54 pages 1 hour read

The Paris Novel

Fiction | Novel | Adult | Published in 2024

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Part 3Chapter Summaries & Analyses

Part 3: “Stella”

Part 3, Chapter 23 Summary: “Salad Day”

Jules and Stella take the painting back to the apartment. Stella admits that she does not want to leave it but mentions the concierge’s comment about “les autres.” Jules says that he has lent the apartment out to young artists many times over the years and that Stella is welcome to stay as long as she likes. They plan to go to Enghein les Bains that evening, and Stella remarks that it will be time for her to return to New York soon. She wears one of Séverine’s dresses to give her courage.

On the way to the restaurant, Jules asks Stella what she will do with the painting, as it is likely very valuable. She insists that it be displayed somewhere. As they approach the restaurant, Stella feels nervous. After wine and salad, Stella asks the waiter if someone named Django works there, and the waiter says that he will have him bring dessert.

When Django arrives with dessert, Stella feels certain that he is the man in Celia’s painting and asks him if he knew her mother. Django seems taken aback, asking Stella’s age and birthday. He bursts into tears, saying that he never knew he had a daughter. Jules asks him questions, and Django tells them about his life. Stella feels overwhelmed, realizing that she had expected him to reject her rather than embrace her, and she feels unprepared.

Part 3, Chapter 24 Summary: “Virevoltant”

Meeting her father causes Stella to reconsider her mother’s intentions for sending her to Paris. The next morning, Django shows up at her apartment, insisting on taking her out for coffee. As they talk, Django says that his life felt empty before Stella showed up and that life as a “tumbleweed” becomes lonely. Stella feels wary of him, fearing that he will be like Celia. Despite Stella’s resistance, Django remains determined to remain part of her life, consistently showing up at her apartment. He follows Stella to the bookstore and offers to cook for everyone while Lucie helps. Stella watches as he moves through the kitchen with ease and creates dishes with the bookstore kitchen’s sparse ingredients. He continues to come to the bookstore to cook daily.

Meanwhile, Jules’s experts verify the authenticity of the painting that Stella found, and he asks what she will do once she sells it. Stella now finds the idea of going back to New York depressing. She continues to learn more about Django and his past as he makes consistent efforts to become part of Stella’s life.

Part 3, Chapter 25 Summary: “Glass Houses”

Django makes a habit of joining Stella for breakfast every morning, and Jules eventually joins as well. One morning, Jules suggests throwing a party for potential buyers of Stella’s painting and offers to host it at his home. When they arrive, Stella is surprised to learn that Jules does not actually live in his parents’ home in Vezelay but rather in a stunning modern home with a dense garden, where he and Séverine raised Jean-Marie. His wife named the house Le Sauvage. Django declares that he will cook for the party only if Stella helps, stating that he does not truly know a person until he cooks with them.

Part 3, Chapter 26 Summary: “Lost and Found”

Stella has nightmares about cooking with Django, imagining that she will anger or disappoint him. She tells Daniel about these dreams, and he reassures her, confiding that Django told him that Stella was the best thing that ever happened to him. The morning of the party, Stella meets Django at Le Sauvage, and the two of them cook together. Stella naturally knows what to do from having watched others cook during her time in Paris, and she feels happy. Django admits that he is angry about the years they have lost, wishing that he had taught her to cook as a little girl. Stella says that it is not too late, and Django declares that they could open a restaurant together.

Part 3, Chapter 27 Summary: “Chez Django”

Stella sells the painting to the Boston Museum and plans to use the money to fund her restaurant with Django, but Jules insists on funding it instead. He scours Paris for a location and finds a tiny shop; Stella initially thinks that it’s run-down and dirty, but Django is overjoyed, urging Stella to “see not what it is but what it could be” (247). They spend weeks renovating the space with Daniel and Lucie’s help, and every day, they all return to the bookstore, where Django and Stella cook together. Stella feels her confidence grow.

Soon, the shop is fully remodeled, and they search flea markets for furniture. When everything is complete, Stella is amazed by how the space has transformed and suggests naming it Chez Django.

Part 3, Chapter 28 Summary: “Midnight”

Three weeks before the restaurant’s opening, Stella and Django visit the nearby market and envision the dishes that will make up their menu. Back at the restaurant, Stella is cooking when Jules enters, looking frail. He says that he has been having heart palpitations and that his doctor suggests he should no longer be living alone—he asks if Stella would like to move into one of the spare bedrooms in Le Sauvage. Stella does so and immediately feels at home. When she asks about Jean-Marie, Jules says that the house is too painful for him because it reminds him so much of his mother.

One night, Jean-Marie and his fiancée suddenly arrive, and Eugenie accuses Stella of “taking advantage of a sick old man” by accepting his investment in the restaurant and moving into his house (255). She threatens legal action, but it is clear that Jean-Marie does not agree; he drags her back out of the restaurant.

Stella tells Jules about the situation later, and he finds it amusing and reassures her that they are only empty threats. He feels confident that Eugenie’s behavior will make Jean-Marie see her for who she really is. Still, Jules calls his lawyers as a precaution.

