt like finding a family and says that Stella is “like the missing piece” (143). He describes her as a little sister—he feels a sense of protectiveness over her and wishes good things for her. He gently suggests that she should consider talking to Richard Olney and trying to find her father. Stella now feels more open to the idea and says that she will think about it.
Over the course of these chapters, Stella continues to make her transformation from being timid, meek, and stuck in her comfort zone to being more open-minded, confident, and sure of herself, emphasizing the theme of Self-Discovery Through Food and Art. She begins to shed her rigid outlook and, with the help of others, opens herself up to a more free and open way of living. The titles that Reichl chooses for each section of the story—“Séverine” and “Victorine”—represent the key symbols in Stella’s journey. Séverine’s enigmatic Dior dress leads her to Victorine, and shortly after returning it, she commits to her goal of learning all she can about Victorine and finding her lost paintings. Her quest to find Victorine’s paintings leads her to seek out a book at Shakespeare and Company, which leads to her becoming a Tumbleweed, forcibly pushing her out of her routine-oriented, structured comfort zone. The story guides her through these chance encounters, all of which serve to guide Stella toward self-discovery and greater openness to life’s experiences and pleasures.
Stella’s gradual embrace of her place at Shakespeare and Company as a Tumbleweed highlights her willingness to take steps outside of her comfort zone, progressing her character arc. For example, in Chapter 12, after her first night in the bookstore, Stella is constantly derailed from her schedule and plans by George’s errands—something that would normally disturb her since not having privacy or a schedule makes her feel anxious, but she challenges herself to be more open and adventurous. She begins to feel safer to explore, trusting in both George and Jules. She realizes that her initial suspicion of Jules was unfounded and opens herself up to the new experiences he introduces and the support and friendship he provides.
Thus, the novel embraces a nuanced definition of family as it continues to develop the theme of The Relationship Between Family and Personal Identity. As Stella heals the lingering wounds of her relationship with Celia, family takes on a less literal meaning: She finds herself integrated into both Jules’s family and the family at Shakespeare and Company. Reichl portrays both Jules and George as father figures to Stella, and as she starts to detach herself from her mother’s influence and find solace in a “found family,” she finds affirmation and encouragement to pursue her goals and interests and friends who readily aid her in her search. Though these “families” make Stella feel welcome and part of a community, the idea of finding her biological father remains daunting to her, colored by her experiences with Celia. However, at the end of the section, encouraged by Daniel, who functions as a brother figure to her, she begins to open up to the idea.
Building on the theme of The Lasting Impact of Childhood Trauma, the initial fear and distrust that she felt toward Jules stemming from the assault she suffered as a child starts to dissolve, and she opens up and trusts him. Despite her initial reservations and Jean-Marie’s accusations, Reichl emphasizes their bond as akin to a healthy father-daughter relationship. Even as she begins to accept Jules as a surrogate father, Stella’s trauma rears its head again when the possibility of finding her father comes up. She initially resists it, thinking that he will be both “disappointing and disappointed” (131). She’s still learning to view herself and her life through a new lens, and the memory of her mother’s constant dissatisfaction and disappointment with her causes Stella to assume that her father would feel the same way if she were to find him.
Stella’s journey and growth continue to be defined by her culinary and artistic experiences, highlighting her journey of Self-Discovery Through Food and Art. In this section, Reichl makes clear that Stella has taken a personal interest in Victorine because Victorine represents the type of woman Stella wants to be: confident, bold, and self-assured. Stella describes wanting to give Victorine her story back, in the same way that she’s attempting to make sense of herself separate from her mother. Stella draws clear parallels between herself and the artist and channels the image of confidence and surety that Victorine embodies when she needs strength to embrace a new experience. Her mission to find Victorine’s lost paintings gives Stella’s prolonged stay in Paris a deeper meaning and purpose and provides her with a plan and a structure for her days, which eases her anxieties. Stella also continues to discover herself through food, this time through cooking. During her first experience making gingerbread for the bookstore, she surprises herself with how much she enjoys cooking and takes pride in her creation, foreshadowing her talent for food as yet undiscovered.
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By Ruth Reichl