51 pages 1-hour read

Hemlock & Silver

Fiction | Novel | Adult | Published in 2025

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Chapters 17-24Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death, child death, illness, sexual content, emotional abuse, and graphic violence.

Chapter 17 Summary

Unsettled, Anja covers the mirrors in her quarters. Grayling curls up with her. In the morning, she coaxes more information from him, including the fact that some reflections can awaken. Bribed with fish, he then confirms that eating mirror-food not only allows one to pass through mirrors but also to pull objects out of the mirror-world. Anja grasps the potential for assassination through the silver and asks if someone is manipulating Snow into murder. Grayling is noncommittal.


Later, Javier visits Anja in her workroom to say that they need to explore the mirror-world further; it has occurred to him that someone could stage not merely an assassination but a full-scale invasion through mirrors. He writes a terse warning to the king, and they step through a mirror to investigate further.

Chapter 18 Summary

In the mirror-gardens, Anja and Javier find drifts of dead, gray insects and birds where reflected grounds meet silver boundaries. Near where Snow found the hidden fruit, they find concealed mirrored tiles behind a statue. Continuing to walk outside the villa, they come across a vast, unnatural pit ringed with tunnels that has no counterpart in the real world. Anja acknowledges that she feels overwhelmed: “[H]ere is this astounding new world, and instead of being able to take the time to study it and figure out the rules, we’re fighting against someone who’s poisoning a child to get what they want” (217).


Back in her room, Anja tries to bring a mirrored hummingbird into the real world. The attempt fails, draining her strength and turning her skin gray until Javier pulls her away from the glass. She falls asleep, waking to find that Javier has stayed with her. He suggests that she confront Snow about what she knows; he also braids her hair as they share pieces of their pasts.

Chapter 19 Summary

At dawn, Grayling returns. Anja asks why she can remove some living things—i.e., plants—from the mirror-world but not animals, but Grayling’s response is cryptic: “Potatoes […] do not make gods” (226). Anja then confronts Snow, who erupts in frustration, explaining that she doesn’t like eating the mirror-food but must to save her sister. She insists that she will stop eating the apples only if Anja learns where Rose is being held captive. When Anja reminds her that Rose died, Snow walks away.


As Anja considers Snow’s reaction, a maid happens to pass. Anja finds herself suspicious of the maid’s intentions and ponders how to protect herself; it occurs to her that if she carries a hand mirror with her, she can use it to check that no one is near her in the mirror-world at any given time. Anja borrows a small mirror and places it on her nightstand. When a maid (later introduced as Eloise) enters her room, Anja hides inside her standing mirror. From there, she watches Eloise unknowingly angle the small mirror toward the larger one. The intersecting reflections stretch and distort Eloise’s mirror-self, which ultimately splinters, the pieces reassembling themselves into a crawling creature: “Two hands met in the center of the floor. They circled each other, then hooked their thumbs together and stood up on their fingers, swaying against each other like drunken spiders. […] Half a mouth, attached to a cheekbone and a single eye, bit on to one’s fingertip” (234). A fragment brushes Anja’s foot, and she bolts back into the real room, shaken.

Chapter 20 Summary

Grayling explains that the creature Anja encountered is a “mirror-geld” and that such fragments eventually fuse into larger ones.


In the garden, Anja finds Javier with Aaron; to secure privacy, she scares off the latter by talking about venomous creatures. To Anja’s embarrassment, Javier then awkwardly reveals that Aaron was teasing him about a possible romance with Anja. Switching topics, he asks about Anja’s conversation with Snow and confirms that he marched in Rose’s funeral procession, invalidating Snow’s belief that her sister is alive. Anja in turn tells Javier about the mirror-geld, and he proposes searching the mirror-room for it. When they do, they find the mirror-geld gone.


