“I’ve lived a lot of places, seen a lot of night skies, but the stars shine brightest in Uhuru. Way past the fields of my family’s centuries-old estate, the rolling hills of the garden district rise. A flock of lightning birds fly overhead, electricity crackling as their wings flap. I’m pretty sure that’s a unicorn galloping along the hills. Off in the distance, cars fly through the tunnels of light known as the skyway as morning rush hour begins.”

These detailed descriptions use visual imagery, such as the “brightest” stars, to establish the setting of Uhuru. Thomas’s world blends elements of fantasy and science fiction, as illustrated by the “unicorn galloping along the hills” and the “cars fly[ing] through the tunnels of light.” The passage’s tone of wonder shows that the protagonist has a strong emotional attachment to her new home, even though she has “lived a lot of places” and spent most of her life in the Unremarkable world. In addition, these depictions of the magic and beauty of Uhuru contribute to the novel’s stakes because the prophecy says that Nic is doomed to destroy the Remarkable world.

“I know Grandma loves me, but sometimes she looks at me like I’m a ticking time bomb, just waiting to explode. I wish there were some way to prove to her I won’t. But then, if it was possible to prove a prophecy wrong, all of my problems would be over.”

Nic uses a simile to compare herself to “a ticking time bomb, just waiting to explode,” establishing how her destined role as the Manowari damages her relationship with her grandmother. The tension between Nic and President DuForte is one of the novel’s primary external conflicts and advances the theme of The Struggle for Power and Control.

“Alex and I are standing in the Uhuru governing district. I’ve always found it similar to Washington, DC, with its stone buildings, grand monuments, and peaceful tree-lined streets. Tonight, though, sirens are wailing, smoke chokes the air, and explosions rumble in the distance.”

Thomas underscores the contrast between Uhuru’s usual calm and the chaos Roho caused with the precise adjectives of “peaceful” versus “wailing.” Onomatopoeia like “rumble” adds to the scene’s tense mood. The passage contains imagery that appeals to multiple senses, such as the auditory imagery of the “wailing” sirens and the visual and olfactory imagery of the “smoke [that] chokes the air.” These sensory details help to immerse the reader in the scene just as the narrator is immersed in a key historical moment during the simulation.

“I gotta see the person everyone thought was the Manowari. I gotta see the Badili at work. I gotta see what the prophecy says I’m gonna be.”

In literature, anaphora refers to the repetition of a word or phrase at the beginning of consecutive phrases or sentences. In this excerpt, the repetition of “I gotta see” emphasizes the combination of fear and determination that motivates Nic to witness the simulation of Roho, the dreaded historical figure who possessed the same power she now wields.

“I’m not in the classroom anymore. I’m in a forest. Trees tower above me, and the sun glares through the branches. Thick, sticky heat and the buzzing of cicadas reminds me of summer in Mississippi. This has gotta be the South.”

Thomas utilizes tactile imagery, such as “[t]hick, sticky heat,” and auditory imagery, such as “the buzzing of cicadas,” to set the scene. These details show how the exam simulation thoroughly recreates a historical setting and transports Nic back to the time when her ancestors were enslaved in the South.

“Every time I closed my eyes, I saw Mrs. Reyes lying on the ground, and heard Tyran’s voice echoing in my head, ‘You and Roho are one and the same.’ So nah, sleep wasn’t my friend. I drag myself to the bathroom, feeling like my arms and legs weigh ten tons.”

Nic’s claim that her “arms and legs weigh ten tons” is an example of hyperbole. The exaggeration underscores how Tyran’s words and Nic’s guilt about taking Mrs. Reyes’s Gift weigh on her, impacting her mood and sleep and leaving her physically and emotionally drained.

“Uhuru news is uneventful. There are no reports of people getting shot, no towns without clean drinking water, no politicians passing laws about what kinds of books kids are allowed to read. It was weird when I first got here, but now the Unremarkable news seems weird. That stuff shouldn’t be happening.”

Critiquing social issues is a key part of Thomas’s ethos as a writer, and she uses fantasy as a lens to examine problems. For example, the mentions of “towns without clean drinking water” and “politicians passing laws about what kinds of books kids are allowed to read” are allusions to the sociocultural context of the late 2010s and early 2020s, such as the Flint water crisis and censorship laws. The repetition of the word “no” contrasts the issues contemporary Americans face, such as gun violence, with the idyllic, peaceful city of Uhuru and contributes to the novel’s call for change.

“The Remarkable world is so cool, and the Unremarkable world can be awful. It can be violent, and sad, and so unfair that you don’t think you’ll ever stop being mad about it.”

