45 pages • 1 hour read
Kevin KwanA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Five years later, Marian and Freddie Churchill visit the Metropolitan Museum of Art while waiting for Lucie and her boyfriend, Cecil Pine, to arrive. They comment on the paintings and joke until Freddie says that they must be outside for the surprise. Per Cecil’s instructions, they “stand on the steps outside Adolfo’s old building” and wait (162). Meanwhile, they chat about Cecil and what it will be like to have him in the family. Cecil is part of an elite family and was named one of the most eligible bachelors by various publications and clubs.
Cecil and Lucie arrive. Cecil leads Lucie to the rooftop, where he proposes. Dancers from the New York City Ballet and performers from the Big Apple Circus swirl around the scene. Lucie says yes, and Cecil delivers a lengthy thank-you speech to the event’s participants. Marian and Freddie remark on the event while waiting for Cecil and Lucie to join them. Afterward, they venture to the Carlyle Hotel for lunch, where Lucie shows her family her giant ring. Cecil continues making speeches about how perfect he and Lucie are for each other. He delivers similar remarks when various guests enter whom he recognizes. Then, he posts on social media about the engagement and uploads footage of the proposal, thrilled at the online reception. Shortly after, an article in the paper announces Cecil and Lucie’s engagement.
Lucie’s grandmother Mrs. John L. Churchill, or Consuelo Barclay Churchill, travels to Manhattan and opens her 821 Fifth Avenue apartment to celebrate Lucie’s engagement and meet Cecil. The building is renowned in Manhattan, and its residents are all members of the elite.
Lucie’s family gathers at the apartment. They question Lucie about Cecil’s job and family. Everyone is skeptical of Cecil’s mother, Renée Pike. The conversation shifts to Charlotte, who’s been living in London and is set to return to the States for the summer. Remarking on Charlotte, the family discusses privilege and pretension. Annoyed, Lucie wonders why Cecil is late.
Renée makes Cecil drive laps around Fifth Avenue before stopping at 821. Cecil tries to assuage her concerns about meeting Consuelo. Finally, she lets him park, and they go upstairs to meet the family.
Cecil and Renée go up to the 17th floor. On the way, Renée remembers trying to secure an apartment in the building. The board wouldn’t allow it because the Pikes are Jewish and partially Hispanic. Meanwhile, Cecil exclaims at the building and how excited he is to see the Churchill apartment. Inside, the families meet, and the Churchills introduce the Pikes to their guests. Then, Consuelo makes a lengthy toast to Lucie. Lucie blinks back tears, aware that no one knows the real reason.
Cecil and Lucie step onto the rooftop garden and discuss the gathering. Cecil doesn’t like most of the guests. They go on to discuss their upcoming plans to stay in the Hamptons for the summer and the guests who will be in the area at the same time. Then Lucie gets emotional because she’s frustrated with the family and how she’s always had to be strong. Cecil comforts her, again insisting that they’re perfect for each other. Lucie reminds herself of how important it is to marry Cecil.
Lucie, her friends, and her family gather in East Hampton for the summer. One day, Lucie shows Auden her paintings. Afterward, Lucie and Freddie discuss who will rent the nearby house for the summer. They continue the conversation over lunch with Marian and Auden. Lucie is horrified to discover that Cecil intervened in the rental and arranged for Rosemary and George Zao to take the house. She calls Cecil, demanding to know what’s going on, as she arranged for the Ortiz sisters to have the rental. Cecil laughs, insisting that it’s just a joke he was playing on the property owner, Harry. Lucie can’t calm down.
Lucie attends one of Auden’s puppy yoga classes at the Preppie Guru Lounge. She’s been going consistently for the past four summers. She gets distracted during the class when George arrives. She feels embarrassed and excuses herself afterward, declining George and Auden’s invitation to get juices together.
Lucie drives home, ridiculing herself for her behavior. She reminds herself that she’s marrying Cecil and that George means “nothing to her” (209). She gets upset again, however, when she returns home to find Rosemary in the kitchen with Marian. They announce that George will join them, too.
Lucie showers, dresses, and rejoins Rosemary and Marian downstairs. Lucie updates Rosemary on her life since their time in Capri. Freddie joins the group, and everyone urges him to taste Rosemary’s Chinese recipes. They discuss other aspects of Hong Kong culture, including directors, actors, and films. George eventually joins, too.
George asks to see Lucie’s paintings, and she leads him to her studio. She wonders if he’s mocking her while watching him study her work. However, she’s surprised when he comments on the work and his interpretations are accurate. He sees the grief in one of her paintings, which she made after her father died. She silently realizes that she reacted to the man in the piazza café in Capri the way she did because she watched her father die when she was a child.
Lucie takes her regular Sunday morning jog to feel better, but it doesn’t have its usual effect. She stops running on the beach, annoyed to see George emerging from the water. He greets her, and she immediately regrets her sharp response. They talk about surfing, beaches, New York, and disparities between the wealthy and working classes. They also share their experiences of being Asian and the way others see them. George remarks on Lucie’s paintings again. Then, an attractive woman named Viv joins them and leaves with George.
Cecil, Freddie, Lucie, and their friends and family spend an afternoon at Cecil’s home on Saint Luke’s Place. They move between the house’s various rooms, discussing its decor, artwork, and appliances. Cecil is excited to show his guests the house and describe his favorite aspects.
