68 pages 2-hour read

Raven Kennedy

Gleam

Fiction | Novel | Adult | Published in 2021

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Chapters 9-16Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of graphic violence, physical abuse, emotional abuse, sexual violence and/or harassment, and substance use.

Chapter 9 Summary: “Auren”

Auren wakes to the sound of yipping dogs. From her balcony, she watches two handlers prepare a dogsled team for a hunt. As the dogs race toward the mountains, she feels a pang of jealousy for their freedom. After getting dressed, she discovers her bedroom door is locked from the outside. The locked door triggers a panic attack, reminding her of her cage in Highbell, but her ribbons wrap around her to help her breathe and calm down.


Auren pounds on the door until Scofield answers from the hall. He refuses to open it on Midas’s orders and claims he doesn’t have the key. When she asks him to fetch Midas, Scofield says the king anticipated that request and ordered him to refuse. Deciding to escape via the balcony, Auren leans too far over the railing while scouting a path down and accidentally falls. Her ribbons shoot out instinctively and catch her, leaving her dangling three floors up.


Lu, one of Rip’s group of elite soldiers named his “Wrath,” appears below and teases Auren about her predicament. When Auren loses control of her ribbons, she falls face-first into the snow, accidentally leaving a golden faceprint that she frantically covers before Lu can see it. The tension between them becomes clear when Lu expresses disappointment that Auren returned to Midas, saying she thought Auren was better than that. Hurt by the loss of Lu’s respect, Auren considers revealing her escape plan but decides against it. As Lu leaves, she warns that Ranhold’s security is abysmal.

Chapter 10 Summary: “Auren”

Auren sneaks around Ranhold’s grounds, confirming Lu’s assessment of the poor security. Her mind drifts to Rip, his Wrath, and the secrets they keep, and she admits to herself that Rip hurt her heart more than her pride.


At the stables, she spots King Ravinger watching a horse. He senses her presence. Auren then notices a second figure beside him wearing Rip’s full armor and spikes—a body double. Ravinger subtly warns her away just as guards approach. She flees up a decrepit staircase and through a door into an unused antechamber.


Using one of her ribbons to pick a lock, Auren enters the royal library. Deciding it’s the perfect place to hide things, she takes out three stolen items—an apple, a guard’s pipe, and a servant’s rag—and turns them all to solid gold with her bare hand. She hides the pipe and rag on a high, dusty shelf and pockets the apple. While exploring, she discovers a small, forbidden book titled Fae on a chained shelf and slips it inside her coat.


Hearing footsteps, Auren flees deeper into the library but stumbles upon an old scribe working at a table. He angrily confronts her, stating she has no permission to be in the royal library because she is neither noble nor royal. He insults her and orders her to return to the saddle wing, threatening to call the guards. Auren quickly exits.

Chapter 11 Summary: “Auren”

After hours of sneaking through the castle, Auren locates the saddle wing. She bluffs her way past two guards by acting offended that they would bar Midas’s favorite saddle from her own wing. Inside, she finds a decadent common room where saddles lounge in hanging chairs and on plush cushions. She feels a pang of jealousy for their community.


Auren approaches a group that includes Polly, who sneers at her dress, and a male saddle named Rosh. When Auren asks for Rissa, Polly reacts with jealousy. Polly mentions dew, a drug that relaxes users and heightens sexual desire. Midas gave her a private stash for pleasing him the previous night. Auren feels only disgust, not jealousy. Rosh points out King Fulke’s former saddles slumped in a corner, heavily drugged and nearly catatonic. Midas has continued supplying them with dew.


Rissa appears and leads Auren to an empty bedroom for privacy. Rissa confirms she doesn’t use dew. Auren proposes that instead of buying her freedom, which Midas would never allow, they will escape together. She will use the library to find castle blueprints and map an escape route, while Rissa will arrange transportation. Rissa demands regular gold payments to ensure Auren’s commitment. Auren gives Rissa the golden apple as the first payment. They shake hands.

Chapter 12 Summary: “Auren”

Leaving the saddle wing, Auren encounters Scofield in the corridor. She manipulates him into escorting her back quietly by pointing out that Midas would blame him for her absence. When they reach her room, they find Midas waiting inside.


Midas confronts Auren about leaving her room. They argue, with Midas insisting he locked her in for her protection and Auren refusing to be caged. She says she will gild whatever he wants, but not if he locks her away again.


