upstate New York on weekends. At times, due to limited space, the two women share a bed, exposing Mrs. Ellsworth's suppressed desire: "Then she would read aloud Tennyson or Browning before turning out the light, aware all the time of the electric strength of that brown-black body beside her." This feeling is closely tied to Mrs. Ellsworth's constant concern that Oceola is too grounded in the tangible world, especially in her relationship with Pete, who is now in medical school in Atlanta. Determined that Oceola should "sublimate" all physical desires for the sake of her art, Mrs. Ellsworth arranges for her to study in Paris.

In Paris, as in Greenwich Village, Oceola resides in the city's artistic enclave, the Left Bank, spending her days studying with a teacher named Philippe. She also immerses herself in the Parisian African-French community, primarily immigrants from Algeria and the French West Indies. Oceola listens to their aesthetic and political discussions, which often seem too detached from real-life concerns. It becomes evident that Oceola is skeptical about the notion that art could mend the rift between blacks and whites. However, she does find one part of Paris that captivates her—the dance halls:

In Paris, Oceola had a particular fondness for the West Indian ballrooms where the black colonials danced the beguine. She also enjoyed the performers at Bricktop's. Often, late into the night, Oceola would play the piano there, offering blues for Bricktop and the gathered guests. She played Negro folk music authentically, without embellishing it with classical flourishes or artificial touches. In her blues, the bass notes resonated like tom-toms, and the high notes sang like little flutes, capturing the essence of both earth and sky. When the nightclub patrons danced to her music and Bricktop shouted, "Hey! Hey!" Oceola felt as thrilled as if she were performing a Chopin etude for the elegantly attired audience in a Crillon salon. (Excerpt from "The Blues I'm Playing")

Occasionally, Mrs. Ellsworth would visit her protege in Paris. They attended classical music performances, where Mrs. Ellsworth clung to the belief that Oceola experienced music in the same detached trance that she did. In her wishful thinking, she overlooked Oceola's passion for music that was both sensual and lively. Despite this, Oceola appreciated certain aspects of Mrs. Ellsworth's companionship, particularly when they traveled outside the city. For instance, at Versailles, the palace of Queen Marie Antoinette, Mrs. Ellsworth shared her youthful admiration for France's culture and "romantic history." We learn that she once had her own musical talent—an ability to sing French songs—that seemingly faded when her husband failed to value it. In these moments, the two women nearly reached an emotional connection.

Oceola's formal training concluded as her "development at the piano blossomed into perfection." She performed several times in Europe, receiving rave reviews and significant attention. She returned to New York in 1930, planning a concert for the upcoming fall. Her return was also timed to attend Pete's spring graduation. After visiting Pete, Oceola wrote to Mrs. Ellsworth—who was again in Bar Harbor for the summer—announcing that they planned to marry at Christmas. The underlying tension in their relationship surfaced in Mrs. Ellsworth's response: she scolded Oceola for sacrificing her career for marriage and family. Oceola maintained that she didn't have to choose between the two things she loved. However, a concert at Town Hall in the fall convinced Mrs. Ellsworth otherwise; since the critics didn't "go wild," she blamed Pete, whom she considered a "monster" for allegedly ruining Oceola's talent.

Disheartened by Oceola's resolve to marry and perhaps frustrated by her own failure to exert control over Oceola's life, Mrs. Ellsworth begins to distance herself from the young woman. The conflict reaches a climax during another meeting in Mrs. Ellsworth's drawing room. When Mrs. Ellsworth criticizes Oceola's decisions, Oceola stands firm, expressing her personal and cultural pride. She insists that she has been away from the black community for too long and needs to reconnect with it. The discussion eventually shifts to Pete and his upcoming Thanksgiving visit. Oceola offers neither justification nor apology, leaving Mrs. Ellsworth unable to sway her.

V: Conclusion

Oceola's final performance for Mrs. Ellsworth unfolds in the drawing room, the backdrop for many of their past interactions. Their unresolved conflicts come to the forefront as Oceola concludes her musical program with an intense blues variation. Mrs. Ellsworth objects, claiming this music is unworthy of the financial investment she has made in Oceola. Oceola counters by asserting her independence, declaring, "This is mine." Ultimately, Mrs. Ellsworth remains unchanged, continuing to dismiss Oceola's life-affirming jazz in favor of "standing looking at the stars."