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50 pages 1 hour read

P. D. James

An Unsuitable Job for a Woman

Fiction | Novel | Adult | Published in 1972

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Chapter 4Chapter Summaries & Analyses

Chapter 4 Summary

Cordelia continues her investigation, now tracking down the florist who provided the wreath at Mark’s funeral so she can learn the identity of the woman she believes is Mark’s old nanny. At the florist’s, Cordelia learns that “another lady came to enquire from Sir Ronald Callender” (138) and gets a name and address for Mrs. Goddard.

Cordelia and Mrs. Goddard have a conversation in the graveyard where Mrs. Goddard has been tending her husband’s grave. Mrs. Goddard tells Cordelia that she had been nanny to Mark’s mother, Evelyn Bottley. She recounts the family history, explaining that Evelyn’s mother died when Evelyn was born, and that Evelyn’s father never loved or respected her. Cordelia is sympathetic, seeing the parallels to her own parents. Mrs. Goddard explains that Evelyn met and married “Ronny Callender the Gardner’s son” (144). Cordelia is surprised to learn that Sir Ronald grew up poor and realizes that Mark taking a job as a gardener must have been a special slight for Sir Ronald, reminding him of the poverty he worked so hard to escape.

Mrs. Goddard was sent away during Evelyn’s pregnancy, and she barely saw Evelyn after Mark was born because Sir Ronald “couldn’t bear anyone to be near her” (146), which Mrs. Goddard sees as a sign of his devotion. But when she was briefly alone with Evelyn, Evelyn gave Mrs. Goddard a prayer book and asked her to promise to bring it to Mark on his 21st birthday. Evelyn then said, “If you do [forget], or if you die before then, or if he doesn’t understand, it won’t really matter. It will mean that God wants it that way” (146).

Mrs. Goddard brought the book to Mark and told no one else about it, not even Miss Leaming, who came to thank her for the wreath. Mrs. Goddard mentions that Mark asked her for the name of the doctor who treated his mother when she was dying. She also reveals that Miss Leaming had been an English teacher.

Cordelia believes the prayer book must contain a clue and races back to the cottage but cannot find any message in it. She continues to follow the trail of the investigation, tracking down the doctor who treated Evelyn. On the way to his house, she thinks someone in a van might be tailing her, possibly Chris Lunn, but manages to escape him. Once at the doctor’s house she realizes he must be the same doctor Mark had stopped off to see on his way to the seaside with Isabelle. The doctor is extremely old and senile, but Cordelia gets confirmation that Mark had visited, as well as “a gentleman” who behaved pompously and spoke to the doctor “as if talking to a servant” (154). Mark, on the other hand, showed compassion for the elderly man, even offering to come visit him to give his wife a respite.

Cordelia returns to the prayer book, this time searching the page for St. Mark’s Day. There she finds a “small pattern of hieroglyphics so faint that the mark on the paper was little more than a smudge” (156). Cordelia interprets the marks to be Evelyn’s initials and the date she wrote the note, and that “AA” must stand for Evelyn’s blood type. She remembers seeing Mark’s blood donor card in his wallet and that he was group B.

Following this new clue, Cordelia devises a plan to discover Sir Ronald’s blood type. She goes to Sophie’s house to borrow the phone and eventually finds out that Sir Ronald is group A, and that “his son had to ring a month or so ago with the same enquiry” (158). Cordelia goes to the library to confirm her suspicion: “A man and wife both of whose bloods were A could not produce a B group child” (159).

Cordelia goes back to the cottage and catches Hugo and Isabelle sneaking in. They are there to reclaim the painting Isabelle had lent to Mark. Cordelia confronts them, saying, “There’s something that both of you know and it would be better if you told me now” (164), otherwise she will involve Sir Ronald and possibly the police.

Hugo finally tells Cordelia the truth about the night of Mark’s death, that Isabelle had not been at the play with them but had returned to the cottage to speak to Mark. Isabelle admits she “knew he was dead,” adding, “it was horrible! He was dressed like a woman in a black bra and black lace panties […] he had painted his lips, all over his lips” (167). She describes seeing the pornographic images on the table, but when Cordelia asks her where the lipstick was, Isabelle can’t remember seeing any lipstick. Cordelia realizes that if “she hadn’t seen the lipstick, then it was because the lipstick hadn’t been there to see” (169).

Hugo explains that Isabelle came to find him, and he and the rest decided to fake a suicide by cleaning Mark’s body and dressing him in his own clothes. They “hadn’t it in mind to fake a suicide note; that was a refinement somewhat outside our powers” (169). But when they returned to the cottage someone had been there before them and already cleaned and redressed the body. Hugo and Isabelle deny hanging the pillow in the cottage to try to scare her. Cordelia believes they are telling the truth and is more convinced than ever that Mark was murdered.

