proposals twice within one year, even when she doesn't love the men proposing. She convinces herself that if she cannot have the deep love she longs for, she can at least enjoy the companionship and security she also desires. However, with Geoffrey Long, she realizes at the last minute that marrying someone she neither loves nor respects deeply—his "mouse-like seemliness" as he waits for her at the Registry Office forces her to rethink—will not bring her happiness. Similarly, when she sees Mr. Neville leaving Jennifer's room, she understands that her agreement with him—gaining social status and respectability in exchange for allowing him freedom to seek love and sex elsewhere—is something she cannot accept.

In both instances, Edith's inherently romantic nature, which she denies during her conversation with Mr. Neville, stops her from making an empty compromise for the sake of security. Ultimately, she decides to continue her affair with David, despite it being an unsatisfactory relationship in many ways. Unlike Geoffrey Long and Philip Neville, David will never marry her because he will not leave his wife. Their relationship is unequal, as Edith means far less to David than he does to her. To David, Edith seems to be no more than a convenient source of sex and meals. She notes his insatiable appetite and takes pleasure in cooking for him. Yet, she loves him all the same. Having someone in her life, even if only on the fringes, to whom she can say "My dearest" and express sentiments like "You are the breath of life to me," holds more importance for her than a more socially acceptable but loveless relationship. Her attachment to David, because he is all she has, underscores both the value she places on love—even in its flawed form—and her deep loneliness, as she cannot find anything better.

The novel, with its intricate layers, delves into themes of solitude and the unique plight of women's loneliness through its characters. At its heart, it focuses on the experiences and inner world of Edith, a character whose life mirrors the isolation felt by many women, symbolized by the pitiable figure of Madame de Bonneuil—rejected and unloved.

Edith’s musings reveal her longing for companionship and a stable, loving presence. In a poignant exchange with Mr. Neville, she confesses, “My idea of absolute happiness...is to sit in a hot garden all day, reading or writing, utterly safe in the knowledge that the person I love will come home to me in the evening.” This desire remains a distant, unfulfilled dream, as she wistfully acknowledges the rare visits from her elusive David. Her conversations further expose the depth of her solitude. Speaking with her agent, Harold Webb, she reflects on her work: “In my books,” she remarks, “it is the mouse-like girl who gets the hero. The tortoise wins every time. This is a lie, of course. In real life, it is the hare who wins.” Here, Edith captures the essence of deceptive narratives that promise happiness yet rarely deliver such outcomes in reality.

Intertwined with the theme of loneliness is a contemplative exploration of societal expectations regarding women's behavior. During a revealing one-sided conversation with Monica, Edith vocalizes her disdain for those women who she perceives as "complacent consumers of men," always anticipating certain privileges and rewards without question. This perspective hints at a critique of certain societal norms that demand adherence from women, promoting dependency rather than autonomy.

Edith provocatively suggests that feminists might focus their energies on critiquing this type of behavior in women instead of directing their efforts solely towards men. This stance reflects an intriguing divergence from mainstream feminist thought, as emphasized by Brookner, who clearly delineates her position as distinct from the feminist movement. Her commentary invites a broader discussion on the complexities of gender dynamics, urging a reconsideration of traditional roles and the expectations placed upon women in society.

Edith's yearning for a time gone by and her resistance to contemporary values find expression in the Hotel du Lac's faded grandeur. This hotel, once a beacon of confidence and tranquility, stands as a symbol of a bygone era at the close of its own season during Edith's stay. The atmosphere of nostalgia is intricately woven into the narrative style and enriched by numerous literary allusions throughout the work.

Among these allusions, Henry James is highlighted as a writer particularly cherished by Edith. His influence is subtly mirrored in the character of Mr. Neville, who exudes a Jamesian essence. Additionally, the narrative carries a Chekhovian undertone, particularly embodied in Monica, the lady with the little dog, evoking a sense of personal connection that deepens the nostalgic theme. Colette's influence surfaces as well, particularly in the book's concluding sentence, which delivers a sharp and unexpected twist, reminiscent of Colette's distinctive style.

Edith finds amusement and a form of pride in being compared to Virginia Woolf, a literary icon whose name peppers the story as a running joke. However, this comparison is humorously undermined by Mrs. Pusey and more harshly dismissed by Mr. Neville, adding layers to Edith's character and further enriching the novel's exploration of nostalgia versus modernity.