58 pages 1-hour read

A World Without Princes

Fiction | Novel | Middle Grade | Published in 2014

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Part 1, Chapters 1-6Chapter Summaries & Analyses

Part 1, Chapter 1 Summary: “Sophie Makes a Wish”

Content Warning: This section features depictions of bullying, gender discrimination, antigay bias, and child death.


Agatha feels uneasy as she watches Sophie corral their peers into costumes and makeup for “CURSES! The Musical,” a drama Sophie wrote about how she and Agatha slew the School Master and broke the Gavaldon curse. Agatha suspects Sophie is still upset about her father, Stefan’s, upcoming wedding to her late mother’s friend, Honora. Nine months ago, Sophie and Agatha returned from the School for Good and Evil where, for 200 years, the School Master took the children he kidnapped from the village. After returning, the girls first received attention. Agatha is eager to return to normal, but Sophie wants the attention to continue.


At dinner, Sophie learns that Stefan and Honora’s wedding will take place tomorrow. Stefan orders Sophie to begin assisting Honora in her shop. Agatha dreams of a boy before her mother, Callis, wakes her, and she asks Callis, “[H]ow do you know if you’ve found your Ever After?” (12), and her mother explains that the fairy tale will “say so,” as she nods at an open storybook. Agatha asks how people know they are happy if they can’t see their storybook, and Callis says that if they must ask, they probably aren’t happy. Agatha’s tears up, and she tosses the book, depicting a prince and princess mid-kiss, into the fire.


Sophie goes to her mother’s grave, which is flanked by two smaller graves, and Agatha joins her. Sophie wishes Stefan had died instead, calling her life a “prison”; Agatha is shocked to see the deadly witch inside her friend resurface, even momentarily. Sophie says, “I wish I could see her again […]. I’d do anything. Anything” (15). Sophie reminds herself that her mother didn’t have a friend like Agatha, who gave up a prince so she and Sophie could be together. As the girls walk away, a blue butterfly settles on Sophie’s mother’s grave, and an unlit candle flames to life with a gust of wind.

Part 1, Chapter 2 Summary: “Agatha Makes a Wish Too”

Sophie dreams of the Beast she killed last year and wakes to see her bald, ugly witch’s reflection in the mirror, but it returns to normal in a blink. She recalls the School Master telling her she would never be Good, but she vows to keep trying. When Agatha arrives, she can see the dark circles under Sophie’s eyes. Agatha has a bad feeling and begins to sweat before her finger glows gold. Arrows begin to fall, targeting Sophie, and she takes shelter in the church. Two weeks later, Sophie is in hiding, and the attacks are worse. They use firebombs and boiling oil to try to drive her out, destroying her neighbors’ homes. Sophie believes Agatha was upset at the wedding because of the pain Stefan’s marriage causes Sophie. Agatha was actually longing for a different ending, one that includes someone else. When she wished for it, the attacks started.

Part 1, Chapter 3 Summary: “Breadcrumbs”

The attacks continue, and Agatha feels responsible. The Elders inform Sophie that they will move her tonight. Stefan comes to say goodbye, believing that the Elders will protect her. Agatha promises Stefan she’ll keep Sophie safe. That night, Sophie thinks of how the School Master didn’t know there was a cure for her Evil: a friend who made her Good. Sophie reminds herself of everything Agatha gave up for her, choosing Sophie over her prince. At home, Agatha tells Callis she wants to go to Sophie, but Callis reminds Agatha that she shouldn’t anger the Elders. This raises Agatha’s suspicions, and she realizes the Elders aren’t moving Sophie but surrendering her. She runs to the church and sees that Sophie is gone. She follows the trail left by Sophie and the Elders.

Part 1, Chapter 4 Summary: “Red Hoods Hide”

Agatha realizes she and Sophie cannot return home. She enters the Endless Woods, and as she is surrounded by coiling snakes, her finger glows again. She remembers her prince, Tedros of Camelot, and how she chose Sophie over him. She tried to forget him, but his memory keeps returning. Up ahead, she sees a glow of pink, Sophie’s signature color, and finds her friend, bound by the Elders with a note that says, “Take me.” Agatha frees Sophie as men in red hoods launch another attack; the girls run. At a fork in the path, they follow a blue butterfly until it disappears. Sophie feels that the loss of their happy ending is her fault, while Agatha blames herself. Just as Agatha is about to confess, a caterpillar pokes his head up and asks for their tickets. The butterfly called the Flowerground, a magical transportation system spanning Gavaldon. On the flowertrain, Agatha notices big groups of women traveling together, a mix of the beautiful and ugly, while men are scarce.


Sophie understands they cannot go home, and Agatha fears the deceased School Master is still somehow hunting Sophie. They see more red hoods, and a butterfly helps them escape. The girls enter a lush field and see the School for Good above them, but now the sign identifies it is a “School for Girl Education and Enlightenment” (65). The former School for Evil is now a school for boys, with four towers instead of its former three. The girls realize the School Master’s tower moved to Evil. Professor Dovey comes running from the girls’ school to retrieve them.

