65 pages 2-hour read

Emily Wilde's Compendium of Lost Tales

Fiction | Novel | Adult | Published in 2025

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Themes

Stories as a Means of Creating Reality

The importance of stories in the universe of Faerie can be gleaned from an early conversation between Emily and Wendell: When Emily frets that she is unprepared to be a monarch because she knows only stories, Wendell asks, “and have you ever needed anything else? […] Hand you the right storybook, and you are capable of anything” (23). Wendell’s remarks to Emily here stress the fact that in Faerie, stories constitute practice; they are not just entertainment but also templates for reality. Of course, the importance of stories in Faerie can also be read as an allegory for the centrality of folklore in the real world. Folktales persist across generations because they convey aspects of human experience that are otherwise difficult to speak about. Folktales teach people how to understand themselves within their specific cultural contexts, and as such they can either reinforce or challenge existing power structures. By placing emphasis on storytelling as a means of shaping reality, rather than merely representing reality, the novel raises questions about the relationship between narrative, power, and truth.


The importance of stories in creating and changing reality is evident in Emily’s use of the Macan stories to understand Wendell’s position in the political world of Silva Lupi. Emily uses these stories first to repeat a historical cycle and then to break that cycle. While the first Macan story is meant to be followed more literally—the old Macan eats snail-head mushrooms, while Arna likes snails, and a boggart is crucial in both story and reality—the second Macan tale is more an allegory about the cyclical nature of greed and vengeance. The insight Emily draws from the second Macan story is that the pattern perpetuated by the first tale must be broken. Emily’s insistence on seeking a way out through the Macan story shows how one story alone cannot provide the full truth. Niamh points this out to Emily when she says that depending on a single story is “fruitless parochialism” (294). The Macan story has shown Emily the pattern in which Silva Lupi is caught, but to break this pattern, she must seek another narrative.


Niamh’s comments about fruitless parochialism tie in with the text’s examination of the relationship between narrative, power, and truth. Focusing on limited stories enables old power structures to outlive their usefulness and presents only partial truth. A multiplicity of stories, on the other hand, helps regenerate new structures and reveal the truth from different angles. For instance, the Macan stories do not include a mortal character, as they are set in the old ways. To create a new reality, the mortal Emily must look at stories where a mortal is the hero. In these stories, the very fragility of mortals becomes the source of their power: Because mortals are so breakable, risking their lives creates powerful magic.

Leadership as Sacrifice

Wendell returns to Silva Lupi at an especially fraught moment in the realm’s politics. A king more adept at sewing than swordplay, he brings with him a rare mortal queen, deposing an incumbent monarch who prefers to poison the land than abandon it. With so much in flux, the true meaning of leadership may involve questioning the very definition of rule in Silva Lupi. Through Wendell and Emily’s transformation into powerful, capable leaders, the text shows how leadership involves embracing the new, letting go of old vendettas, and most importantly, rallying the courage and capacity for sacrifice.


Emily’s status as an outsider—a gifted mortal, adept at recognizing the patterns of Faerie—suggests that her and Wendell’s reign will be different from those of their predecessors. Because Emily is not immersed in court politics, she can view it dispassionately, prioritizing what is best for the realm and its people, rather than just the courtly Fae. Through Emily’s benevolent intervention in the world of Silva Lupi, the text suggests that an outsider may often make the best monarch or leader, bringing a measure of objectivity to her decision-making.


Emily’s recognition of the political and social patterns of Faerie enables her to diagnose the biggest problem in the realm, which is its history of vendetta. The succession politics of Silva Lupi, as various characters stress, is soaked in blood. While Wendell’s father murdered his own mother for the throne, his second wife—Queen Arna—killed Wendell’s five siblings and his father to become sole ruler. Emily calls the court a viper’s nest, while Taran dubs it a den of wolves. Given this state of affairs, merely murdering Arna to instate Wendell on the throne will be, at best, a stop-gap solution. More importantly, the land will suffer in the process, despite the curse having been lifted. After all, according to the second Macan tale, the curse returns in the form of the leader’s bloodthirstiness. Since in Faerie, the land and the leader are fused in myriad ways, the corruption of the king will always sicken the land. Emily knows that Wendell will have to forgive Arna in order to do the right thing for himself and his people.


