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Esme begins recording colloquial words that haven’t been included in the Dictionary, adding them to her trunk for safekeeping. She writes down her own definition of “Knackered”—originally meaning a horse that has been slaughtered, but in slang meaning extremely tired. This is the first time she has ever written a word slip herself. Esme discovers that not all colloquialisms are excluded from the Dictionary, however: When she verifies Dr. Murray’s swear word “Glaikit,” a Scottish term meaning stupid, she discovers it’s already included in the Dictionary.
Esme asks Lizzie to take her to the marketplace where she can discover more unwritten words. Despite misgivings, Lizzie agrees. A vendor named Mabel teaches Esme new sexual and derogatory words that Lizzie finds inappropriate.
Later, Esme speaks to her father about which words are included in the Dictionary and which are not. They disagree about the relative value of written and spoken words. Harry argues that words like “Jog-trotty,” or easygoing and monotonous, belongs because it was written down by Charles Dickens. Esme begins making adjustments to incorrect definitions sent to the Scriptorium, and the editors gradually accept her skills. Every time one of her edits is accepted, she carves a victory notch into her desk.
Esme visits the market alone to pick up new words and dialects. She makes a new friend: an actress named Tilda. Tilda teaches Esme the word “Dollymop,” or a part-time sex worker, which Esme writes on a slip for her collection. At one of Tilda’s performances, Esme meets Tilda’s younger brother Bill, who explains that Tilda raised them both as their parents were absent. Tilda, Bill, and Esme go to a pub, where Tilda tells them she’s been offered another role in Much Ado About Nothing, while Esme considers their casual use of swear words. Esme begins visiting Tilda and Bill often. She watches play rehearsals and grows closer to Bill.
Dr. Murray grows increasingly frustrated with the Dictionary’s slow progress. Esme feels unfulfilled at work and asks Dr. Murray if she can do more to contribute.
Esme regularly attends Tilda’s performances alongside Bill. Esme brings Lizzie to see the play; Lizzie is uncomfortable with Esme’s new friends and their lifestyle, and Esme begins to see a gulf between Lizzie and them. She asks Harry’s opinion, and he encourages her to grow and learn. One night after a performance, Esme accompanies Tilda and Bill to a meeting of suffragettes, where Esme learns a new meaning for the word “Sisters.” The group convinces her to secretly distribute pamphlets around the neighborhood. When Harry discovers a pamphlet at the Scriptorium, he offers it to Esme as a point of interest. Esme and Lizzie argue about the future of women’s rights.
After Tilda’s final performance, Esme returns to the pub with Tilda and Bill. Tilda and Esme talk about a woman’s ability to enjoy sex. At the end of the evening, Esme and Bill have sex. The siblings leave for Manchester, where they will further support the suffrage cause through the Women’s Social and Political Union, the real-life organization run by Emmeline Pankhurst.
Esme adjusts to Tilda and Bill being away. She considers her feelings for both siblings; she does not love Bill, but is grateful for her experience with him; she feels unfulfilled without Tilda’s presence. When Esme starts feeling ill, Lizzie figures out that Esme is pregnant. Esme wonders what being an unwed mother will mean for her and Harry. At the market, Mabel notices Esme’s condition and gives her the address of Mrs. Smyth, an abortionist who can help. When Esme meets Mrs. Smyth, however, she is told that she’s come too late and the fetus is too far along for Mrs. Smyth to perform the procedure. Esme feels relieved, but she also does not believe in the convention of marrying because of an unplanned pregnancy. Ditte arranges for Esme to be her research assistant for a season to help keep the pregnancy secret.
Esme leaves for Bath, where she’ll stay with Aunts Ditte and Beth, who praise Esme’s “reputation”—they’ve heard from Dr. Murray that she is a “natural scholar” (192). Ditte and Beth are friends with learned men who engage in conversation and debate; Esme is shocked at the way the two sisters are listened to and respected. Beth is working on an illicit novel, while Esme assists Ditte with research for an upcoming history project.
Esme wears a wedding ring while out so her pregnancy does not attract unwanted attention. Esme also meets her aunts’ close friend Sarah, who, along with her husband, is interested in adopting Esme’s baby as Sarah has miscarried twice. Esme gives birth and nurses her newborn before agreeing to leave her with Sarah. Sarah, her husband, and their new daughter move away to Australia.
Part 3 sets up a contrast between two publications: the Oxford English Dictionary and Esme’s Dictionary of Lost Words. Playing on the theme of the Relationship between Language and Community, the comparison juxtaposes the male world of the OED with the female-centered work Esme has been doing. The Dictionary’s male compilers and editors refuse to include words that have not been written down, which necessarily includes colloquial terms for the female body and its biological processes, considered either taboo or unimportant in still-Victorian England at the turn of the 20th century. Esme’s love of words encompasses all social statuses and gender identities, so for her dictionary, she actually does field work, collecting sample words from the marketplace that show her how much bigger and more nuanced the world can be. Her dictionary has a sociological aspect, as she records words from across different social classes and cultures.
The novel’s interest in Gender Dynamics and the newly emerging feminism of the women’s suffrage movement here finds a new mouthpiece in Tilda. The actress lives a life much more freewheeling and much less sheltered than Esme, whose new independence from her limited Oxford circle makes her eager to experiment and end her innocence. As Tilda introduces Esme to the suffrage movement and its political beliefs, Esme considers the relationship between the new ideas and language. Just as Tilda wants political freedom for women, she expresses a linguistic freedom through cursing that makes the much more conservative Lizzie uncomfortable. The theme of women’s treatment is picked up also in the relationships Ditte and Beth have with their male friends. When Esme lives with them, she is astonished to see women’s opinions respected and listened to. The experience will later bolster Esme’s efforts to have her Women’s Words dictionary accepted.
The novel’s plotting often relies on the genre of melodrama, as its protagonist suffers a series of traumas that center on her female body. Here, Esme’s first sexual experience becomes a major, catastrophic upheaval; despite the novel’s interest in feminist thought, it does not allow Esme to have a satisfying and non-traumatizing moment of desire. Instead, she becomes pregnant out of wedlock, a condition that could ruin her entire future in early 20th century England. Possible solutions highlight the novel’s exploration of Class Dynamics. The lower class Mabel suggests an abortionist, but Esme is too far along in her pregnancy for this option to be viable. The implication, however, is that less-privileged women might be tempted to undergo the procedure regardless of risks. Esme’s privilege is highlighted by the fact that Ditte can offer her another solution and advises her on the best way to deliver the news to her father. The loss of her daughter forever scars Esme, whose world becomes divided into before and after.
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