Part 1, Chapter 5 Summary: “The Other School”

Dovey is a fairy godmother who watches over Agatha. Months before, Sophie destroyed the main hall, but now everything is royal blue rather than blue and pink, and there are no boys anywhere. All the former artwork depicting knights and kings is replaced by art depicting women. Dovey leads them to Lady Lesso’s office, and Lesso tells the girls that their story’s end had consequences. Dovey passes them a book, and Agatha sees that the Storian started it with them breaking into the School Master’s tower. The book shows Agatha reviving Sophie with a kiss and Tedros reaching out for Agatha. The final page shows Tedros walking alone into the darkness. There are dozens of copies, and Dovey says it’s the only story people want now. Agatha and Sophie look down onto the Blue Forest and see thousands of men crammed into a dirty camp—all princes—and when they spot Sophie, they grow angry.


Dovey explains that choosing Tedros was the “correct” fairy tale, but Agatha—who once believed she was destined to become a witch herself—chose Sophie. After this, the Evil towers ejected the Nevergirls, who fled to Good, and the Evergirls welcomed them in the spirit of Agatha and Sophie’s friendship. Then, the Good towers ejected the Everboys, and the School for Good became the School for Girls. Princesses began to imagine a world without princes, and princes were magically evicted from their castles all over the country. Witches and princesses joined forces and took control. Now, instead of Nevers and Evers—or students of Good and Evil—boys and girls hate one another. In the vacuum left by the School Master’s death, Tedros became the boys’ leader.


The girls wonder why their book doesn’t say “The End,” and Dovey explains that the story has been “reopened” because one of them wished for a different ending. This wish has driven the school to the brink of war. Lesso explains that Agatha and Sophie must sincerely wish only for each other at the same time; then the Storian can write “The End.” Sophie realizes that Agatha must have wished for Tedros and that he heard it. Lesso explains that this opened the gates and allowed his forces to attack their village. Now, he’s stopping the Storian from writing “The End” to the girls’ tale because Tedros wants a new ending in which Sophie dies. Lesso casted a protective shield around the school, but the princes are eager to breach it and kill Sophie. Lesso explains that Agatha and Sophie must wish for each other again, completing their story, or Agatha must kiss Tedros, sending Sophie home. Just then, a beautiful woman enters the room, wearing a dress of blue butterflies. The woman introduces herself as Evelyn Sader, Dean of the School for Girls. She says the girls mustn’t keep their army waiting.

Part 1, Chapter 6 Summary: “Her Name Is Yara”

Dean Sader, with butterflies landing on her dress, says that Agatha and Sophie will lead the school. She says that the girls cannot trust each other now, but she will show them that “a girl without a boy is the greatest happy ending of all” (88). They see their army and a lovely new girl who doesn’t speak. Agatha tells Sophie she can fix everything by talking to Tedros, but Sophie doesn’t trust her. Agatha smacks away a blue butterfly while Sophie allows one to perch on her shoulder. Agatha doesn’t trust the dean, but Sophie does, and the dean presents them with gifts from neighboring princesses. Sader says the girls will win their happy ending as heroes do— by killing their enemy. They see Evers and Nevers together, and the students inform them of the changes. There is no more “beautification” in school; girls can wear pants, eschew makeup, eat cheese—essentially do whatever they want. Agatha and Sophie meet Yara, the beautiful girl who does not speak; she looks familiar, but she only squawks.


Sophie is thrilled to have fans again, but Agatha dreads war. She thinks it’d be Evil to stay. Sophie realizes that Agatha isn’t satisfied with a friend anymore; she wants a prince. Sophie thinks of her mother, who lost her happy ending to a boy. She feels the school is their only hope, but Agatha wants help discerning who is Good and who is Evil this time.

Part 1, Chapters 1-6 Analysis

In this section, narrative meaning is demonstrated through rapidly shifting settings. There is Sophie’s home, Agatha’s home, and the village of Gavaldon, from which the School Master at The School for Good and Evil used to steal two children every four years. This continued until he kidnapped Sophie and Agatha, who broke the curse when Sophie killed him and when Agatha chose Sophie over Tedros. Returning to Gavaldon together was once the girls’ goal, representing safety, friendship, and love. Now, when Agatha follows Sophie’s trail through the Endless Woods, she thinks of how “she and Sophie had seen what lay beyond the forest: a dangerous world of Good and Evil that had no end. They had been the lucky ones to return, sealing the gates between reality and fantasy forever … or so she thought” (48). After her wish, Agatha believes, the gates reopened, exposing the girls and their village to new terrors. This shift in Gavaldon’s safety underscores the novel’s interrogation of identity—just as the girls have changed, so has their perception of where they belong. Fairy-tale endings suggest a return to home as a place of finality, but for Sophie and Agatha, home is now a shifting concept, mirroring their internal conflicts. Both girls know they can never return to the safety of home, as it is no longer safe now that their wishes have changed it. This unsettled sense of home also reflects the instability of their relationship—what once felt certain and solid has become complicated and uncertain, just as their bond wavers between loyalty and betrayal.