Midas reveals new leverage. He produces a grimy, golden guard’s pin from Highbell and tells Auren that her former guard, Digby, is alive and in his custody. He claims Digby was punished for failing to protect her from capture. Devastated, Auren demands to see Digby, but Midas refuses, saying she can only visit him when her behavior improves. As a compromise, he allows her to wander the castle with guards after dusk but insists she stay in her room during the day.


After Midas leaves, Auren collapses in tears. Though she doesn’t know if he’s lying, she cannot risk Digby’s life. She vows to find her guard and take him with her when she and Rissa escape. Auren takes out the forbidden book titled Fae and studies its wordless illustrations of Annwyn—her forgotten homeland. The final page shows a fae male wearing an onyx crown embracing an Orean woman, with the fae word Pāyur painted below them. She falls asleep dreaming of the couple.

Chapter 13 Summary: “King Midas”

Midas walks through Ranhold’s dungeons. He climbs to the level above and enters a steam-filled room where workers cultivate dew plants. He meets with the castle’s mender, who oversees the operation. Midas confirms all saddles have been given contraceptive tonics and asks about a pregnant saddle, demanding regular reports on her condition.


Leaving the lower levels, a guard hands Midas a missive bearing Queen Malina’s seal. Reading it, Midas becomes furious—Malina is refusing his plans. He immediately heads to an outdoor training ring and enters the attached armory. After dismissing the soldiers, he orders a man to fetch Hood.


Hood arrives, a man with vitiligo who always wears a cloak and hood. Midas knows from Fulke’s records that Hood possesses shadow magic that allows him to disappear in plain sight. When Midas asks Hood to demonstrate, the man morphs into a wraithlike form of translucent smoke and shadow. Impressed, Midas orders Hood to assassinate Queen Malina. Hood accepts the assignment and departs silently.

Chapter 14 Summary: “Auren”

For four days, Auren has been gilding Ranhold Castle for Midas, draining her power to the point of near collapse. Exhausted, she tells Midas she cannot do any more. He notes the throne room’s chandeliers are not yet gilded and says they will finish tomorrow, just before Third Kingdom’s arrival. He feigns an apology for overworking her, offers her a day of rest, and promises she can visit Digby if she continues behaving well until the celebratory ball.


Midas begins escorting the exhausted Auren back to her rooms. In the grand entrance, they encounter Prince Niven, King Fulke’s young son, dressed in mourning black. The arrogant boy examines Auren with curiosity and boasts about his future magical power. He dismisses Midas’s attempt to escort Auren personally and orders Midas’s guards to do it instead. Annoyed, Midas leaves with the prince.


Auren is too exhausted to climb the stairs and nearly collapses against the railing. Rip appears. He berates Midas’s guards for their incompetence and dismisses them. Alone with Rip, Auren feels an undeniable connection despite her exhaustion.

Chapter 15 Summary: “Auren”

Rip asks if Auren is all right. She starts laughing hysterically. When she tries to walk, her legs give out. Rip catches her, his spikes retracting instantly. Auren warns him against touching her, but he dismisses her concern and flirts with her. In her depleted state, she accidentally confirms that her power only works during the day. Rip assures her his intention is never to use her.


As they near her floor, Auren asks him to put her down before Midas’s guards see them. Rip angrily states he doesn’t care if Midas knows. He stops on a landing and sets her on the railing, stepping between her legs to face her directly. With one hand gripping the base of her head, he expresses his feelings but asserts they weren’t one-sided. He demands to know if she still chooses Midas.


Auren is overwhelmed, unable to answer. Terrified of being hurt again, she whispers that she can’t give him an answer. Rip pulls away, cold and disappointed. Auren is hurt.

Chapter 16 Summary: “Auren”

Rip picks Auren up again, but his hold is now impersonal. Auren clarifies that she doesn’t choose Midas anymore—she’s choosing herself. Rip falters but doesn’t respond. He carries her into her room and places her in a chair.


Auren assumes he’s left, but Rip returns after rekindling her fire and brings a tray of food. She impulsively grabs his arm and asks him to stay and eat with her. He is amused and agrees to stay. After eating, it begins to snow.