Jean-Marie visits Le Sauvage, and he and Jules talk. Jean-Marie says that he visited the dress shop where Stella found the Dior dress and discovered that Eugenie has been selling his mother’s clothes. The father and son make up, and Jean-Marie starts stopping by Le Sauvage often, eventually breaking off his engagement. Stella notices Jules looking happier and healthier, and she and Jean-Marie start to connect as well, establishing a habit of meeting in the kitchen around midnight to drink wine and talk.

Part 3, Chapter 29 Summary: “Opening”

Stella and Django discuss their plans for the restaurant opening; Django insists on spontaneity rather than having a set menu but agrees to plan their dishes for their opening night, inventing dishes for each of the guests.

On the day of the opening, Stella suddenly feels uncertain and out of place, overwhelmed by what is coming. She feels a sudden longing for her safe life back in New York. When she goes to the market, though, all the local vendors have set aside some special ingredients for her and Django and wish her well. Feeling her confidence return, Stella cooks with Django in preparation for their opening, and soon the guests arrive. Django improvises personal dishes and treats for each guest.

After a successful night, the guests leave. Jean-Marie gives Stella a gift: Séverine’s black Dior dress, now with Stella’s name on the label.

Part 3 Analysis

Reichl titles the third and final section of her novel, “Stella,” symbolizing that Stella’s journey of Self-Discovery Through Food and Art has revealed her true identity and interests, allowing her to finally inhabit her true self. The final chapters represent a culmination of her character growth and a full embrace of her latent talents as she begins to build a life true to who she is and in which she has found both a supportive community and a fuller appreciation for art, food, and new experiences.

Reichl continues to challenge Stella’s identity as a timid, cautious young woman in this section, testing her transformation over the course of the story and highlighting the ongoing nature of personal growth. Stella still naturally struggles with self-doubt and lingering anxieties that resurface upon meeting Django and again when he wants to cook with her and before the opening of their restaurant. The threads of her self-protective patterns of behavior still linger, but she now pushes herself through these doubts rather than flee from or avoid them. She has a support system on which she can lean in moments of uncertainty, from George and the Tumbleweeds at the bookstore to Jules and Jean-Marie as a surrogate family. For example, when she has nightmares about failing in the kitchen with Django, Daniel gently reassures her. She now has the encouragement and support that she lacked for much of her life, which allows her to flourish and more fully experience her life. Stella’s decision to remain in Paris rather than return to New York demonstrates that she has built a life for herself that is more satisfying and fulfilling than her safe, cautious life as a copy editor.

In the novel’s resolution, Reichl highlights The Relationship Between Family and Personal Identity, using both the literal and figurative definitions of family. Stella has the love of her “families” in the form of Jules and the people at Shakespeare and Company—support that nudges her toward finding her real father. Stella retains plenty of hesitation and doubt surrounding her father’s identity and is thus unprepared and overwhelmed when Django embraces her wholeheartedly, making consistent efforts to get to know her, share his life with her, and develop a bond with her. As Jules predicted in an earlier chapter, meeting Django serves as the culmination of Stella’s journey of self-discovery, helping her understand herself and encouraging her further in her interests and talents. Her newfound love of food now has an outlet in their shared restaurant, through which she can build a life in Paris.

Reichl implies that Stella’s relationship with Django forces her to consider that Celia intended to send her to Paris as a way for Stella to find herself and to apologize for their fraught relationship. However, Stella’s introduction to her father triggers lingering anxieties and insecurities, highlighting The Lasting Impact of Childhood Trauma. Her experiences with Celia, who was inattentive and hyper-critical, make her wary of connecting with her father out of fear of experiencing the same treatment and disapproval. When Django proves to be the opposite of Celia—warm and involved compared to Celia’s cold detachment—she’s initially unsure how to receive it. Through Django’s persistence and Stella’s newfound ability to remain open to new situations, they develop a bond that flourishes through their shared love of food and cooking, reinforcing the theme of Self-Discovery Through Food and Art. Reichl roots Stella’s transformational journey in restaurants and meals that offer her intense and expansive experiences, demonstrating her character growth through her growing willingness to indulge this true passion to the fullest by opening a restaurant of her own. She shows a natural instinct and talent for cooking, inspired by her experiences in Paris, and the kitchen and market serve as places where Stella and Django’s bond can develop and flourish.

Reichl ends the novel with Jean-Marie presenting Stella with the Dior dress, now bearing her own name, in a moment of circularity that symbolizes Stella’s transformation over the course of the story. She now fully embodies the idealized, bolder image of herself that she envisioned when she first tried on the dress. She has grown into a bolder version of herself, not through conscious reinvention as Celia had done but by leaning into her authentic interests and talents. The gift of the dress helps Stella understand and make peace with her mother’s treatment of her, realizing, “I always thought she didn’t like me, but I’ve come to understand that the person she didn’t like was really herself” (259). Stella is thus able to depersonalize Celia’s treatment of her, allowing her to release her long-held resentment as she embraces her new life.

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