After Hugo and Isabelle leave, Cordelia decides to go to London to examine Mark’s grandfather’s will and see who would benefit financially from Mark’s death. She then goes outside and finishes the digging Mark had abandoned. In preparation for her trip to London, she impulsively puts on Mark’s belt: “The strength and heaviness of the leather so close to her skin was even obscurely comforting and reassuring, as if the belt were a talisman” (174).

Chapter 4 Analysis

The information Cordelia gets from Mrs. Goddard brings her closer to solving the case. She continues to pick up pieces of information because of her logical persistence. James makes extensive use of rhetorical questions throughout the novel, portraying Cordelia’s thought process in minute detail, but no matter how many or what kind of theories she considers during these sessions, Cordelia still follows the evidence. Cordelia may speculate wildly, but she draws conclusions based on facts, echoing the words of Sergeant Maskell, who reminded her that it’s what the evidence proves that matters.

The backstory Mrs. Goddard provides about Mark’s parents is important to Cordelia’s understanding of the case. However, it is even more important than the reader realizes because James, via her narrator, is withholding information from the reader. In Chapter 2, when Cordelia saw the supposed suicide note, she realized that Miss Leaming had quoted it incorrectly, but this fact was not revealed to the reader. Thus when Mrs. Goddard mentions that Miss Leaming was previously an English teacher, Cordelia knows what this signifies while the reader does not: Miss Leaming could have written the suicide note since she likely knows Blake’s work. Further, she wouldn’t necessarily have needed to refer to the text when typing the note, which would cause her to misremember how much of it she had included. Cordelia and the narrator both prove to be unreliable, setting the reader up for a surprise reveal at the end of the story.

In a similar vein, when Cordelia tells Hugo and Isabelle that she thinks Mark was murdered, she immediately realizes she “shouldn’t have revealed her suspicions” (168), and the reader is left to wonder why not. Hugo is described as undergoing a “subtle change of mood; was it irritation, fear, disappointment?” (168). This is a red herring: Hugo had nothing to do with Mark’s murder, but James is casting him under a shadow of suspicion.

The visit with the old doctor is a reminder of Mark’s sympathetic nature and of how cruel people can be to those they are supposed to love. Mrs. Gladwin, the doctor’s husband, comes across as brutal and unforgiving in how she treats him, saying he “was glad enough to marry me when he wanted a nurse […] he was drinking all the practice profits away” (153). But Cordelia finds sympathy for her, seeing in Mrs. Gladwin “the hopeless rejection of help, the despair which no longer had energy even to look for relief” (154). These are qualities more often associated with the suicidal, and they are not qualities that Mark had, which gives Cordelia more confidence that he did not kill himself. His offer to sit with Dr. Gladwin is a reminder of his kindness to Gary Webber. While Cordelia had worried she was “becoming sentimentally obsessed with the dead boy” (68), by the end of Chapter 4 she thinks “it was impossible to believe that anything he had ever touched or owned could frighten or distress her” (174). This is more proof that Dalgliesh’s admonition to get to know the dead is the right course of action, though it might seem unusual.

The belt is an important symbol in this chapter. Cordelia dons it as a protective token or talisman; this foreshadows that the belt will soon save her life. Her attention to detail, as in quizzing Isabelle about the lipstick, is also crucial to the plot’s success. Early on Cordelia noticed that Sir Ronald had a habit of idly dropping small objects in his pocket; now she connects that habit to the lipstick and further develops a theory about Mark’s death.

Hugo continues to be a foil for Cordelia: He is clever and smart but adopts a teasing, ironic tone—he is the aristocrat to Cordelia’s determined plodder, a creature of refinement and elegance as Cordelia is a dog worrying a bone. In describing how he came to see his friend dead, he says, “A respectable, sensible, law-abiding citizen would have found the nearest telephone and rung the police. Luckily Isabelle is none of these things. Her instinct was to come to me” (169). His drollness is both a commentary on his social standing and a reflection of it. He lingers as a potential romantic partner for Cordelia, but his lack of gravity puts him at odds with her dedicated search for the truth.

Two new characters in this chapter bring two new names: Mrs. Goddard and the Gladwins. Mrs. Goddard’s name contains allusions to godliness and to goodness, both of which align with her function in the plot. The Gladwins are in contrast: There is nothing “glad” or “winning” about their situation, which is another reminder that appearances can be deceiving.

The one difficulty of the novel arises in this chapter: the cryptic message Evelyn Bottley left for her son. It seems quite a leap for Mark or Cordelia to intuit that the “AA” under Evelyn’s initials refers to her blood type. James’s rich attention to detail and description allows her to camouflage important details in innocuous ways; Mark’s wallet containing a blood donor card and both Mark and Cordelia realizing that Evelyn’s coded message was about her blood type stand out as too obvious. The heavy-handedness of these elements contrasts with how James allows the narrator/Cordelia to conceal information from the reader, ultimately reminding us that in this genre, nothing can be trusted except the intellect and determination of the private eye.

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