Emily Wilde's Compendium of Lost Tales

Heather Fawcett

65 pages 2-hour read

Heather Fawcett

Emily Wilde's Compendium of Lost Tales

Fiction | Novel | Adult | Published in 2025

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Chapters 8-15Chapter Summaries & Analyses

Chapter 8 Summary: “9th January”

The sight of Wendell’s blood healing the land confirms Emily’s worst suspicions: In Faerie, the monarch is tied inextricably with their realm, and the only way to save Silva Lupi is for Wendell to die. When Emily shares her theory with Wendell, much to her annoyance, he does not despair. He hugs her and expresses confidence she will find a workaround. In any case, even if he does die, Emily will be the next ruler, and a far better one than he. Emily leaves for Trinity College, Dublin to research possible solutions to their conundrum.


As Emily spends all her time at the library, Wendell writes to her, asking her to return shortly since he misses her. Emily is moved by the letters but worries that Wendell is leaving out the troublesome things that may be happening in Silva Lupi. On her fourth day in Dublin, Emily runs into Dr. Farris Rose, her colleague from Cambridge, and her niece, Ariadne.


Delighted to meet Ariadne, Emily tells her and Farris all about the curse in Silva Lupi. Apart from Wendell’s death, the only other way to stop the land from being poisoned is to stop the poisoner, but the problem is that Queen Arna has hidden herself so deeply in Silva Lupi that she cannot be found. Arna’s ruse of poisoning the land through herself is a stroke of genius, as the end of Wendell’s life will heal her as well. Emily wants to find a solution to the conundrum by researching stories. Emily believes stories hold the clues to most problems in Silva Lupi. Her new project is to collect “lost” stories, stories even the Folk have forgotten, so she can get a full picture of the realm of Silva Lupi.

Chapter 9 Summary: “11th January”

Farris and Ariadne join Emily in her research to find lost stories that support her hypothesis about curing Wendell’s realm. The decisive story Emily locates is an obscure version of a faerie tale called “King Macan’s Bees” (163). In the story, a minor Faerie lord inhabits a mound called King Macan’s tomb. As time goes on, he begins to be known as King Macan, though the lord is not royalty. The lord now considers himself King Macan and shows off his castle within the mound. One winter night, a deposed prince, who is now a peddler, seeks refuge at Macan’s castle. The prince enjoys Macan’s hospitality and then bludgeons Macan in his bed later that night. Throwing Macan’s body in a nearby stream, the prince assumes Macan’s title and marries Mona, Macan’s wife. However, the first Macan is not dead.


Badly injured, the first Macan crawls to the shore and curses the mound and its inhabitants, then continues to live in the land as the curse itself. The inhabitants of the land are wracked by ghoulish nightmares. The second Macan and Mona search for the first Macan so they can kill him and lift the curse, but to no avail. Finally, they question the first Macan’s personal servants, who reveal three crucial clues about the whereabouts of the old Macan: His favorite dish was snail’s head mushrooms, he often withdrew to a secret palace, and a nearby boggart may know of this place. On the condition that the second Macan and Mona allow him to reside at their castle, the boggart leads them to the old Macan’s secret lair, where he has been dwelling all this while. The second Macan kills the first, and the land is restored. But just as the second Macan exits the secret palace, a swarm of bees, loyal to the first Macan, surround and kill him too. The boggart becomes the third Macan. Mona marries him and the two live in the first Macan’s castle in relative harmony.


Emily believes this story holds the clue to finding Arna and healing the land. She decides to leave for Silva Lupi via County Leane, Corbann the next day.

Chapter 10 Summary: “12th January”

The morning of Emily’s departure by train to Corbann, Farris invites her for a private breakfast. He confesses that his presence in Dublin was not a coincidence; he has been tracking Emily for a while, as he needs to share something important with her. Farris hands Emily old journals, with handwriting similar to hers and bearing her initials. She realizes that the journals belonged to her grandfather Edgar Wilde, who was always interested in Faeries and died of a heart attack when Emily was very young.


