“Three Pines itself was a village forgotten. Time eddied and swirled and sometimes bumped into it, but never stayed long and never left much of an impression. For hundreds of years the village had nestled in the palm of the rugged Canadian mountains, protected and hidden and rarely found except by accident.”

From the beginning of the novel, Penny works to bring Three Pines to life as more than just a setting. One way she does so is by playing with the concept of time. Three Pines is presented as a modern-day Brigadoon, found by those who need it.

“You can name the threat. We all know what to expect in other seasons. But not spring. The worst flooding happens in spring. Forest fires, killing frosts, snowstorms and mudslides. Nature’s in turmoil. Anything can happen.”

Ruth identifies the disruptive elements of spring, reminding the other villagers that the rebirth and awakening of spring are accompanied by chaos. This perspective on spring is a motif that operates throughout the novel. It serves to remind the reader to look beyond the stereotypical representations of spring, another way in which Penny reminds the reader to consider unconventional perspectives.

“Tears came to his eyes as he was overcome by this wraith that had threatened all his life. That he’d hidden from as a child, that he’d run from and buried and denied. It had stalked him and finally found him. Here, in his beloved wife’s studio. Standing in front of this creation of hers the terrible monster had found him. And devoured him.”

Peter is viewing Clara’s painting, and the monster that finally devours him is jealousy. This plot thread of Peter’s jealousy of Clara is another way that Penny explores Love and Attachment. Although Peter appears to love Clara, in truth, it is attachment—if it was love, he would support her success, instead of subtly working to undermine it.