In 1985, Partenza is surprised to find herself “territorial and indignant” about the inelegant renovation of the beaux arts mansion, because she despised its ostentatiousness in 1938 (251). She’s annoyed and upset to see that Bevel succeeded in erasing Vanner from history: Instead of stocking Bonds or Vanner’s other novels, the gift shop stocks F. Scott Fitzgerald’s oeuvre.

In the library, Partenza requests special access to Mildred’s personal papers. The librarians grant it but warn her that the handwriting is illegible; they call her papers the Voynich Manuscript, after the indecipherable 15th-century document written in an invented alphabet.

In 1938, Partenza arrives at Bevel’s mansion for their first work session through the service entrance. After she signs a strict NDA, Bevel tells her that her job is to compose an autobiography from what he dictates, embellishing when needed. He reiterates that his main concern is to portray his wife as lucid and gentle, against Vanner’s depiction: “Mildred was a clear-sighted, serene woman. How could someone as good and frail as her be defamed in such a way? It’s like mocking a child” (258). He’s also indignant that in Bonds Rask is responsible for Helen’s death; while Mildred died in a Swiss hospital, Bevel didn’t subject her to any cruel medical treatments.