A Week in Winter

“The shock had long gone now, and the real memory of her life with him was becoming vague. She very rarely went back there in her mind anyway. Yet the false life, the fantasy existence was crystal sharp and clear.”

Many of the characters in the novel deal with an imbalance of the Internal Versus External Self. Here, Chicky has constructed a false external self for the purposes of preserving her dignity and self-worth in the eyes of her family. Eventually, this false front overtakes her more authentic self, and her journey becomes a process of gaining back that authentic self.

“As happens in many big families, the children who left became dissociated with their old home.”

This moment suggests the beginning of a Personal Transformation, in which characters leave behind the expectations of their familial framework and build themselves anew. Large families are stereotypically associated with Irish households, and this growing a large family represents a typical life path that many people across the country would have taken at this time. The concept of dissatisfaction is one that several characters face on their journeys of reinvention and redemption.

“He realised quickly that Miss Queenie was like something from an old black and white movie; she liked to keep to the traditions of the house as it had been, with a little gong rung to signal mealtimes and proper table settings. She never went out without a smart hat and gloves.”

Miss Queenie is set apart from the rest of the cast by her age and eccentricity, though her habits help tie together the old and new ways of living that Stone House comes to embody. Later, the house uses some of these old ways to honor Miss Queenie’s memory—such as ringing the gong for dinner. Maintaining some traditions encourages people to treat the house with respect and keeps its roots strong and healthy; in this sense, the renovated Stone House symbolizes personal transformation, using the past to strengthen and inform a fresh future.

“‘There’s been far too much running away,’ Chicky said. ‘Your mother ran away from here. I ran away. You ran away. It has to stop sometime. Let it stop now.’”

Throughout the novel, several characters (including ones not mentioned here) remove themselves from their circumstances in order to reinvent themselves. Here, the concept of “running away” from oneself is presented in a negative light; however, this change of place and of self can be an integral step in the journey to Personal Transformation and the ultimate healing that comes out of it.

“We went to Paris once, and to Oxford. Very, very beautiful, both places. Jessica and Beatrice and I often talked about it afterwards. It was great but it wasn’t real, if you know what I mean. It was as if we were acting a part in a play.”

This line of dialogue recognizes the divide between authenticity and artificiality present both in people and in settings. There is an element of contrast here as the speaker, Miss Queenie, is one who is often described as fulfilling an outdated role. However, what she is referring to is the lack of humanity and community that a place like Stoneybridge has to offer.

“Most of the men, used to bringing their own sandwiches, regarded this big lunch as the high spot of the day. They went home and told their wives that the Irish stew or bacon and cabbage was very different over at Mrs Starr’s place than it was at home, and it caused a lot of resentment.”

This tongue-in-cheek moment draws attention to some of the family dynamics at play within the community, as well as the importance of good food and hospitality. The workers discover a new level of attention and care through their role in preparing Stone House, which in turn makes them loyal to the house and its owner. This strong bond forms the basis of Stone House’s appeal and success.

“Winnie was an optimist. On the wards they always said she was a great nurse to work with because she always saw something to be pleased about. […] She wasted no time moaning in hospital canteens that the men of Ireland were a sorry lot. She just got on with it.”

Winnie’s positivity is what brings her together with Teddy and ultimately wins over his mother after their ordeal. This moment highlights the way in which Winnie refrains from blaming others (particularly, men) for her circumstances; instead, she looks after herself and her own behavior. This moment thus displays an important facet of her character and the way in which she interacts with those around her.

“But these were just the dying gasps of beached fish. They looked at each other. They both knew that to refuse would be to lose him. And neither of them was willing to take that step.”

This moment truly positions Winnie and Lillian as equals for the first time, despite the two women still being in opposition with one another. This equality stems from a shared love for one person who they both hold very dear. Simultaneously, it foreshadows the connection they will eventually discover between one another later on.

“Some small amount of compassion seeped through to Winnie’s subconscious. She tried to beat it back but it was there.”

This moment illustrates both Winnie’s resistance to defeat and her humanity. Despite her unwillingness to concede to her adversary, this compassion serves as the connection that ultimately brings them together. This discovery shows how Winnie has come to see Lillian as vulnerable and human, rather than as an impersonal force of opposition.

“He tried to tell his daughter, Maria Rosa, that life with Sylvia had been a series of stage events, all set in a goldfish bowl to encourage the admiration and envy of others.”

Corry’s character is one of the most effective for illustrating the theme of the Internal Versus External Self, since his entire public existence is a complex, multilayered façade. Here, he is caught between the authentic, internal self—his love for his daughter—and the external—his manufactured life with his second wife. This turning point marks where he begins to understand the gap that has opened between these two states of being.

“He was used to putting on an act, giving a performance. It wasn’t demanded here, which was a relief, but on the other hand he felt somewhat at a loss. What was his role?”

This moment shows how the external self can, when unchecked, eclipse the internal self to the point where the internal self can become lost. Stone House serves as a place where equilibrium can be restored and the authentic self can be recognized and embraced. Here, John undergoes a transitional state in which he has to re-learn who he truly is.

“For the first time in two years she believed they might really have turned a corner. A week’s holiday in winter would not solve all their worries and end all their woes but it might just be the beginning of some journey back.”