Farris reveals that he and Emily’s grandfather were close friends, and he knows how Emily’s grandfather really died. Emily’s grandfather is the friend of whom he has told Emily in the previous books: the human who was besotted with a faerie, followed her into the faerie realm, and was attacked by her kinsfolk. Hung by the beard from a tree, Edgar died from his injuries in Exmoor. The journals are a record of his last days: thankfully, they don’t contain anything grisly, as Edgar did not anticipate the attack. However, the very fact that the attack was so unpredictable says a lot about the nature of the Folk. Farris wants the journals to serve as a warning for Emily before she marries Wendell.


Emily is shocked at Farris keeping such important secrets from her. She tells him that Wendell is a different person from the woman with whom her grandfather fell in love. Farris implores her to read the journals before she commits to taking a throne in Faerie. Emily leaves in a bad mood but takes the journals with her.

Chapter 11 Summary: “12th January—Late”

Emily immerses herself in Edgar’s journals on the train to Corbann. The entries suggest that he did not know he was in danger; he describes grand banquets he attended in Faerie and makes fawning references to the Faerie who enchanted him, the lady from Exmoor.


In County Leane, Emily drops in to say hello to Lilja and Margret and is overjoyed to see Wendell waiting for her at the cottage. She and Wendell dine with their friends, after which Lilja shows Emily her exquisite wooden carvings of Poe, the needle-teethed faerie who was a tremendous help to Emily in Ljosland. As Emily admires the sculptures, Lilja too shares her misgivings about Emily taking up a throne in Faerie. Having suffered at the hands of the Hidden Ones—the capricious faeries of Ljosland, Lilja knows how unsafe mortals are in the company of the Folk. Worse, Folk are easily corrupted by power, so Wendell himself may change after he becomes king. Emily reassures Lilja that Wendell is trustworthy. Later, she shares the conversation with Wendell, who tells her that he understands Lilja and Farris’s doubts. Wendell suggests he give his true name to Emily, granting her power over him, but Emily refuses.


When Emily and Wendell return to Faerie, they find that the door has shifted from Wendell’s quarters to the forest outside. As they walk toward the castle, they notice the same dark mist that had engulfed the yew grove. Half the castle and the grounds have been infected by the curse. Emily and Wendell rush toward the castle.

Chapter 12 Summary: “13th January”

Wendell wounds his hand so his shed blood can drive the curse away from the castle grounds for now. An emergency meeting of Wendell’s council is called in the banquet hall so Emily can share the story of King Macan. Niamh agrees that the story holds vital clues in the search for Arna. Scouts are sent to locate Arna’s loyal servants for questioning. As the councilors discuss next steps, there is a deafening sound of rustling leaves from the bloody oaks that have gathered outside the banquet hall. Wendell telepathically communicates with the oaks, and they quiet down. Taran is surprised at Wendell’s power over the sentient trees, since the last monarch who shared such a connection with them was his great-grandmother. Meanwhile, a guard returns with the news that he has located a butter faerie who made Arna breakfast every day.


The terrified faerie is hiding in a tree. Niamh tells Emily that the faerie’s kind are from Somerset, which reminds Emily of something she cannot yet recall. Meanwhile, The Lady in the Red Cloak suggests torturing her for answers, but Emily dismisses the bloodthirsty suggestion. Instead, Emily suggests questioning the tiny, plump faerie in her home—a creamery under the palace—to put her at ease. Wendell reassures the little faerie that she will not come to harm, and she leads them through endless caverns into her underground creamery. She shows Wendell one of Arna’s breakfast favorites: snails with silver stripes that Arna herself brought from her long walks. The snails are found exclusively on islands, which suggests that Arna’s secret palace may be on an island. Since there are no islands nearby, Emily believes the snails may have come from the far-flung coast of Wendell’s kingdom.


Niamh pulls Emily aside for a query: in the Macan story, the second Macan also dies, stung by bees. She wonders if Wendell will have to die as well. Emily tells Niamh she hopes such a thing will not be required. Emily has read one iteration of the Macan tale in which the second king lives.

Chapter 13 Summary: “17th January”

The second clue arrives via Arna’s hairdresser, the same faerie who has been doing Emily’s hair daily. The fairy demands Wendell triple his pay in exchange for his divulging Arna’s secrets, to which Wendell reluctantly agrees. Though the hairdresser fairy does not know where Arna is now, he recalls that her hair would be frequently tangled with horn-like thorns, indicating that she often visited a place thick with thorny vines.