They acknowledge they’re both angry with each other. Rip remarks that they may be the last two fae in the world and that fate brought them together. When she asks why he keeps her secrets, he replies it’s because it suits him to do so. The answer reminds her he’s a king with his own motives. He insists she can trust him and asks her to let him prove it.


Rip stands and morphs from his spiked form into his King Ravinger form with pale skin and green eyes. In his king’s form, he tells her he’s glad she’s choosing herself because he’s choosing her too. He kisses her passionately. Her ribbons unwind and wrap around him. He morphs back into Rip and says good night. She calls him by his real name, Slade, for the first time, pleasing him as he leaves. Alone, Auren hopes he will prove himself trustworthy.

Chapters 9-16 Analysis

These chapters establish the psychological and physical confines of Ranhold Castle, using the setting to explore the theme of The Illusory Safety of Imprisonment and Isolation. Midas’s act of locking Auren in her room directly parallels her literal caging in Highbell, triggering a panic attack that underscores her trauma. The absence of a bolt on her side of the door symbolizes her lack of agency, which prompts her risky escape attempt via the balcony as a rejection of any form of imprisonment. The narrative then expands this concept of confinement when Midas reveals Digby is alive and being held as leverage. This act replaces a physical cage with a psychological one, making Auren’s freedom of movement contingent on her obedience. The entire castle is reframed as a prison where the walls are built of threats and manipulation, exposing Midas’s claims of providing “safety” as a means of subjugation.


The narrative contrasts two distinct applications of Deception as a Tool of Power and Control through the characterizations of Midas and Slade. Midas’s deceit is a direct means of coercion; he withholds the truth about Digby, manufactures a narrative of protection to justify Auren’s confinement, and provides the saddles with a drug called “dew” to ensure their compliance. Polly’s admission that Midas rewards her with the drug because “[I] pleased him immensely” reveals the transactional nature of his power (172). In contrast, Slade’s deception operates on multiple levels. His use of a body double and the maintenance of two personas, Commander Rip and King Slade Ravinger, is a strategic concealment of identity rather than a tool for exploitation. Although Auren initially perceives his hidden identity as a betrayal, Slade tries to persuade her otherwise. He uses his ability to transform not to control but to prove his authenticity, showing that the warrior and the king are integrated parts of a whole. His climactic kiss with Auren, in which he shifts forms, is a deliberate act of revelation intended to build trust.


Auren’s journey toward The Reclamation of Intimacy and Consent is charted through her experiences in the saddle wing and her developing relationship with Slade. The saddle wing functions as a microcosm of Midas’s influence, where intimacy is performative and chemically induced. The drugged state of the saddles illustrates a loss of agency in which desire is mandated rather than felt. This environment stands in stark opposition to the connection between Auren and Slade. His act of carrying her when he finds her exhausted on the stairs is one of protective, non-sexual intimacy—a form of physical contact devoid of the possessiveness she has known. Their subsequent kiss on the balcony is a moment of reclamation. It is an act born of mutual desire, entirely separate from the power dynamics that define her relationship with Midas. By choosing to kiss Slade, Auren exercises a form of consent that has been denied to her, signaling a step in separating her identity from her role as Midas’s “favored.”


The internal architecture of Ranhold Castle is deployed symbolically to map Auren’s psychological journey. Her bedroom, first a site of imprisonment, becomes a base for reconnaissance and escape planning. The royal library, a space of forbidden knowledge, represents a link to her suppressed fae heritage. Her decision to hide gilded objects within its shelves is an act of taking control of her power, preserving it for her own purposes. The balcony serves as a liminal space between confinement and freedom. It is the site of her failed escape, her confrontation with Lu, and the kiss with Slade, marking it as a stage for her evolving self-awareness and agency. Each location Auren navigates contributes to her struggle for liberation.


Internally, Auren grapples with the emergence of a new anger, a “dark beast” that rises in response to Midas’s provocations. This rage is both a source of power and a point of fear, as she worries about losing control. Her physical exhaustion after days of forced gilding mirrors her emotional depletion, pushing her toward a breaking point. Her developing relationship with Slade complicates this internal conflict, forcing her to confront her distrust of powerful men. A key moment in her development occurs not when she chooses between the two kings, but when she declares her own sovereignty. Her admission, “I’m choosing me” (246), marks a shift in her character from a passive object defined by others to an active agent determined to forge her own path.

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