This moment highlights Stone House and everything it represents as a place of rebirth and renewal. These characters recognize that no one place will be magically transformative in an instant; however, certain settings can provide the space necessary for one to achieve a level of Personal Transformation on their own. Notably, this quote specifically frames transformation as a “journey,” rather than a single action or connection.

“It was the style aspect that Anders found the most challenging. He hardly noticed what other people wore, and always liked to dress comfortably himself. He could not begin to understand the importance of handmade shoes, precision Swiss watches and pure silk ties, and they certainly didn’t figure in the world of folk music to which he was most drawn.”

In contrast to some of the other central characters, Anders does not begin with a polished outer shell. Rather, he begins as a character rooted in authenticity, then slowly buries this innermost self in order to fulfill his family’s expectations. His journey becomes one of sloughing off this false identity and learning to be true to himself once again.

“The more his father talked, the less Anders knew about him.”

This apparent paradox reveals the extent of the distance between these two men. There is an implication that Anders’s father has become so engulfed in his own professional, idealized self that he has lost touch with who he used to be. Anders, by contrast, stubbornly clings to his innermost self even as it becomes cumbersome and isolating.

“If Anders ever had a son of his own he would tell the boy from the outset that he must follow his heart, that he would not be expected to play his role in Almkvist’s.”

This moment illustrates how Anders seeks to rectify his own mistakes by creating a better future for his hypothetical future child. In reality, this effort is a way of processing his own unconscious wants and needs. It marks the beginning of his journey as he comes to recognize the value of being true to one’s own self, even though he hasn't yet found the strength to implement this value in his own life choices.

“Problems are solved by making decisions. Erika had always said that, and he had thought she was being doctrinaire. But it was true. Deciding not to change anything was a decision in itself. He hadn’t fully understood this before.”

Choice is one of the strongest areas of contention both in Anders’s family life and in his relationship with Erika. He feels he has no freedom of choice in the direction of his life, and in turn, he feels trapped. Once he recognizes that he does indeed have the freedom to choose his own path, he’s able to escape the restrictions, limitations, and expectations of his family. This moment illustrates the value of choice and free will in each of the characters’ journeys.

“It was not a question of being mean or careful with money; The Walls could well afford a holiday abroad, but the thrill of winning one was much more satisfying, and they filled in forms and made up slogans with great vigour.”

This line illustrates several key character elements of The Walls: their financial security, their strong partnership, and their need for intellectual validation through their practice of entering prizes. Although paying for an ideal holiday would be more straightforward and even more practical (as they could choose and design it themselves), a large part of the experience comes from knowing they have used their cultivated skills to earn it.

“The Walls were pleased to be admired for having a good relationship twice in twenty-four hours. They had never before thought that it might be unusual.”

Here, The Walls experience another kind of external validation and respect, this time for the strength of their connection. Ironically, this strength is the very thing that won them the holiday stay in the first place; however, it goes from being a utilitarian resource to something with true innate value. This transition marks a turning point for them as they begin to view their relationship together as something that binds their internal and external selves.

“It wasn’t exactly romance and stardust sprinkled all over them like magic, but it was something deeper, like a sense of importance and a great feeling of peace.”

In this moment, The Walls consider how they have changed since the beginning of their journey as people wanting to be recognized as the best. Instead, they come to see their own value and what they can contribute to a community. This realization will in turn bring them even closer together and give them a more honest, authentic connection.

“The girls hated going to Miss Howe’s office. For one thing, being there always meant some kind of disapproval, complaint or punishment. But it wasn’t just that. It was a place without soul.”

Here, Miss Howe’s office serves as an extension of the woman herself. The disapproval, complaints, and punishments follow Miss Howe into her time at Stone House, illustrating her inability to let go of her past; of all the characters in the novel, she is the one most incapable of connecting with her core inner being, or “soul.” This moment represents the totality of Miss Howe’s irrevocable loss of self.

“She seemed to be delighted with Irene, and constantly thanked her for her efficiency and support. This was a personal first for Irene, who had been used to the grim silence of Miss Howe as the best that could be hoped for.”

The new teacher who has come to replace Miss Howe is presented as a foil character, or a character meant to highlight contrasting traits. This moment shows how Irene has grown accustomed to the absence of compassion and love, and it is only through this foil process that she is able to recognize the extent of her own needs.

“What were women doing, allowing themselves to be sucked into a world of labels and trends and the artificial demands of style? Eva couldn’t begin to fathom it. She had only two rules of style—easy care and brightly coloured—and was perfectly well dressed for every occasion.”

Eva, a secondary character in another central character’s story, represents one who is entirely comfortable with their inner authentic self. This confidence juxtaposes the artifice held by other characters in the novel, who are unable, for a variety of reasons, to be as honest about their own natures. Eva’s approach shows that authenticity does not need to be challenging but can in fact be entirely simple.

“Mark was in a room with people who were shouting. Miss Holly was sitting in a corner, weeping. Mark was looking calm and dismissive; he was telling her something very unwelcome and frightening. Whatever it was, it was wrong, it was all wrong.”

This small subplot about a niche Dublin hotel draws attention to the warmth, authenticity, and humanity of Stone House. By using the modernization and expansion of Miss Holly’s hotel in contrast with the more boutique nature of Chicky’s hotel, the narrative reveals a great deal about Mark’s character in a very small space.