Chapter 14 Summary: “18th January”

The third clue takes much longer, with interviews from the attendants yielding no answers. Wendell finally suggests reaching out to a boggart, just like the boggart in the King Macan story. Emily, Wendell, and the rest of the council head to the Gap of Wick, a narrow pass between mountains in the hinterlands of Wendell’s realm, where the kingdom’s only boggart lives.

Chapter 15 Summary: “18th January—Late”

Emily brings Edgar’s journal on the treacherous ride to the gap, paying more attention to her grandfather’s descriptions of his fairy lover. Like Wendell, the fairy is golden-haired and beautiful, but the similarities end here. Prone to anger, the fairy kills her enemies at the smallest slight. In fact, Emily’s grandfather writes, she has sent so many to their deaths that she is familiar with the little-known Door to Death.


Meanwhile, Emily and the others arrive at the hill in the pass where the boggart’s stone tower is located. On their way to the tower, they pass a field strewn with the remains of humans: killed no doubt by the treacherous bogles or goblins who reside in the area. The boggart—which takes the forms of other entities, itself being bodiless—appears as a courtly Fae, with a face that is a mishmash of Wendell and Taran. The boggart complains about its surroundings and insults Wendell and his biological mother and stepmother. However, when the boggart disparages Emily, Wendell uses a terrible voice to stop him. Capitulating to Wendell’s authority, the boggart agrees to help him on two conditions: that he be allowed to live in the castle with the rest of the courtly Fae and that a great banquet with music be held on his arrival. An annoyed Wendell agrees. The boggart reveals that Arna’s hideaway is an island. Emily responds that they already know this (as the snails Arna favors are only found on islands). The boggart must give them a different clue. The boggart relents and fetches a piece of sailcloth with which Arna once bandaged her injured knee.


The courtiers look at the sailcloth in puzzlement, till Taran recognizes it from one of the sailboats of Silva Lupi. The nobility sail these boats on Lake Silverlily on summer days. This suggests the island is in the lake itself, though visibly the lake contains no islands. Wendell thanks the boggart for the clue and promises to invite him to the castle once Arna has been defeated.

Chapters 8-15 Analysis

Through Emily’s quest for a tale to save both Wendell and his realm, this section explores the key theme of Stories as a Means of Creating Reality. Emily looks to stories for solutions because if a solution exists in any iteration of a story, that solution in possible Faerie’s reality. In Faerie, the laws of story are as unbreachable as the laws of physics in the real world. Just as the laws of physics build the real world, story knits together the fabric of Faerie reality. The text indicates that most stories from Faerie, which mortals collect as Faerie tales, also contain a hidden truth or lesson. The Macan story, for instance, can be read as a story about the futility of greed and power. Though the second Macan manages to kill the first and heal the land, he himself does not survive. The only winners in this story are the boggart—who acquires the land by a rightful bargain—and practical, observant Mona. Although Emily does not see it yet, the Macan story is actually a cautionary tale about usurping the rights to a land: both Macans suffer because they seize what rightly belongs to someone else. Niamh guesses as much when she tells Emily she is not satisfied with the end of the story of Macan and the bees.


The Macan story is tied up with another important theme: Leadership as Sacrifice. Leadership involves not only power and possession, but also sacrifice, as Wendell will learn over the course of the book. The blood Wendell sheds to heal the land is an important symbol of the cost of being a true leader. Being a true leader also involves forgiveness, which is a difficult quality for Faeries to embody. As Emily notes, Fae find it difficult to forgive slights. This is why Wendell continues to complain to Emily about Deilah—he cannot let go off the fact that his sister is associated with his murderous stepmother. At the same time, the text foreshadows that Wendell will grow into the role of a merciful monarch: He has already spared Razkarden—the gargoyle who was sent to kill him—in the second book of the series.