Polysyndenton is the stylistic addition of coordinating conjunctions where none are grammatically necessary. In this passage, the repetition of the conjunction “and” in the phrase “violent, and sad, and so unfair” emphasizes the problems facing the Unremarkable world and the impact these issues have on people of color, including the young protagonist. The righteous anger towards societal injustice Nic demonstrates in this excerpt is a key part of her character. While others see the problems in the Unremarkable world and wonder how Nic can feel torn between two worlds when one is clearly “superior,” she recognizes that the Remarkable world is also plagued by discrimination.

“But there are things there you can’t find anywhere else, not even in Uhuru. Like the sounds of New York (and, unfortunately, the smells). The taste of the food in New Orleans, and the sight of the trees in Atlanta turning in the fall. Jackson has its issues, but it also has people I know and love.”

Thomas fills this passage with multi-sensory details, such as the auditory imagery of “the sounds of New York,” the gustatory imagery of the “taste of the food in New Orleans,” and the visual imagery of “the sight of the trees in Atlanta turning in the fall.” The imagery illuminates Nic’s memories of the Unremarkable world and demonstrates why she still misses her former home and the people who live there despite the wonders of her new life in Uhuru.

“In the distance, an underwater cityscape sparkles in the deep blue sea. New Atlantis. Merfolk and aquatic creatures weave around buildings made of coral and seashells, pearls and seaweed. Trains blur through glass tunnels that snake around the city. Beyond it, a coral reef stretches out like an underwater forest.”

The visual imagery of the “deep blue sea” and the parallel structure of the phrases “coral and seashells, pearls and seaweed” create a mood of tranquil beauty as the narrator drinks in her first sight of New Atlantis. The simile “like an underwater forest” adds to the scene by depicting the immense size of the coral reef. Together, these literary techniques convey the narrator’s sense of wonder and indicate that the underwater city is an important setting for the plot.

“FLOOOM! The water erupts, like it was blasted from a cannon, raining down in massive sheets. The fountain sinks into the floor, outta sight, leaving a gaping black hole in its place. From the hole, a chilling hiss echoes through the room, low and menacing.”

The onomatopoeia “FLOOOM!” represents the sound of the fountain, and the capitalization and exclamation point indicate the noise’s great volume. The simile comparing the eruption to a blast from a cannon depicts the force of the water and adds to the scene’s suspense. Thomas’s choice of diction, such as the precise adjectives “chilling” and “menacing,” fosters an ominous mood as the twins wonder what is causing another example of onomatopoeia, the “hiss.”

“I was displeased to learn you had entered New Atlantis, seeing as destruction trails you like a pungent odor. [….] You destroyed the Devil’s daughter’s home. You destroyed the Shapeshifter known as Junior’s home. You destroyed a wizards’ camp. Do you think I want you anywhere near my beloved city?”

The simile likening destruction to “a pungent odor” that follows Nic and the repetition of the phrase “You destroyed” lay emphasis on the ways in which Nic’s life follows her destiny as the Manowari. Mami Wata’s summary of some of the key events of The Manifestor Prophecy connects to the theme of The Tensions Between Fate and Agency because it suggests that Nic cannot help but unleash devastation wherever she goes.

“The station is packed with Fairy folk, hundreds of them glowing in shades of purple. [….] Faeries, barely a foot tall, flutter with wings made of shimmering light. Mmoatia no bigger than sparrows dart between the crowd on quick backward-facing feet. Pixies and Sprites are even tinier, just slightly bigger than dragonflies, zipping by so fast they look like little shooting stars.”

The similes comparing Fairies to “sparrows,” “dragonflies,” and “little shooting stars” draw upon aspects of nature to evoke a sense of magic and wonder. By choosing precise verbs like “dart” and “zipping,” Thomas uses diction to capture the bustle of the busy train station. The passage also develops the theme of The Value of Preserving History and Cultural Heritage because it incorporates beings from African folklore, such as the Mmoatia.

“Five pairs of red eyes watch us from a thicket. The beasts slowly emerge, flames licking their choppers. At our normal size, they’d be big as lions. At Fairy size, they’re like elephants. They snarl and snap, smoke curling around their mouths as they surround us.”

The simile “like elephants” compares the hellhounds’ size in comparison to the shrunken children and enhances the scene’s suspense. Thomas frequently raises the novel’s tension by ending chapters on cliffhangers, as this passage illustrates. Additionally, the author increases the passage’s artistry with alliteration in the phrase “snarl and snap.”

“Later that night, I sneak out to the pond. It’s cool and quiet, the kinda quiet that makes you feel alone-alone. Crickets chirp softly and cicadas buzz in the trees. The moon hangs high and bright, casting a silvery glow over the water.”

Tactile imagery, such as “cool,” auditory imagery, such as “Crickets chirp softly and cicadas buzz,” and visual imagery, such as “bright” and “silver glow,” create a serene mood. This peaceful scene contrasts with the chaos Nic left behind in Redwood, providing a lull in the tension.

