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50 pages 1 hour read

Sarah Waters

Tipping the Velvet

Fiction | Novel | Adult | Published in 1998

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Part 3, Chapters 15-17Chapter Summaries & Analyses

Part 3, Chapter 15 Summary

Zena and Nan talk about their next steps. Zena upbraids Nan, blaming her for their exile and Zena’s loss of employment. Zena asks if Nan has family. After hearing she doesn’t, Zena proposes they sell Nan’s men’s clothes that she brought to Diana’s. They don’t get much from the clothing seller, but they buy baked potatoes and some weak tea. With the money that remains, they rent a bed in a boarding house, recommended by a sex worker. When Nan wakes up in the morning, Zena has left with the money.

Nan walks to Ms. Milne’s house to beg for a place to live but finds out from a neighbor that she and Gracie have left. Nan asks him about Florence, and he remembers her companion, Ms. Derby. He gives Nan Ms. Derby and Florence’s approximate work address. Presenting herself as a friend of Florence, Nan asks to see Ms. Derby, who has taken off work for a few days. The woman who speaks to Nan doesn’t remember Florence, but, after some convincing, the woman finds Ms. Derby has left Florence’s new work address. Nan inadvertently sees Florence’s home address and decides to go there. Taking pity on Nan, the woman gives her fare money for the journey, but Nan chooses to get tea and then visit Florence. Arriving at Florence’s house, Nan sees Florence, who doesn’t recognize her, as well as a man and a baby. Nan swoons and passes out.

Part 3, Chapter 16 Summary

Nan awakes in Florence’s parlor. Ralph, Florence’s brother and the man Nan saw, asks Florence who Nan is. As Nan listens, she realizes Florence doesn’t remember her, and then she tells Florence she’s a friend of Ms. Derby’s. Nan introduces herself as Nan Astley.

As they reminisce about Ms. Derby and her mandolin, Ralph asks about Ms. Derby. Nan answers in generalities, trying to avoid detection. As Ralph tries to figure out where Nan and Florence have met before, Florence tells him it was on Green Street where Ms. Milne lived. Nan tries to explain her situation, lying again and saying a wealthy man took her in before abandoning her. Nan asks for help, and Florence points out they are in her home, not at work. Nan convinces them to let her stay the night.

Florence works throughout the night, going through papers, and then goes to bed at 11 o’clock, reminding Nan that she must leave by eight in the morning. Nan thanks Florence and Ralph, calling him her husband. Florence confesses that Ralph is her brother and that Cyril, the baby, is their adopted son.

In the morning, Nan finds it difficult to leave. Nan convinces her that she will but needs more time to rest. Ralph has left money for a room, and Florence gives her a list of hotels and hostels. Rather than leave, however, Nan stays and cleans their house, privy, and front step. She goes to the market, buying provisions for a dinner that she begins to cook. As she cleans, she sees a neighbor outside who tells her that Florence and Ralph need the help, considering they neglect their own home to help others. Annie, a friend of Florence and an “assistant at a sanitary inspector’s” (369), comes by. They chat, and Annie notices Nan’s female clothes and masculine haircut. Florence surprises them when she comes home, and Nan hides in the pantry. Nan comes out and, as soon as Ralph arrives, begs to stay on to take care of Cyril and keep house. Florence offers a week-long trial and then a share of the family salary if she works out.

Part 3, Chapter 17 Summary

As Nan continues to clean and work in Florence’s house, she remembers her life of leisure at Diana’s house. Thinking about one of Diana’s friends who dressed up as Marie Antoinette when the French queen allegedly installed a farm at Versailles and acted as a farmer, Nan imagines herself as the queen playing at poverty and labor. She continues to contrast Florence’s home with Diana’s, detailing the small size of Florence’s house and the large group of friends and family who stop by, including Florence’s sister, Janet, and eldest brother. Her friends plan political movements and charity works, even in the tiny and cramped space Florence shares with Ralph, Cyril, and Nan.

Nan trades in her original clothes for a different dress and shoes, which Ralph compliments. His compliments don’t matter to Nan because she remains convinced that she has no one to flirt with. Florence and Ralph continue to do their work, and Nan grows closer to them. She sees how thin and serious Florence has become, and Nan cooks more food in earnest, trying to make her look healthier. Nan makes a series of oyster dishes for Ralph and Florence, which leads Florence to proclaim that if anything would be served in paradise, it would be oysters. They all discuss what they would eat in paradise and who would be there. Florence includes Nan in her paradise, asking who else would make her oysters. Later, Nan sees Florence looking sadly at a picture of Eleanor Marx. Nan doesn’t know who she is, and Ralph explains she’s a well-known socialist speaker and author.

