70 pages • 2-hour read
Raven KennedyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide contains discussion of sexual content, graphic violence, illness, and death.
Weeks after the Conflux, Slade spars to help him sleep, with Ryatt joining to establish his new command. Osrik joins. Despite rain and mud, Slade defeats his opponents. Ryatt notes his exhaustion. Keg, the army’s cook, joins them with Judd, teasing Slade about his unsteady condition.
Slade spent the morning attempting to open a rip before sparring, worsening his exhaustion and chest pain. Ryatt helps him to his timberwing, Crest. At Brackhill, Slade collapses onto his bed, clutching Auren’s gold ribbon. He falls into a deep sleep and dreams of Auren. When she touches the rotting spot on his chest, the pain vanishes.
Slade wakes to Osrik, Ryatt, Judd, and Hojat surrounding his bed. He has slept for three days. The skin over his heart is swollen, blackened, and peeling. Hojat applies foul-smelling salve. Osrik and Judd are upset that Slade hid his condition. Hojat also reports Rissa has not improved. Slade is forced to get up, however, as King Euden Thold of First Kingdom has arrived unannounced.
Slade meets him at the gardens with his Premiers, or advisors, Warken and Isalee. Osrik leaves abruptly when reminded that this is where Rissa was stabbed. Thold, wearing a viper around his neck, claims he came in good faith after Slade’s rampage through Orea. Slade confronts him about the Conflux. Thold argues he was bound by law to participate and misled about Auren by Queen Kaila. Thold is concerned about the fact that Midas, without magic, ruled over a kingdom. He also questions how Auren used rot magic, and Slade opened a rip at the Conflux, but Slade doesn’t explain.
Slade tells Thold he will discuss the proposition for a renewed alliance with his Premiers before making a decision. Isalee advises making him wait three days and scolds Slade for not consulting them before executing monarchs. When Slade reveals his rotting heart, Isalee forbids him to die until they manage the political fallout. He fears he will never reopen the rip.
Osrik visits a city plant shop seeking yellow bells for Rissa’s bedside. The shopkeeper informs him she does not carry them because they are unpopular and poisonous. Frustrated, Osrik yanks the door so hard the bell rips off. He takes it with him, trying not to see it as a bad omen.
Returning to the castle, Osrik encounters Polly leaving Rissa’s room in tears. She tells him she can no longer watch Rissa dying and leaves her. Angered, Osrik enters to find Hojat, who gently tells him that death is imminent. Hojat and a novice leave Osrik alone to say goodbye.
Osrik places the shop bell on Rissa’s bedside. He listens to her wheezing breaths, struck by the terrifying reality that she is dying. He angrily prays to the gods. He cries and kisses her forehead, grieving that they didn’t have more time.
Malina recalls her mother’s funeral, when her father scolded her for crying and showing weakness. In the present, during a snowstorm, Malina kneels at Highbell’s bridge entrance, using her new ice magic to form bricks. Dommik silently stacks them into a wall throughout the night.
By morning, Highbell citizens gather and verbally abuse Malina, accusing her of trapping them. When they threaten to destroy the wall, she freezes the ground to keep them away. Nearly collapsing from exhaustion, Dommik catches her. She adds ice spikes atop the wall and warns the crowd about the approaching fae army, but they refuse to believe her.
Dommik shadow-leaps them to the bridge’s other side. When Malina insists he check the fae’s location, he is reluctant to leave her. They flirt, with him pressing his dagger suggestively against her before departing. She continues fortifying the bridge entrance with ice and spikes. After finishing, she collapses.
Dommik wakes Malina; she collapsed from magical exhaustion. Angry, they argue until he kisses her passionately. Though terrified of being hurt emotionally again, Malina kisses him back.
Dommik reveals the fae will arrive by nightfall. After making her eat jerky and drink water, he takes her through Highbell, where she creates smaller ice barriers on strategic streets. Citizens either flee or attack her for walling them in.
At the main bridge entrance, they find Queen Kaila and her soldiers destroying Malina’s wall. Kaila sits on the ice bricks like a throne, receiving offerings. When Malina confronts her, Kaila orders guards to seize them. Suddenly, the fae army appears across the chasm. Kaila uses her voice magic to amplify a fae commander ordering the charge.