The next day, Lady Sorrel shows Anja her rooms, and Anja realizes there are no mirrors in them. Asked about this, Lady Sorrel remarks that she keeps all her mirrors covered, a habit she adopted because her former lover, Bastian, feared being watched through them. Anja now suspects Lady Sorrel is the poisoner and tells Javier. They agree to search her rooms via the mirror-world, although what to do afterward is less clear: Javier worries that if they tell King Randolph about the mirrors’ properties, it will instigate an arms race as different countries collect and weaponize mirrors. As they talk, Anja realizes that she’s attracted to Javier but tries to suppress her feelings.

Chapter 21 Summary

Anja and Javier enter the reflected house and are immediately chased by two armed, awake reflections. They escape by diving through a mirror into a real corridor and are still tangled together when Eloise walks in; despite their protestations, it’s clear that she believes she found them in the middle of a romantic assignation.


Javier and Anja return to the latter’s room and discuss the implications of what they just saw. Javier wonders where the guards came from, as they don’t resemble anyone in Witherleaf, and Anja attempts to explain what she knows about “awakened” reflections. This entails revealing that Grayling can talk; Javier accepts Anja’s word on this point, though he feels that Grayling must not be an ordinary cat. When he asks what would happen to an awakened reflection if the “original” walks by a mirror, Anja realizes that this could explain why Lady Sorrel is keeping her mirrors covered: to prevent her reflection from being whisked away from what it’s doing every time she herself encounters a mirror.


Shortly after Javier leaves, a summons arrives: Snow is violently ill. Anja sends the staff away and questions Snow alone. After experiencing a convulsion, the girl reveals that she ate two mirror-apples and says that she did it for the queen, whom she insists still reigns.

Chapter 22 Summary

After stabilizing Snow, Anja returns to her room. Recognizing the extreme danger of another dose, she summons Javier. They decide that they cannot reveal the mirror-world to the king without causing a greater disaster, but they cannot come up with a plan that protects Snow while maintaining secrecy. They decide to reconvene the next day.


In the morning, however, Anja is lured into a hallway, where someone drops a heavy frame over her, trapping her and tipping her into the mirror-world. An armored reflection immediately attacks. Anja, who had been holding her rooster when she entered the mirror-world, throws it at him to create a diversion and runs for her room, only to find her mirror smashed. Other reflections seize her. The armored man pins her, announcing that the queen demands her presence.

Chapter 23 Summary

Guards march Anja to a silver throne room where the “Mirror Queen”—the awakened reflection of the late queen—waits. Snow kneels at her feet. The Queen explains her plan to feed Snow enough mirror-food to grow her power, which will allow her to pull human reflections into the real world. She recounts her origin: The real queen was lonely and spent a lot of time talking to her own image in the mirror, strengthening it until, one day, she accidentally spilled blood on her reflection and woke it. The Mirror Queen then lured the queen into the mirror and confronted her, demanding to take her place. The Mirror Queen refuses to stop poisoning Snow and orders the guards to lock Anja away.

Chapter 24 Summary

Guards lock Anja in a cold room, stomping on a mirror-geld centipede to frighten her. Later, they throw a bloodied Javier in with her. Anja cleans his wounds, and they resolve the misunderstanding about his reaction to her grabbing his hand as it reached from the mirror; he explains that the physical sensation was uncomfortable because of the mirror’s influence—like her fingers were passing through his skin—but that he is not disgusted by her. As they sit in the dark, scratching sounds start at the door. The bolt slides free, and Grayling mutters through the crack about the nuisance of locks.

Chapters 17-24 Analysis

These chapters deepen the epistemological crisis for Anja, positioning her empirical methodology against a world that defies scientific classification. Her impulse upon discovering the mirror-world is to establish its rules through observation and experimentation. She tests the properties of mirror-stuff by attempting to pull a mirrored hummingbird into the real world and theorizing about the different properties of living matter. Yet, many of the rules she uncovers are arbitrary and folkloric. Grayling’s cryptic explanation that certain living things can cross worlds more easily because they “do not make gods” resists logical classification and pushes Anja toward a paradigm that resembles magic or storytelling (226). This conflict dramatizes the limitations of a purely materialist worldview when faced with phenomena that operate on a different set of principles, forcing the narrative’s champion of science to navigate a space where her primary tool for understanding the universe is rendered incomplete. That Anja’s recalibration is itself a response to new evidence adds nuance to the theme of Questioning Scientific Authority and the Pursuit of Truth, paradoxically suggesting that questioning the scientific method can itself be a form of empiricism.


