Son of a Witch

Gregory Maguire

56 pages 1-hour read

Gregory Maguire

Son of a Witch

Fiction | Novel | Adult | Published in 2005

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Part 3, Chapter 5-Part 4Chapter Summaries & Analyses

Content Warning: This section of the guide features depictions of sexual violence and harassment, rape, child abuse, child death, emotional abuse, physical abuse, bullying, mental illness, and substance use.

Part 3: “The Emperor Apostle”

Part 3, Chapter 5 Summary: “Siege”

Sister Doctor rushes in to tell Sister Apothecaire that Liir has returned. Both go to the Superior Maunt, begging to meet with Liir. Exhausted, the Superior Maunt grants them permission. After they leave, the Superior Maunt prepares for a conversation with a guest who came to donate.


Liir informs Sisters Apothecaire and Doctor that he remembers little from his healing, and he credits Candle with his recovery. Yackle suggests that Candle did more than just play the domingon for him. The sisters are horrified at the prospect of any impropriety and tell Liir to ignore the old woman. He realizes that Yackle was the one to bring him and Candle to Apple Press Farm.


Later, while Liir tries to sleep, he tosses and turns, half-dreaming. He struggles with his emotions for both Trism and Candle, worrying what might happen if the soldiers lay siege to the mauntery. He also dreams of Elphaba, in the mauntery, sitting and using her foot to rock a basket with a baby in it.


The military arrives at the mauntery and explains that they are searching for Trism and Liir. The Superior Maunt has directed the maunts to say that neither of them are here, but the military will not accept this. Finally, the Superior Maunt goes to the window to yell at Commander Cherrystone.


He argues that because the mauntery received its charter from the throne of the Emerald City, they must answer to the Emperor. The Superior Maunt counters that because an older regime granted the mauntery, they need not obey. She also refuses to cooperate because of her ideological difference with the Emperor, and she accuses him of using the Unnamed God for his own selfish purposes. Finally, she announces that they have a guest the military will not want to disturb, and Glinda appears at the window.


Liir joins them, and Glinda reveals that two nights ago, the basilica crumbled as the dragons’ deaths caused an explosion. When Glinda heard of this, she rushed to the mauntery, wanting to donate funds before the Emperor disestablished them.


Not wanting to endanger the mauntery, Liir later approaches the Superior Maunt and offers to surrender himself and Trism to the soldiers outside, but the Superior Maunt declines his offer, saying that it is not his decision to make. After dinner, the Superior Maunt calls everyone into the chapel and reveals that their mauntery will continue to oppose the Emperor during these trying times. She also announces that she will break from the traditions of the mauntery. Instead of all decision-making being in the hands of the Superior Maunt, they will form a council with three seats. The Superior Maunt elects Sister Doctor to one and reserves the other for Candle.


Glinda reassures the maunts that while she is here, the soldiers will not move on them. Liir wonders how they can escape as he is unsure whether his broom can hold both himself and Trism. Yackle says that the broom came from the mauntery and that she was the one to give it to Elphaba.


They finally settle on a plan. Liir will leave on the broom at night to rejoin the Conference of Birds, while Glinda will dress Trism as one of her bodyguards and leave the mauntery with him in disguise. Afterwards, Trism will find Apple Press Farm and Candle. 


Before Liir leaves, Sister Doctor tells him that Princess Nastoya is still looking for him. He promises to help Nastoya however he can. He and Trism then share a final kiss, and Liir knows that he will not soon forget the strength Trism instilled in him.

Part 3, Chapter 6 Summary: “The Eye of the Witch”

Liir flies for days to find the Conference of Birds but struggles upon reaching Kumbricia’s Pass, as the broom resists him, forcing him to walk. He finds the earlier site of the Conference of Birds abandoned and travels through Kumbricia’s Pass until it opens onto the desolate Thousand Year Grasslands. There, he finds the Birds who remain.