“Dangerous prophecies. Dangerous prophecies that Roho wanted. Dangerous prophecies that the Apprentice and Za Siri want now. Dangerous prophecies that Tyran would want, perhaps enough to work with them.”

The repetition of the phrase “Dangerous prophecies” is an example of anaphora, and the literary device underscores Nic’s alarm as she considers the harm that the Book of Anansi could cause, as well as the possibility that her enemies are working together. The Book of Anansi functions as a symbol of The Tensions Between Fate and Agency because it is closely tied to Nic’s destiny despite her and other characters’ attempts to keep the tome away from her.

“This is bad. Wait, no, everything is fine. No, no, it’s not. I should be panicking. But I feel so calm. Too calm. I shouldn’t be calm.”

The repetition of words like “no” and “calm” creates a back-and-forth rhythm in Nic’s internal monologue. The short sentences and choppy fragments reflect Nic’s disorientation as she fights against the pacifying effects of the truth potion.

“BOOM! The front door explodes. The blast rattles the entire house like an earthquake. Alex and I stumble. Mom and Dad whip around. A small, black sphere rolls into the living room. It hisses, then—BAM! It bursts like a firecracker. Thick black smoke swallows the entire room in darkness.”

The author uses punctuation and capitalization to add emphasis to the onomatopoeia “BOOM!,” which signals the start of the Za Siri’s attack on the Blake family estate. Similes likening the explosions to “an earthquake” and “a firecracker” underline their strength and the danger facing the protagonist and her family. This plot development raises the novel’s suspense and propels the narrative towards the climax by forcing the protagonist to resume her quest for the Book of Anansi.

“The only thing Marigold loves more than himself is gold. We’re ushered into his gold dining room to sit at his gold table to eat off his gold plates with his gold forks, spoons, and knives. The dining-room walls are lined with more famous paintings with Marigold inserted into them. He’s the Mona Lisa in one, George Washington crossing the Delaware in another. In the Last Supper, Marigold is both Jesus and the twelve disciples.”

Thomas offers detailed descriptions of Magnus’s lavish penthouse. The repetition of the word “gold” shows the Giant’s vast wealth, while allusions to famous works of art, such as Leonardo da Vinci’s Last Supper, show his vast ego because he had himself added to the celebrated paintings. The descriptions add humor, but they also hint at how Magnus’s disillusionment with LORE leads to his corruption.

“Gather close and watch me weave, / The threads of destiny, things yet to be. / Tales of what has been and what is, / And insight to futures once shrouded in mist. / With every tale and prophecy told, / The web rewrites, the patterns unfold. / The strands of prophecy, strong and fine, / Woven to endure the test of time.”

Anansi’s poem has an AABBCCDD rhyme scheme that exhibits both exact rhyme, as in “told” and unfold,” and slant rhyme, as in “fine” and “time.” The verse accentuates the mystical, suspenseful moment in which the three story boxes combine to form the Book of Anansi. Additionally, the poem speaks to The Tensions Between Fate and Agency by describing how “prophecy” is “strong” enough “to endure the test of time.” Through words with double meanings like “weave,” “threads,” “web,” and “strands,” the piece creates an extended metaphor between a spider constructing a web and Anansi composing his book of prophecies.

“The heat explodes inside me, hotter than anything I’ve ever felt, and spreading fast like wildfire. It feels like my blood’s been replaced with magma, burning me from the inside out.”

Throughout the novel, the author uses fire imagery to describe the Badili. This comparison intensifies with the similes likening Nic’s power to “wildfire” and “magma,” illustrating how the Za Siri’s ritual fully awakens the Badili and adding urgency to the theme of The Struggle for Power and Control.

“The old man Toby moves closer. His eyes burn like fire, but are as endless as a night sky. His skin is as smooth as polished bronze with the warmth of a thousand sunsets. ‘As long as you control the power,’ he says, ‘no power will ever control you.’”

The author creates a sense of Toby’s awesome might through similes comparing his eyes to “fire” and an “endless […] night sky” and his skin to “polished bronze with the warmth of a thousand sunsets.” His words of wisdom for Nic during the climax mark a turning point for the protagonist’s inner conflict and the theme of The Struggle for Power and Control.

“The colony is falling all around me. The cobblestone streets are cracked, and houses and shops crumble into them like sandcastles under a tide. The Manowari, the destroyer. Living up to my name again.”

The simile likening the buildings in Roho’s colony to “sandcastles under a tide” captures the severity of the earthquake’s damage. By making the passage’s last two sentences stylistic fragments, the author utilizes sentence structure to reflect how the colony is literally broken up and how Nic struggles emotionally and psychologically with the burden of her destiny, reflecting The Tensions Between Fate and Agency.