The developing partnership between Anja and Javier grounds these supernatural events in human connection and strategic thinking. Their relationship evolves from a formal arrangement into a collaboration of intellectual equals. Anja provides scientific analysis, while Javier offers a tactical perspective, as seen when they discuss the devastating military implications of the mirror-world. This synthesis of empirical inquiry and practical concerns suggests that survival in a world of dissolving certainties requires both intellectual rigor and trust. The latter is forged in moments of shared vulnerability and quiet intimacy, such as Javier braiding Anja’s hair or his confession of fear after their encounter with the awake reflections. The resolution of their misunderstanding about Javier’s reaction to her taking his hand deepens this trust while highlighting the perceptual distortions inherent to their new reality.


The narrative deepens this exploration of The Unstable Nature of Identity through phenomena that fracture the singular self. The creation of the mirror-geld, a creature born from the infinite regression between two mirrors, literalizes the mirror-world’s role as a space where identity becomes permeable. It is a symbol of fragmented consciousness—a self broken into constituent pieces that retain independent existence. The horror Anja experiences is bodily but also existential, as the mirror-geld confirms that a reflection is not a passive image but a potential entity that can be sundered from its source. This concept is fully realized in the Mirror Queen, a reflection that not only achieved independent consciousness but developed a will powerful enough to attempt to usurp its original. Her origin story, figuratively rooted in the real queen’s intense focus, suggests that identity—both of the self and the other—is a construction brought into being through desire and attention. This makes the self a fragile and potentially replicable construct.


The presentation of the Mirror Queen also systematically dismantles traditional fairy-tale morality, embodying the theme of The Ambiguity of Morality Beyond Fairy-Tale Binaries. In her climactic monologue, she frames her history as a “once upon a time” story, invoking the genre only to subvert its archetypes. Where her counterpart in “Snow White” is a figure of pure evil, she presents herself as the victim of an existential dilemma. Born as a passive reflection into a world of cold silence, she developed consciousness only to resent her derivative existence. Her defining motivation is a covetous hunger for the real world, which she describes as “the world full of warmth, the world that goes on even when there is nothing to reflect it” (273). This desire to be real, to possess agency and substance, is an impulse that Anja understands; she admits that she can’t “blame” the Mirror Queen for her desire, complicating any simple moral condemnation. That the Mirror Queen resents the passivity of her role—being forced to “parrot every insipid thought that entered the woman’s head” (272)—also resonates with the novel’s feminist overtones, as does her description of the circumstances that drove the real queen to fixate on her reflection: “[S]he was a very lonely girl […] [H]er parents cared only that she was alive and might be married to advantage someday. Her womb was useful to them; her mind was not. Perhaps she knew that, because she did not stop speaking to her reflection” (271). This critique of women’s traditional role, as well as the implicit parallel it establishes between the two queens, lends further ethical nuance to the Mirror Queen’s characterization.


The aesthetic of the mirror-world substantiates the Mirror Queen’s frustrations; it creates a pervasive atmosphere of dread, using the motif of grayness to symbolize a state of sterile non-being. The mirror-world is defined by sensory deprivation; it is a place of profound silence, unnatural cold, and an absence of color. This stark environment represents the derivative and lifeless essence of a reflected reality. Descriptions emphasize its wrongness, creating a visual and emotional dissonance. The sight of the gray landscape under the light of the real sunset is described as “so clearly unnatural that it dragged at the eyes” (240). This clash between the vibrant reality and its colorless echo generates a mood of unease. It also ensures that the rare intrusions of color—such as the Mirror Queen’s scarlet dress or the momentary brilliance of a mirrored object held in real-world light—are jarring and thematically significant. They represent the imposition of will or life upon a fundamentally inert landscape.

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