General Kynot explains that the Yunamata attacked the Birds in their former home. Afraid to fly too high, many were taken by the tribe. The Birds have lost half their number, but Liir confirms that the dragons are dead and that the skies are free again. He also campaigns for the birds to form a coalition and mount a force of resistance against the Emperor. He believes they should fly to the Emerald City to show they are not afraid of the Emperor. The Birds agree.


The Birds depart, and their numbers swell. When they find the Scrow, Liir sends Kynot to deliver a message. He wants Princess Nastoya to meet him at Apple Press Farm, travelling while he and the Conference of Birds execute their plan. Kynot returns with news that the Scrow will consider his offer, and that Princess Nastoya has news for him. They continue on.


They arrive at Kiamo Ko, where Chistery informs Liir that Nanny’s health has worsened. Liir visits her, asking if she ever knew Yackle. Nanny admits that when she was younger, she sought out a woman named Yackle for a potion that would ensure that Elphaba’s unborn sister would not have green skin. 


They depart from Kiamo Ko, and as they soar toward the Emerald City, their numbers continue to swell with more and more Birds. With 6,000 Birds, the Conference of Birds flies in formation over the Emerald City that evening. They take the form of Elphaba, as if she were flying on her broom with her hat and cape flowing behind her. Liir wonders if Shell is watching as they repeatedly cry, “Elphaba Lives!” (315).

Part 3, Chapter 7 Summary: “Raising Voices”

The Conference of Birds disbands, and Liir makes his way back to Apple Press Farm; a Goose named Iskinaary decides to join him. As they near the farm, Liir wonders how his relationship with Candle will have changed after his time with Trism.


When they arrive, Liir is relieved to see the Scrow settled around the farm. He finds Candle, who is nearly at the end of her pregnancy. There is an awkward tension between them, with Candle frustrated by the guests and wary of Liir after meeting Trism. (Trism did make it to the farm, but he left soon after.) Now, Liir is eager to know where he went, but Candle does not know. When he asks if Trism left him anything, Candle points to two packages.


Liir takes the packages and walks away from the farm. When he opens the packages, he finds the faces of the scraping victims. He reflects that he feels torn between Candle and Trism; both give him strength in different ways, but he does not know how to handle the sense that he is being pulled towards both of them.


He finds the Scrow and asks them to tell Princess Nastoya of his arrival. He then hangs the victim’s torn faces in the trees. Liir finds Candle and asks her to play the domingon for Nastoya, helping her like she once helped him. He asks her again about Trism and learns that Trism asked Candle to go with him. She refused, wanting to protect the baby.


The Scrow bring Princess Nastoya to the clearing where the faces hang. Because she can no longer speak, she cannot share any news about Nor, but he is still eager to help Nastoya. Candle begins playing the domingon, giving the torn faces peace; Liir can hear them singing about their lives, letting go. The music has the same effect for Princess Nastoya, whose human disguise melts away, allowing her to returns to being an Elephant. Suddenly, her neck snaps, and she dies.

Part 4 Summary: “No Place Like It”

Liir joins the Scrow for part of their trip back west, where they will bury Princess Nastoya. He leaves Candle and Iskinaary at the farm. After he departs from the Scrow and heads toward Apple Press Farm, Liir thinks of Nor and wonders what news Nastoya had to share. He pulls out Fiyero’s drawing of Nor and realizes that the handwriting on it is Nor’s; it matches the handwriting of the graffiti in the Emerald City that claimed, “Elphaba Lives!” He finally understands what he saw in the burning thatch floating down from the bridge.


Liir returns to the farm at night and finds it empty. He wonders if Trism returned and took Candle away with him. He builds a fire and decides to wait until the next day before doing anything. He nearly trips over Elphaba’s cape in the dark, and when he picks it up, something rolls out of it. Liir realizes that it is the baby, and he thinks with sadness that it must have been stillborn. He wonders if this is why Candle left.