Though Emily and Wendell spend a portion of this section apart from each other, Wendell’s letters to Emily, and her commentary on the letters, illustrate the unique, heartfelt dynamic between them. In a reversal of traditional gender roles in romance narratives, Wendell is presented as the emotional, playful, and impractical partner, whereas Emily is more taciturn and serious, given to far fewer shows of affection. For instance, when Emily hugs Wendell at the cottage in Corbann, Wendell teases that “this is only the second time” she has greeted him “with enthusiasm” (180). Further, while Emily is indifferent to her attire and appearance, Wendell loves to pay attention to his looks. He is always shown in imaginative and regal garments, in contrast to Emily, who wishes to be dressed in the simplest clothes. Wendell is described as superlatively gifted in the craft of sewing, carrying his exquisite needle-case everywhere: The sewing—traditionally considered a feminine pastime—creates powerful magic. Wendell sews his cloak so that it is a hungry beast, while Emily’s cloak has a bit of the Veil in it. Thus, the text reimagines gendered dynamics and pastimes.


The dynamic between Emily and Wendell illustrates the theme of The Transformative Power of Love, since it shows how ready each protagonist is to change for the other. Wendell dislikes Emily’s absence but facilitates it himself to give her space. Emily forces herself into dressing the part of the Faerie queen to project power for Wendell’s sake. Their dynamic lends humor to the staid environment of the Faerie court. For instance, on Wendell’s tendency to omit information about Faerie politics in his letters, Emily wryly notes that perhaps he “does not consider the information as relevant as […] Margret’s […] mastering traditional Irish baked goods” (147). The humor is also enhanced by Emily’s distinctive, exasperated narrative voice, and her unwillingness to suffer fools. Reading her grandfather’s journals about the enchantress from Exmoor, Emily waspishly notes that he calls her “beauty incarnate […] ethereal wanderer […] and other fawning terms” (179). Of course, the irony that Emily sometimes similarly describes Wendell adds gentle irony to the humor of these observations. Another feature of Emily’s distinctive narrative is that she sometimes begins her journal entries in medias res, or in the middle of the action, instead of following a linear chronology. As an example, she starts Chapter 8 ensconced in the library at Trinity, and then details the conditions of her arrival there. Adding suspense to the proceedings, this literary style also ensures some play with chronology within the structured format of the journal.


Edgar’s diaries are an example of Heather Fawcett’s use of foreshadowing in the novel. The diaries emphasize the motif of the dangerous, unpredictable side of Faerie folk. Emily notes that her grandfather was wholly unaware of the terrible fate that was to befall him, with his last entry noting his plan to walk to the sea the next day. By illustrating Edgar’s naivete, the text sets up an ironic parallel between him and Emily. While Emily gently mocks her grandfather’s hyperbolic praise of the Exmoor beauty, she is unaware of the irony in the fact that she herself often thinks of Wendell as superlatively gorgeous. The text shows Emily and Edgar as mirror images to enhance the danger which Emily faces, and possibly ignores, to her peril.


The novel emphasizes Emily’s heroism by juxtaposing Emily’s outsider status as a mortal against the sheer power of the faeries. Emily is a hero because she fights for those she loves despite knowing she is fragile and perishable, like all mortals. The motif of the imperiled mortal is evident in the way Faerie folk sometimes treat Emily: In the previous section, Deilah terms Emily mousy and timid, while Taran claims a mortal queen is a whole new low for Silva Lupi. Further, signs of the mistreatment of mortals abound everywhere in Faerie: the path to the boggart’s house, for instance, is strewn with human bones. Emily’s grandfather was hung on a tree to die. The ever-present danger raises the stakes for Emily, but also foreshadows a satisfying pay-off. When Emily does become Queen of Faerie, her power will be well-earned.


Lilja and Margret’s warnings to Emily about marrying Wendell illustrate the text’s thematic concern with the limits and dangers of scholarly curiosity. When Emily tells the couple that she knows how to deal with the dangers of Silva Lupi because she has studied the patterns and stories of the realm, they caution her that stories are not enough to know the land and its people. Further, their warnings carry the suggestion that Emily may be going too far in her research, immersing herself in dangerous territory to gain access to her research subjects. In the earlier section, Lord Taran warned Emily that trying to understand the nature of Faerie was a futile pursuit, to which she replied that so is attempting to reach the stars, but humans must try nevertheless. Emily counters Lilja and Margret similarly: To be human is to yearn to discover, even though the cost may be high. The question of whether Emily’s position is correct is left open-ended. In this ambiguity, the novel borrows from the dark academia genre, which features the ominous side of singular intellectual pursuits, often blurring the boundary between scholar and subject.

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