There is much about the father that she will “never know,” leaving her to grapple with the idea that the knowledge she has about her father is only superficial (18). The important words in the last passage—flowing, darkening, turning, changing, weathers —all suggest secrecy and transformation. Once again, Munro emphasizes the importance on movement landscape and description of scenery to probe beneath the realistic surface, to be suspicious of what is underneath. The comfort that the narrator takes in working with her father—who knows “the quick way out of town”—turns into a feeling of uneasiness when he goes “outside his territory” to visit Nora, the unmentioned past (6,8).“Distances” suggests a dual meaning: the physical space between Tuppertown and Nora’s home, as well as, the distance between past and present, father and daughter. Though the past meets the present with Nora, the narrator “cannot imagine,” or refuses to imagine, the past to be repeated in the present. The change in her reality comes “once [her] back is turned,” suggesting betrayal from her father (18). When the father brings Nora into the narrator’s life, she feels as though he has turned on her, depriving her of accustomed normalcy, rupturing her imagined reality. She can never go back to the ordinary and familiar that she had