He carries the baby toward the fire. Suddenly, the baby moves and begins crying. Liir finds a small basket to put her in, just as Elphaba once did for him. He feeds her some milk and theorizes that Candle might have left to protect the baby; perhaps Commander Cherrystone arrived, and she led him away. The next morning, it is raining, and Liir takes the baby outside to wash away the blood of its birth. He realizes that she is a girl and that she is also green.

Part 3, Chapter 5-Part 4 Analysis

Even as the complex plot nears its climax, Maguire continues to employ figurative language to capture the inherent magic of the land of Oz and pay homage to L. Frank Baum’s original work. So much of the space that Liir occupies and travels through is untouched by the industry of the Emerald City, and he often admires the landscape below as he flies, seeing it as fundamentally aware. For example, when the narrative states, “Below, the oakhair forest twitched in the winter gale, looking like the pelt of a great beast lumbering along for a midnight rendezvous with sex or supper” (303), this blunt yet whimsical tone creates the suggestion that the landscape itself is sentient and hungry as it moves with a specific goal in mind. Maguire’s use of this simile also suggests that the primal instincts of the forest are removed from the politics and violence of the Emerald City. 


Yet despite these literary trappings, the novel’s primary focus on political machinations takes center stage in the final chapters. As the Emperor Apostle’s soldiers surround the mauntery, the schism between the unionist outpost and the Emperor’s centralized faith soon becomes apparent, illustrating The Complexities of Using Religion as a Political Tool. While Shell uses the Unnamed God and proclaims his faith in the deity as a way to exert control over others, the Superior Maunt invokes the name of the very same god to argue that the maunteries have earned their independence. Both camps are fervent believers—or at least profess to be—but they also use their religion to support diametrically opposing worldviews. As the Superior Maunt explains, “the Unnamed God has made us in its likeness and its image, […] [but] I fear in the Emerald City, they have remade the Unnamed God in their image, and that has belittled and betrayed the deity” (294). With this observation the Superior Maunt chastises Emerald City, with Shell at its helm, for inverting the relationship that she perceives all people to have with the Unnamed God, and she clearly realizes that the Emperor is using the deity to justify his oppressive actions and to dictate the beliefs of the people. In the Emperor’s hands, unionism itself becomes a means of conquest, while the maunts refute this idea and insist that their connection with the divine grants them full independence, as the nature of the Unnamed God can never be explicitly defined.


As Liir frenziedly seeks to combat The Damaging Effects of Corruption, the novel’s climactic scenes illustrate the importance of engaging in dramatic gestures of defiance in order to challenge the rule of oppressive regimes. When Liir reunites with the Conference of Birds, he urges them to challenge Shell’s claim to ultimate authority, shoring up his argument by revealing that the dragons were originally deployed by Shell and are now dead, freeing the skies for the Birds’ use. When Liir encourages the Birds to mount a symbolic counterinsurgency to undermine Shell’s authority as Emperor Apostle, he demonstrates the extent of his own inner growth, giving new meaning to the many trials that he himself has endured. As he declares of the Emperor, “He sent dragons to scare the skies: we will fly ourselves as a flag right back at him” (308). In this way, Liir harnesses the Birds to enact rebellion, and they serve as an effective symbol because they themselves have always maintained a democratic social structure that conflicts with the authoritarian forces seeking to control Oz. 


In these final scenes, Liir comes into his own on the political front by fomenting rebellion against the central government of Oz and consciously embracing the legacy of the late Elphaba, regardless of his uncertainty over whether he truly is her son. However, he continues to waver between his two romantic partners, Trism and Candle, and the unresolved nature of this aspect of the novel carries over to the final pages. Yet when Liir returns to the farm to find the place mysteriously empty except for a small, green-skinned child, the narrative delivers a note of hope and a degree of continuity, promising additional adventures to come and hinting that Liir truly is, as the title declares, a “son of a witch.”

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