Purple lightning strikes the crowd, leaving charred bodies. Shockwaves knock everyone down, causing a stampede. Malina begs Kaila to help direct the fleeing people to Pillar Row. After another strike, Kaila mounts her timberwing but, instead of helping, abandons the city entirely. Her remaining guards fight over the other timberwings; one falls to his death. As the fae army approaches, Malina refuses Dommik’s plea to flee. She runs to the wall and slams her hands against it, resolved to stay and defend her people.
Amid chaos, Malina uses magic to seal the gap in the ice wall. She rallies Kaila’s abandoned guards, but it is a Highbell guard who steps forward to take her orders, with the other Highbell guards joining him. She instructs them to direct the crowd to Pillar Row and the Pitching Pines. A lightning strike lands dangerously close.
Fae archers loose arrows into the city. Dommik shields Malina and himself with shadows as arrows land at their feet, while many fleeing citizens are struck down. As a second volley approaches, Malina instinctively creates a curved ice shield overhead, blocking the arrows. A crying girl with an arrow in her leg grabs Malina’s skirt. After removing the arrow, Malina orders Dommik to take the child home and find her mother. He makes her promise to flee once the fae cross, then vanishes.
The fae charge the bridge but slip on ice, creating a pileup. A single fae soldier calmly walks forward, breathing fire to melt the ice. The army follows. Malina’s attempt to destroy the stone bridge with an ice mallet fails. The fire fae reaches the wall and begins melting it. Malina holds position, but he breaks through, taunts her, and licks her cheek. As he prepares to burn her, Dommik appears and slits his throat. The fae army roars in fury and charges through the broken wall.
Dommik shadow-leaps them to an alleyway. Overwhelmed, Malina has a breakdown, screaming at Dommik that he should have killed her in Seventh Kingdom, preventing the invasion. She shoves his dagger into his hands, pleading for death. He refuses and tells her she does not truly want to die. He affirms their romantic connection and claims her as his.
His words ignite a passionate encounter. They have rough, dominant sex against the alley wall. The experience grounds Malina. Though guilty for their indulgence, Dommik insists that, if they die, they should die feeling alive. He confirms he got the little girl home.
Malina asks Dommik to take her to the shanties. They leap into mayhem with people fleeing and buildings exploding. Malina uses magic to freeze falling debris, saving those below it. Malina attacks fae with an ice battering ram while Dommik kills survivors. She creates another ice wall to block more fae. As she turns to call for Dommik, a fae soldier punches her unconscious.
Auren, Emonie, and Lerana arrive at Lord Cull’s estate disguised by glamour magic. They notice a second, damaged manor on the property but enter the newer one. Lerana informs them that Cull’s Orean servants have had their tongues cut out. At the servant’s entrance, a fae named Velida reveals Cull is unexpectedly returning for supper, but it would be suspicious for Emonie and Auren to leave now. Lerana departs, leaving them to their mission.
Inside, Auren sees two Orean cooks who avoid eye contact. Velida assigns Emonie to linen duty and Auren to floor scrubbing. In the dining room and grand hall, which are filled with frightening sculptures, they set the table and clean. Auren notices Emonie is strained from maintaining the glamour.
They search the ground and second floors separately but find only empty rooms. Velida discovers them upstairs and scolds them. She sends Auren to the washroom to clean chamber pots. Auren tries speaking to an Orean cook again, but the woman flees. A rude fae worker in the washroom mentions this manor has plumbing, revealing the chamber pots came from elsewhere. Auren realizes the pots must be from the old manor, concluding the Oreans must be held there. Seeing the disgusting task as her access route, she resolves to clean them.
After finishing the chamber pots, Auren checks on Emonie but finds her still working under Velida’s supervision. Deciding to go alone, she wraps the clean pots in a tablecloth and heads to the old manor. The damaged building is eerie and unsettling.
Two red-and-black-clad guards open the locked front door. They recoil at the chamber pots and allow her inside, telling her to be quick. She passes a strange stone wall reinforced with iron strips. When she touches it, her gold-touch emerges, and the rot within it tries to dig through the stone. Her magic resists being called back, connecting to whatever lies beyond.
Unsettled, Auren heads upstairs and searches dusty, abandoned rooms. The farther from the wall she moves, the calmer her magic becomes. In a parlor, another lounging guard grudgingly unlocks a door for her, disgusted by the chamber pots. He shoves her inside and locks the door behind her. In the dark room, Auren finds the new Oreans.