While Wendell opts for forgiveness extremely begrudgingly—he is not as ready as Emily to forgive Arna, or even Taran or Deilah—he proves a true leader in other aspects. He respects all his people, not just the nobility, and he is willing to sacrifice his life for the good of the realm. Faerie nobility are typically dismissive if not overtly cruel toward the oiche sidhe. For instance, when it comes to questioning the butter faerie, the Lady in the Crimson Cloak doesn’t hesitate before suggesting the creature be tortured. Similarly, early in the novel, the brownies tell Wendell that the fights of the nobility have disrupted their world, but the courtly Fae simply don’t care. The novel shows that Wendell is different from this mold, perhaps because his mother was one of the oiche sidhe. Not only does Wendell treat the oiche sidhe respectfully, but Emily notes by the end of the novel that the common Fae are so happy with this treatment that a retinue never leaves Wendell’s side.


As Emily and Wendell grow into their roles as leaders, they realize that the truest responsibility of leadership is sacrifice. While for Wendell that sacrifice takes the form of his death and rebirth, for Emily it involves putting aside her fears and making a perilous, heroic journey into the Veil. Although Emily believes she is undertaking the journey to save Wendell in the long run, the text suggests that the journey’s purpose is also to restore the skewed balance in Silva Lupi and truly, lastingly healing the land. Once Emily makes this sacrifice and returns to Silva Lupi with Arna, she notes that the Fae treat her differently, recognizing the power into which she has grown.

The Transformative Power of Love

In a quote illustrating the theme of love’s power, Lord Taran tells Emily that after centuries of being bored of politics, vengeance, and parties, he has learned that only one thing keeps his interest: “And that is being in love. All else is ash and ember” (260). Such a heartfelt declaration seems at odds with Taran’s blase demeanor, which is precisely why it reflects the transformation wrought by love. In a similar vein, Taran tells Wendell that he disagrees with the king’s decision to spare Arna but cannot fault him for carrying out his wife’s whim. Upset at her careful decision being termed a “whim,” Emily does not linger on the subtext of Taran’s statement, which is that there is nothing wrong with complying with one’s partner. Taran can speak so confidently about love because of his own abiding affection for Callum Thomas. By making ironic and disinterested Taran the mouthpiece for love’s power, the text doubles down on that very theme.


Love reveals aspects of each character that are otherwise hidden. Just as it reveals the romantic and idealistic side of the typically cynical Taran, love reveals that the seemingly bookish, intellectual Emily is also capable of passionate physicality. Despite Emily’s cool exterior, she frequently confesses to being moved by Wendell’s beauty. Physical desire is a huge component of Emily and Wendell’s love for each other, with Emily making references to their shared intimacy. When Wendell suggests “a different form of distraction” (279), Emily notes she has no objection to his suggestion. Later, she describes their room as being scattered with their clothes, and her mouth “feeling bruised” (281) with kisses, “but pleasantly so” (281). For his part, Wendell might seem like a playful, vain prince—a variation of the trope of the handsome rake—but is a thoughtful and ardent partner who values and misses Emily. Through the transformative power of love, each character turns out to be more than they first appear.


Emily and Wendell each embark on a journey to a waste land or limbo for the sake of their loved one. Each of these journeys serves as a metaphor for love’s transformative power. The dead realms constitute a test for the protagonist; they’re able to navigate it because of the power of love—Wendell sacrifices himself so Emily and his realm can live, Emily’s dog Shadow drags Wendell back, while Emily enters the Veil willingly, so Wendell does not meet the fate of the second Macan. While romantic love is an important element in the plot, the novel also stresses the power of other kinds of love. Emily’s love for Shadow is an example of such love, as is Lilja and Margret’s concern for Emily. Love even transforms Deilah—after Emily shows the teenager kindness, she softens toward her and Wendell. Bridging the boundaries between faeries and mortals, people and animals, love creates found family across the realms, proving to be as good a portal as any Faerie door.

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