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44 pages 1 hour read

Adrienne Young

The Unmaking of June Farrow

Fiction | Novel | Adult | Published in 2023

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Chapters 24-33Chapter Summaries & Analyses

Chapter 24 Summary

June insists on helping Eamon smoke the tobacco fields to help keep a blight from spreading, a task he has been undertaking alone. After they finish for the day, they kiss passionately but are interrupted by a sound, and they see that Caleb is inside the house. Eamon fires the rifle at Caleb’s car, but he gets away. June finds that the newspaper clippings, note with the years of travel, and photograph are missing from the bedroom.

Chapter 25 Summary

Eamon and June discuss the dates of travel. He tells her that after she became pregnant with Annie, she became obsessed with breaking the curse.

Annie goes missing among the tobacco. Eamon and June panic, eventually finding her when she calls out for “Mama.”

Chapter 26 Summary

Memories begin to surface more quickly, including June’s pregnancy and Annie’s birth. June and Eamon have sex. It’s like a “homecoming” rather than a first time.

Chapter 27 Summary

When they wake, June asks Eamon if he killed Nathaniel. He tells her that she did, which she remembers as soon as he speaks.

Chapter 28 Summary

The narrative returns to the 1950 Midsummer Faire, the night of Nathaniel’s murder. June remembers what happened that night: After the Faire, June and Annie met Nathaniel when they began to walk from the flower farm to Eamon’s farmhouse. June told Annie to run, and Nathaniel told June that she and Annie are both abominations of his sin and that he drowned Susanna. He held June under water, and she used a rock to hit him in the head, continuing to strike him until he died. June saw Annie watching and then lifted her up and ran home to Eamon, who cleaned her and Annie and burned their clothes. Eamon left the house.

Chapter 29 Summary

Back in 1951, Eamon tells June that he had gone to find Nathaniel’s body and send it over the falls to make his death look like an accident. June realizes that her arrival in this time must have been planned. She was trying to fix the unraveling of time, and Margaret must have helped her. June confronts Margaret, who tells her that she’d promised to help June return from the future to Eamon and Annie. By traveling to a place she already existed, in 2022, June had found a loophole. This meant there would only be one timeline, for both herself and for Annie.

Margaret suggests that June still has a choice about whether or not to go through the door but that once she does, her memories from the other time will disappear. June thinks about how Birdie knew the secret as well and asks who Birdie is. Margaret looks at Annie, and June remembers calling Annie Bird. Police cars arrive at the house.

Chapter 30 Summary

As Caleb attempts to arrest June for the murder of Nathaniel, the red door appears. Eamon tells her to go through it, but she makes her choice to stay in this time. She puts her hands out for Caleb to handcuff her.

Chapter 31 Summary

In the car, Caleb tells June he’d found proof of her guilt in a photograph from the Faire, in which June was wearing what Mimi described from the night of the murder. He asks, “[W]hy do you look like [Susanna]?” (304). June tells him he already knows why, meaning the fact that June and Caleb are siblings. Caleb stops the car, and they get out. June tells him that Susanna lied about her death to protect her from Nathaniel but doesn’t mention the door. She tells him that Nathaniel confessed to killing their mother and tried to drown her and that she killed him. Caleb throws his handcuff keys to the ground and drives away.

Chapter 32 Summary

June remembers seeing the door in 1950: She left Annie asleep knowing Eamon would be home any minute and took her opportunity to end the curse by going to 2022, a time when she already existed.

Chapter 33 Summary

In 1952, Susanna’s body is exhumed as Caleb looks on. June’s memories of her other life fade, and the door appears less frequently. The novel concludes with June’s wedding to Eamon, who has asked her to marry him again.

Chapters 24-33 Analysis

This section features the climax: June’s choice to stay in 1951. The novel builds toward this point as June attempts to learn who she was in the past, why she gave up her intention of ending the curse by not having a family, and why she left Eamon and Annie. Like the previous section, these chapters gradually reveal information: June learns that she murdered Nathaniel and that she left Annie and Eamon to break the curse with Margaret’s help. The reader learns about these details as June does, aligning them with her as a character.

The two versions of June merge into who she really is. June grows and reaches the end of her journey: “It was the first time since I’d come through the door that I didn’t feel like I was broken in two, and it wasn’t until that moment, the red door skipping through my mind, that I realized this was the first day since I came here that I hadn’t looked for it” (250). June begins to feel whole, the key feature of her character arc. She finally allows herself to be a person who prioritizes connection with Eamon over ending the curse by not having children. The door is personified with the human ability to skip. It moves through June’s mind, emphasizing the uncanny effect of the curse on time and thoughts.

The door appears at the climactic moment of the novel: “It stood among the dahlias, their heavy blooms rocking back and forth. The frame of the door looked like it had just sprung from the earth, the bronze handle glinting beneath a tangle of vines bursting through the door’s cracks” (300). These lines feature flowers, which form a constant between past and future for the Farrow family throughout the novel. June decides to stay in 1951 even though she is in danger. This enables her to reconcile her view of herself as selfless with having a family, two things she previously thought were incompatible.

This section continues to examine The Complexity and Circularity of Lineage. Though Annie/Birdie is June’s daughter, she is also a maternal figure to June. As June reflects, “The woman I’d raised had then raised me. Then she’d sent me back in time to herself, and to her father. Did that make this a loop? A never-ending story destined to replay over and over again?” (296). This suggests the complexity of family relationships both generally and in connection with magic. Young suggests that parental relationships are nuanced and persistent, even (and especially) when the rules of time are changed.

These chapters include a passage that echoes the title, as June is “unmade” when she travels from 1950 to 2022:

I’m shaking as my foot crosses the threshold. My breath is a storm inside my head, and when I pull the door closed behind me, the crack of moonlight becomes a sliver. A knife in the dark. It disappears with a click.

I’m

I (311).

Young physically represents June’s “unmaking” with language. The words fade from the page, with two unfinished sentences. At the same time, by ending with “I,” the novel emphasizes how June has become whole.

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