55 pages • 1-hour read
Sarah Beth DurstA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Mina’s sketchbook, which often calms her, is a motif that fuels the theme of Discovering Voice Through Courage and Ingenuity. While anxiously waiting for Pixit to hatch, she draws: “Sighing, she curled up against the egg and pulled out her sketchbook and began to draw the egg with its crack. She then drew more cracks, as if that would make it hatch faster” (19). This scene shows that the sketchbook both comforts Mina and becomes a vehicle for expression when she finds it hard to express herself in words. By drawing past, present, or imagined futures, Mina illustrates what is important to her.
Later, on her first night at Mytris, “Mina pulled out her sketchbook and began to draw—pictures of the ship, Mytris, Pixit, and Chauda—until her hands stopped shaking and her heart quit thumping so hard” (87). Here, her drawing functions as a coping mechanism that calms her anxiety. As a result, Mina finds the courage to continue her training.
She also utilizes the sketchbook as a tool for courageous, creative activism. After visiting the outpost, Mina “began to draw the graves […] [and] she wrote the truth […] and then a call to action” (241). She creates and makes copies of a visual essay that her friends later distribute. By illustrating what she saw at the outpost, she forces others to see the negative impact of the festival. In this way, she speaks out and works to create change without having to stand in front of a microphone. Her creativity emphasizes that leadership and courage can take unconventional forms. Mina’s creativity allows her to shape change on her own terms.
The mountain range dividing Alorria and its neighbors symbolizes the perceived divisions between people. When Mina ponders her desire to see the mountains, she remembers her mother’s dismissive thoughts about them: “Who cared about the other side of the mountains—it was full of outsiders” (35). This perception of non-Alorrians as “outsiders” suggests that those beyond them are wholly different and therefore unworthy of concern. However, when Mina meets the so-called “outsiders” and visits the outpost to learn about the storms, “Mina was surprised to see that it was beautiful. The mountain itself was exposed rock with a few twisted pine trees wedged into the cracks, but the valley at its feet was overrun with green” (231). Mina’s surprise implies that she had internalized the perception that the other side would be barren or inferior.
The more that Mina interacts with “the outsiders,” her understanding deepens and the portrayal of the mountains shifts. On the morning they rescue those at the outpost, Mina “saw a few clouds brewing far away, obscuring the peaks of the mountains” (270). The description of the mountain as “obscured” suggests that the imagined division between people has been removed. This is reflected in the action Mina and her friends undertake, for they do not care about the borders and perceive their shared humanity with the supposed “outsiders.” Then, after Eione speaks at the festival, Mina recognizes that “[j]ust because mountains surrounded them didn’t mean they were separated from the rest of the world. Their sky was also everyone else’s sky” (291). In this moment, the mountains represent perceived divisions while Mina knows that the people beyond the peaks are not different from the Alorrians.
The barren lands are the geographical location of Mytris Lightning School and are a symbol of unconventional beauty. When Mina first arrives there, it is night, and “the barren lands looked like swampy blackness” (70). In addition to the darkness, the descriptor “swampy” connotes an uninhabitable and unfriendly place. Even the name “barren” indicates a landscape that is lacking. These sentiments are reinforced in Mina’s observations the following morning when she dubs the landscape “stark and intimidating” and sees that “the hills were blackened, the earth dark and dry, with no hint of grass or flowers or trees, just a few dead shrubs. Everything looked charred” (88). She is used to the lush landscape of Alorria’s farm country, and she sees this place as unattractive.
However, over time, Mina views the barren lands in a new light. On the day she flies to the outpost to learn about the storms, she notes that “the hills were a beautiful mix of textures, like black silk and black velvet” (230). Unlike her first impression of a swampy, charred region, Mina now dubs the landscape beautiful and likens the earth to “silk” and “velvet,” which are luxurious and fine materials. Mina’s new perspective of the barren lands as unconventionally alluring coincides with her new perspective of Alorria and the world outside its borders. As a result, the barren lands represent the idea that things are not always what they seem and that there is beauty is unexpected places.



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