These chapters juxtapose different models of leadership through the parallel crises faced by Malina and Slade, contrasting a self-sacrificial assumption of responsibility with a unilateral pursuit of power. Malina’s defense of Highbell is framed by the memory of her father’s decree that for royalty, “Kingdom comes first” (548). Despite being usurped and hated by her people, she internalizes this maxim, exhausting her magic to build an ice wall as an act of protection. Her leadership is reactive, born of guilt and a dawning sense of duty. Slade, conversely, operates as an autocrat whose kingship is defined by proactive, violent retribution. He executes monarchs following his rampage through Orea without consulting his Premiers, prompting Isalee’s rebuke that “a partnership requires communication” (530). His leadership conflates personal trauma with national interest, framing his actions as an assertion of Fourth Kingdom’s power. This contrast culminates in a third model: Queen Kaila’s abdication of duty. Faced with the fae army, she flees, revealing her reign to be a performance of power devoid of substance. Through these three figures, the narrative examines the nature of sovereignty, presenting it not as an inherent right but as a burden defined by action—or inaction—in the face of catastrophe.
The narrative further explores The Reclamation of Bodily and Emotional Autonomy through Malina’s relationship with Dommik, which serves as a foil to the dynamic between Auren and Slade. After the fae breach her wall, Malina collapses into despair, demanding Dommik kill her. He refuses, instead initiating a physical encounter that functions as an affirmation of life amidst city-wide death. He claims her not as a possession but as a partner, vowing to show her “what it’s like to be alive” (595). Their connection is presented as a mutual choice to reclaim agency from the weight of guilt and fear. During sex, she notes that “his authority settles me […] His mastery allows me to let go” (598). This asserts that a healthy or healing physical relationship can take different forms for different people. For Malina, who’s been forced to control herself emotionally and physically her entire life, Dommik’s dominance offers her freedom. This contrasts with Slade and Auren’s sexual relationship, which is more equitable and thus suits Auren’s emotional needs as a victim of subjugation.
Slade’s deteriorating physical state acts as a metaphor for the psychologically corrosive nature of his quest for revenge, complicating the theme of Distinguishing Justice From Vengeance. The rot in his chest is not merely a magical ailment but a physical manifestation of his internal trauma. The skin over his heart is described as swollen, blackened, and peeling, a decay that intensifies with each violent act and failed attempt to wield his power. While his actions against corrupt monarchs can be interpreted as acts of justice, the narrative inextricably links these deeds to his physical self-destruction. His body is consuming itself from the inside out, mirroring how an obsessive focus on vengeance consumes the avenger. This externalizes the internal cost of his choices, demonstrating that actions born of anger, however justified, aren’t necessarily conducive to healing and moving forward.
The author uses narrative structure and pacing to intercut the large-scale military and political conflicts of Slade and Malina with the intimate, slower dread of Osrik’s vigil and Auren’s infiltration. The chaotic battle for Highbell is immediately followed by the quiet, claustrophobic tension of Auren’s methodical search through Lord Cull’s manor. Likewise, Slade’s kingdom-spanning conflict gives way to the static, personal grief of Osrik confined to Rissa’s sickroom. This structural choice creates a rhythm of expansion and contraction, grounding the epic scope of the conflict in personal loss and immediate danger. Auren’s mission executes a genre shift from epic fantasy to suspense-thriller, building tension through confined spaces and the threat of discovery rather than open warfare. This cross-cutting technique enhances thematic resonance, underscoring that war and political upheaval are composed of countless individual moments of terror, grief, and resolve.
The text also employs symbols to foreshadow events and deepen psychological portraits. Osrik’s futile search for yellow bells, a flower tied to his memory of Rissa, ends with the shopkeeper’s warning that they are “quite poisonous.” This detail transforms a symbol of hope into an omen, suggesting the tragic potential of their relationship. In a similar way, Lord Cull’s estate, with its pristine modern manor concealing a damaged, decaying older one, functions as a metaphor for the gilded corruption of the aristocracy. Within this older manor, Auren discovers an unnatural stone wall that her magic is violently drawn to, its rot desperately trying to dig through the stone. The wall serves as a literal and symbolic barrier hiding a dark truth, and her power’s frantic reaction foreshadows a significant, forcibly contained connection to the source of the rot that afflicts both her and Slade. These symbols provide immediate character insight while building an overarching sense of dread.



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