The difficulties that Jeanette now faces and her pain at being ostracized lead her to retell her story as myth. Winnet Stonejar obviously represents Jeanette in a magical world; her name is basically Jeanette Winterson respelled. The events in her Winnet's tale mirror those in Jeanette's: she is adopted, cast out, wanders, and finally becomes a city dweller. The key difference between the Jeanette and the Winnet story is the genders of the main characters. In Winnet's world, a male sorcerer plays the role of Jeanette's mother; additionally, Winnet is evicted for being romantically involved with a male, not a female. This inversion of genders relates again to Winterson's attempt to debunk the notion that gender exists as a fixed phenomenon. Furthermore, this switching of genders makes Jeanette's experience more universal. One might view Jeanette's rejection as a unique experience because she is gay, but actually many children have been similarly ousted because of a poorly chosen romance. Winterson's tale testifies to the many children whose true inclinations have met with parental rejection.

The structure of this chapter is highly fragmented with incredibly long imaginative sequences. The story of Winnet then the story Perceval actually take up more narrative space that the details about Jeanette's so-called reality. This heavy emphasis upon myth shows that she has retreated into her imagination. Additionally, by discussing her exile in the semi-comedic world of Winnet, Jeanette attempts to cloak the extraordinary pain she felt at that time of her life. Her efforts do not entirely work. The tone of this entire chapter is very serious and mostly melancholy. Glib comments occasionally appear, but the cruel disgust shown to her from her former church family clearly depresses her mood. Her sadness and frustrations makes time moves inconsistently. Concrete details about her early work appear, but then she suddenly lives in the city with no explanation for how she got there. Additionally, there is no indication of how much time passes between the start of the chapter and its conclusion. One gets the impression that large segments of these days have been skipped over because they were just filled with Jeanette's depression. The lengthy insertions of the Perceval and Winnet stories counteract the scarcity of facts about Jeanette's life.

The Perceval story appears toward the end of the chapter and again parallels Jeanette's own journey. Both Perceval and Jeanette have grown tired in their quests, both miss the comfort that they once had, but they also have achieved increased peace. The focus on Perceval's hands during one of his sections indicates that the power of creating the self lies in each individual's hands. For Jeanette, her hands and her imagination have been fundamental in finding herself. Through the act of writing and telling her own story Jeanette is able to liberate herself. Jeanette feels that she is a prophet who still is continuing the mythic quest that she started as a child. Unlike a missionary or a priest, however, Jeanette will not simply repeat the law as it is written, but she will rewrite it herself. Her task is far from over.

The small reconciliation between mother and daughter at the end of the chapter recalls the biblical theme of the connection between Ruth and her mother-in-law Naomi. To some extent, Jeanette and her mother have bridged their gap, but not entirely. Jeanette's mother has changed and now sees that oranges are not the only fruit. Jeanette's return home allows her to understand that she is both her past and present. It also gives her a profound perspective on the difference between God and those who claim to be his servants. In a typical postmodern defiance of binaries, Winterson ends the story with neither a happy nor sad mood. Things between Jeanette and her mother are not all good, nor are they all bad. Jeanette still stands in the gray area between binaries with the rest of the world, as she looks toward the future.