Further demonstrating the importance of setting in narrative, the school becomes almost a character itself, comprising two very distinct, if altered, locations: the former School for Evers (fairy tale heroes), which is now the School for Girls, and the former School for Nevers (fairy tale villains), now the School for Boys. The girls’ school, which was once divided into pink and blue—the colors often associated with traditional notions of femininity and masculinity—is now exclusively royal blue, as if to signify the breakdown of these roles in the wake of Agatha’s rejection of the traditional happy ending with her prince, in favor of a friend and female witch. Though “Agatha had loathed the prissy princess pink […] seeing [the princess towers] turned the same color as the prince towers gave her an unsettled feeling” (59). The dominance of blue suggests that the old binary was dismantled, but rather than achieving balance, it was simply replaced with a new, equally rigid structure. Girls are now forced to reject traditionally feminine traits in the same way they were once forced to embrace them. Though this appeals to Sophie, Agatha’s discomfort with the settings’ changes indicates that the new ruling ideology could be just as damaging or restrictive as the old one. By arraying herself in blue, Dean Sader seems to embody this new world, a world in which girls “don’t need princes in their fairy tales at all” (73). Yet, the very fact that the Storian has not written “The End” suggests that happy endings are not fixed, singular moments but evolving journeys. These visual changes and open endings give Agatha pause, foreshadowing Dean Sader’s allegiance to patriarchy and the School Master.


The dean’s association with butterflies begins to reveal their symbolism as well as her role in the text. The blue butterflies’ actions are indicative of the level of manipulation and intervention Sader has in the girls’ story. One first appears on Sophie’s mother’s grave after Sophie wishes to see her again. The narrator notes the “curious[ness]” of the butterfly’s choice to settle there and the counterintuitive way a gust of wind ignites a nearby candle rather than snuffing it out, drawing attention to the creature’s magical provenance. Later, another butterfly mysteriously appears and shows the girls which path to take as they flee the masked men, and it guides them to the Flowerground. However, when the girls meet the dean, neither consciously connects these butterflies with the ones on her dress, though afterward, their varied treatment of the butterflies demonstrates a subconscious awareness. When Agatha and Sophie believe they are speaking privately, Agatha “smack[s] a blue butterfly on her shoulder” while Sophie “let[s] the butterfly perch on her” (90); likewise, Sophie claims to trust Sader “more than [she] trust[s]” Agatha (91), considering Lady Lesso’s revelation that Agatha wished for a different ending than the one she got with Sophie. The butterflies’ blue color connects them with the new world that Sader embodies. They are delicate, beautiful, graceful creatures—qualities often associated with women—but their blue hue now indicates that they can be powerful too. This underscores one of the novel’s major themes, The Fluidity of Gender, as Sader’s stated ideals push against the notion that gender roles are fixed. However, just as blue has overtaken pink in the school’s decor, her philosophy suggests a total reversal of the old order rather than true balance. Sader weaponizes these beliefs to ultimately revive the School Master, demonstrating a manipulation of The Fluidity of Gender that turns supposed empowerment into a tool for control. Rather than breaking down gender expectations, she reinforces them in a way that suits her goal of reinstating male power.


Already, the characters’ words and actions demonstrate The Fiction of Traditional Happy Endings. The traditional notion of a fairy tale happily ever after—often the final (and only) description of a prince and princess’s life together—is undermined early on by the conversation between Agatha and Callis, in which Agatha questions her lack of full happiness. Now that Agatha has made her nontraditional choice, however, anarchy ensues; rather than accept that there are multiple ways to secure one’s happy ending, women opt to banish men completely. Sophie and Agatha’s story now reads, “And [they] lived happy ever after, for girls don’t need princes for love to call … No, they don’t need princes in their fairy tales at all” (73). Lesso and Dovey assume it was Agatha’s wish for Tedros that allowed the girls’ story to be “reopened”—an event that destabilizes the entire notion of an “ever after” and renders magical life a great deal more mundane. The novel critiques the idea that a singular choice leads to permanent happiness. Real people do not simply meet another person and become uniformly happy for the remainder of their lives; they have arguments and disagreements. Sophie and Agatha’s unhappiness with their supposed “ever after” shows that it the idea of “happily ever after” is fiction. By showing the consequences of both Agatha’s choice and the world’s response to it, the text challenges the notion that there is only one true path to fulfillment. Instead, the text suggests that true happiness requires constant reevaluation, choice, and growth.

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