Nan helps Florence with her charity work, and she gives money to a woman with a child—Florence notes that it was a kind act, but one that could make the woman uncomfortable with the other women at the Guild. Discussing why she does charity, even in the face of insurmountable challenges, Florence cites Cyril’s future. Florence then reads from Leaves of Grass. Nan says that the lines are awful, and she recites them as though she were on stage. Florence confesses that she has been sad because of Lillian, a girl Florence met the day Nan didn’t show up for the lecture on women’s rights and labor. Lillian died after giving birth to Cyril and being abandoned by her lover. After finding out that Florence is a lesbian, Nan confesses that a woman had reduced her to poverty, not a man. Florence tells Nan that Annie suspects that Nan is a lesbian. Nan grows jealous, especially of Lillian and her memory.

Part 3, Chapters 15-17 Analysis

Part 3 depicts the balancing of Nan’s queer desires and her desire to belong to a community. These desires lead to a return to her origins. Nan works as hard in Florence’s home as she had in Whitstable. Desire, community, and identity work differently in the Banner household, and Nan begins to see it as the paradise she, Florence, and Ralph discuss. Through the socialist ideals of the Banner household, Nan works toward community and embracing her authentic self.

Florence’s ordinary life contrasts Diana’s extreme wealth, highlighting the importance of Class and Society in Victorian England. Surrounded by people who work for charity and the common good, Nan begins to wean herself from the memories of wealth and cruelty that haunt her. As she cleans their house, Nan recalls how one of Diana’s friends dressed as Marie Antoinette wearing a shepherd’s costume, carrying a crook. While this image of the French queen lacks any proof, the ability of Diana’s friends to pretend to be poor for jest and entertainment begins to seduce Nan. She desires, at first, to return to wealth. Cruelty is heavily linked to wealth throughout the novel, evidenced by Nan’s experiences in Diana’s and Florence’s households. Florence and her friends criticize the upper classes for their cruelty. As Annie comments on the partly true story of Nan’s confinement and abuse by a wealthy London man, she remarks, “[T]he wealthy ones are the worst, I swear it!” (355). Joining a community of socialists, Nan begins to see how the poverty of the many makes possible the wealth of the few. Diana’s dehumanization of Nan symbolizes these ideas about wealth.

Part 3 shows how drag and impersonation continue to drive the narrative and plot. Nan doesn’t regret her sexuality, making no apologies for either her sex work or her lovers. Nan’s relationship to drag and men’s clothing changes as she is exposed to Diana’s cruelty and Florence’s care, placing Gender and Performance in conversation with economic class. Nan mourns the alterations Diana has wrought, not just for her clothes but her character. Exclaiming that Diana has made her into a “guy,” Nan refers to the poor state of her clothing, abused by the elements and the cold. These surface-level changes symbolize Nan’s deeper change underneath Diana’s cruelty, symbolizing the power of the rich to ruin the poor. Later, after joining the Banner household, Nan recognizes the changes Diana’s costuming and behavior have made. Commenting on the power of clothes to transform, Nan observes,

[I]t was as if wearing gentlemen’s suits had magically unfitted me for girlishness, for ever—as if my jaw had grown firmer, my brows heavier, my hips slimmer and my hands extra large, to match the clothes Diana had put me in (381).

Nan’s time with Diana has matured her and changed her relationship to her gender performance. Nan uses simile to stress how completely her self-image has changed. Nan feels as if clothing has literally altered her body, reflecting the power of performance to become reality.

Kitty’s self-loathing has made it difficult for Nan to embrace her own identity, highlighting the theme of Authentic Lives and Coming Out. Nan lies about her past to Florence because “if a tom with a bruise showed up at Kitty’s door, [she] kn[ows] very well what a welcome she would get” (354). As the conclusion of the novel demonstrates, this fear is misplaced. Her history and desire conflict, and Nan admits that “[her] lusts had been quick, and driven [her] to desperate pleasures: but she, [Nan knows], would never raise them” (373). Imagining Florence as an unattainable woman, Nan gives up momentarily on her authentic self-expression. Nan’s voluntary re-entry into the closet demonstrates the communal effort of living authentically and coming out; if Kitty had been able to embrace herself, Nan would not carry around the shame she does.

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