The guests leave, and Lucie goes to the fifth floor, where she sits alone and thinks about her conversation with George from earlier in the pool room. She asked him questions about the house and his relationship with Viv but now regrets doing so. Cecil joins her and remarks upon the evening’s events. He’s glad that Lucie wore the couture dress, as he thinks that her appearance impressed everyone. Renée will also give Lucie a tiara from the family vault to wear for the wedding. The couple gets ready for bed and then has sex. They role-play during intercourse.
Lucie and Cecil arrive at the Dorset Yacht Club in Cecil’s 1973 Ferrari. Lucie doesn’t like arriving in the car, but since she is accustomed to Cecil’s displays, she doesn’t say anything. The club attendant refuses to let Cecil into the dining room without a collared shirt. Lucie begs him not to make a scene and to wear one provided by the club. The couple joins Marian and Freddie in the dining room, where Freddie teases Cecil about the shirt. Charlotte has just arrived from London and joins the family, too.
Charlotte is shocked to run into George in the restroom, who entered the wrong facility. Afterward, she tells Lucie, who explains why George is there. Charlotte is aghast.
Part 2 introduces a temporal and environmental shift that alters the narrative’s central conflicts and stakes. In Part 1, the primary cast of characters is located in Capri, Italy, to celebrate Isabel’s wedding. The insular, lavish European setting, in turn, dictates the tension between the characters. However, as soon as the characters leave Capri, they can escape these tensions and return to their normal lives. In Part 2, the narrative shifts five years into the future and is set in New York City. Lucie and her family call this metropolis home. Therefore, they cannot flee their accumulating conflicts throughout Chapters 1-9 because New York isn’t another getaway. For this reason, Lucie and George’s reunion disrupts her otherwise predictable and controlled new reality. Years have passed since her impulsive week abroad with George, and Lucie has been trying to distance herself from this phase of her life and iteration of herself ever since. In marrying Cecil Pine, Lucie is “sending a subtle, elegant message to everyone […] who ha[s] ever pitied her, judged her, or underestimated her” (195). She is indeed remaking her life and identity via Cecil so that she can tell her elite community, “I’m going to be Mrs. Cecil Pike, and I don’t give a damn what you think anymore” (195). Her engagement and impending marriage are new forms of autonomy for Lucie. Being Cecil’s wife is an identity she dons to prove herself worthy of the wealthy elite class. George’s reappearance in her life promises to shatter this role and expose the more vulnerable, authentic aspects of her identity.
Lucie, giving into her familial and social expectations, compromises her desires when she accepts Cecil’s marriage proposal. Ever since she was young, Lucie has wanted to be good enough for the people around her. After her father’s death, she “felt responsible for keeping [her] family together, and that meant always striving to be perfect in Granny’s eyes” (194). Her attempts at perfection in the context of the family soon bled into Lucie’s other social spheres, too. In the narrative present, she wants to share her vulnerability with her future husband, as evidenced in the couple’s rooftop garden conversation in Chapter 3. However, Cecil’s manner of speaking and behaving throughout the section reveals how he sees Lucie. He tells her that she is perfect but defines this perfection according to her appearance. He’s pleased with Lucie and incessantly reiterates how ideal they are for one another because of their appearance. He calls her “the most exquisite thing” in the room in Chapter 3 and creates a public spectacle of their engagement (172). In Chapter 1, he interrupts lunch repeatedly to draw attention to Lucie, her impressive family history, and her ring. He also intermittently spends time on his phone, “scrolling through his Instagram” and exclaiming that the “proposal video is trending” (171, 173). Such behaviors indicate that Cecil regards Lucie as an object and a prize. She is fulfilling the proverbial trophy wife role, thus occupying a necessary space in Cecil’s world. Lucie is self-aware enough to know that these dynamics are symptoms of integrating her life with Cecil’s. At the same time, accepting this version of reality and donning this version of herself compel Lucie to compromise her true cultural, personal, and artistic identities. She is making this sacrifice to satisfy others’ expectations and prove herself in a world that actively disparages her heritage and distinct personhood.
Lucie’s internal and external worlds remain in conflict the longer she denies her true feelings, desires, and needs. Although the narrative setting shifts between various locations in New York City and the surrounding New York region, Lucie is unsettled. Indeed, Lucie can’t assuage her restlessness whether she is at her grandmother’s Fifth Avenue apartment, in Cecil’s Greenwich Village home, at her childhood summer home in East Hampton, at her family’s club, at her regular yoga class, or taking her regular Sunday morning jog. Having Cecil and George in proximity bothers Lucie and challenges her to question who she is, what she is doing, and why. The mix of emotional and psychological conflicts not only explores the novel’s main themes more deeply but also adds subtle layers of meaning to the original story it’s based on. Kwan’s novel takes its inspiration from E. M. Forster’s A Room With a View, but he resets the original story in contemporary American society. Kwan’s novel transfers Forster’s protagonist Lucy Honeychurch’s conflicts to Lucie Churchill and expands their scope; Lucie is Chinese American and increasingly finds that high society doesn’t just disagree with her but is actively trying to undermine and negate her.
By Kevin Kwan
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