56 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of sexual content.
Rainy transports herself, Duke, and Koshka back to the bookstore. They discuss how to enter Carroll’s book, which is magically locked. Rainy explains to Duke that all versions of the story are protected. She then recalls a story about Pops escaping from a villain in Something Wicked This Way Comes by jumping into a copy of The House of the Seven Gables located within the book’s fictional library. They decide to replicate this plan by entering a book with a large, non-Code Red library and accessing Alice’s Adventures in Wonderland from there. They settle on F. Scott Fitzgerald’s The Great Gatsby.
Realizing their clothes are inappropriate for a 1920s party, they sneak out of the bookstore and drive home to Pilcrow House. After changing into period attire from Rainy and Pops’s costume closet, they use a passage from Gatsby to transport themselves (and Koshka) into the novel.
Rainy, Duke, and Koshka arrive in a side room during one of Jay Gatsby’s extravagant parties. Duke is thrilled to be inside the famous novel. To keep their portal open, he hangs Rainy’s umbrella from a chandelier. Following the coven’s rules to avoid becoming trapped, Rainy warns Duke not to consume the champagne he is offered.
From a window, they see the iconic green light on Daisy Buchanan’s dock, which prompts a conversation about their own deepest desires. Koshka leads them to the library, but to reach it, they must cross a crowded dance floor. Duke and Rainy waltz through the partygoers, and Rainy briefly spots Gatsby himself.
Inside the library, they search for a copy of Alice’s Adventures in Wonderland. Koshka finds one, and because it is a fictional copy within a fictional library (a book within a book), it is not magically locked. After giving Duke strict instructions on how to behave in Wonderland, Rainy and Duke enter the story, leaving Koshka behind to guard the book—if it is closed while they are in it, they won’t be able to get out. They arrive in Wonderland to the sight of the Cheshire Cat’s disembodied grin.
Unnerved by the Cheshire Cat’s grin, Rainy and Duke flee into the woods. Duke quickly agrees with Rainy’s assessment that Wonderland is a deeply strange and unpleasant place. As they walk toward the March Hare’s house, they debate the nature of suffering. Duke argues that fictional suffering is meaningful while real-world suffering is not; Rainy counters that art and stories—including Duke’s own books—are the good things that come from real hardship.
They arrive at the March Hare’s house only to find the perpetual Mad Tea Party abandoned. Amid the mess, they discover a single clean place setting with a card reading “Rainy March.” On the back, it says, “Listen to me.” Following the clue, Duke puts a teapot to his ear and hears a whisper: “Wrong March Hare” (112). When Rainy tries to get more information, the voice only adds, “The answer is staring you in the face” (152), before the teapot emits a dial tone.
Frustrated, Rainy and Duke use a quote from The Great Gatsby to return to the novel’s library and then use Rainy’s umbrella to travel back to Pilcrow House. It is early morning, and Duke insists that Rainy sleep while he continues working on the case. They lie down on her bed, with Koshka between them.
Rainy dreams of marrying Duke and wakes up three hours later to find him reading a new copy of The Secret of the Old Clock, which he went to the bookstore to purchase. They discuss the Nancy Drew series, which leads to a conversation about the nature of fictional characters’ lives beyond what is written on the page. When Rainy asks Duke why he loves her, he recounts a story from one of his own novels where he read The Velveteen Rabbit to a group of orphans. He quotes the book, explaining that a toy becomes “Real” when it is truly loved, and tells Rainy she makes him feel real. Moved, Rainy initiates a kiss, and they have sex.
Afterward, Duke declares he wants to stay in the real world with Rainy, but she argues against it, warning that his books will vanish and he will age and die. To prove her point, she summons their housekeeper, Mrs. Turner. Rainy questions Mrs. Turner, who vaguely recalls working for two boys in London but cannot remember their names. Rainy explains that Mrs. Turner is a character who escaped the Sherlock Holmes stories and was replaced by Mrs. Hudson. Now, her memory of her former identity has faded, leaving her feeling unsettled and displaced without knowing exactly why.
Later, Duke suggests that their overly complicated mystery feels like a fictional plot. He theorizes that they are in a story without knowing it, and an author is manipulating events. They decide to consult Medda Baker, a local mystery novelist who owns the bookstore. They drive to her house, where Medda recognizes Duke on sight, revealing herself to be a fan of his series. They are shocked that she isn’t surprised by the idea of fictional characters in the real world, but she points out that she is an author, and fictional characters are real to her.
In her chaotic, book-filled office, Medda Baker listens as Rainy recounts the entire mystery. Medda agrees that it feels like a fictional plot and helps them analyze its structure. She identifies their current situation as the “midpoint,” a moment in a story that often introduces a new character, a new setting, or a new plot event that changes the story’s direction.
Medda reveals that the copy of The Secret of the Old Clock that Duke took from her store is actually Rainy’s mother’s stolen book—her name is inscribed on the title page. Medda theorizes that a secret ally hid the book in plain sight, knowing that Rainy would find it. She cannot identify the March Hare but warns that after the midpoint, things will seem to get better before getting much worse. As they leave, Medda tells them that in any story, “things are never what they seem” (181).
On the way home, Duke notices the phrase “Pacific Wonderland” on Rainy’s vintage Oregon license plate. He connects it to the teapot’s clue that the answer was “staring us in the face” (153). Rainy remembers a childhood photo taken at a theme park called the Enchanted Forest, which contains fairy tale exhibits, including the Mad Tea Party.
Although the park is closed for the season, they decide to break in. After driving there, they easily climb a fence and enter the eerie, empty park. They wonder about security, and Duke asks Rainy for his mother’s ring back. She doesn’t understand, but she gives it to him.
They find the Mad Tea Party display, but the March Hare is merely a concrete statue with no clues. They then spot another potential candidate: a large hare on the park’s carousel. Hoping to trigger something, Rainy sits on it, but just as Duke approaches the controls, a security guard appears and shouts, “Don’t move!”
Caught by the security guard, Duke improvises a story that he brought Rainy to the park for a romantic visit. When the guard, named Adam, remains suspicious, Duke gets down on one knee and stages a heartfelt, book-themed marriage proposal. Adam, a romantic, is completely won over and takes photos of the “engagement.”
As he escorts them out, Adam shakes Duke’s hand and freezes, feeling a sense of recognition. This is common, especially if someone has a deep connection to a book. Rainy uses her Book Witch powers to see their connection: During the COVID-19 lockdown, a lonely and depressed Adam was inspired by reading the Duke of Chicago series. Duke’s rebellious mantra—“No, thank you”—gave Adam the courage to quit his unfulfilling job and pursue his dream of becoming a teacher (180). Rainy shares this vision with Duke, who is moved to see the deep, positive impact his fictional story had on a real person’s life. Rainy tells Duke that moments like this are the reason that she is a Book Witch.
In the car after failing to find the March Hare, Rainy March expresses her frustration to Duke. He tries to console her by joking that they are now engaged, but Rainy dismisses the idea, reminding him that he is a fictional character, and they can never be together. Duke argues that since his author is dead, he is no longer a puppet. He wants Rainy to join him in his world as his “duchess.” Though tempted, Rainy insists this is against the coven’s rules.
A moment later, a stray comment makes Rainy glance in the car’s mirror. The word “mirror” triggers a realization: The March Hare also appears in Through the Looking-Glass, under the name Haigha. This new lead fits the clue that the answer is “staring us in the face” (153).
They race home to Pilcrow House. Upon arriving, Rainy starts to pull Duke toward the library, but she freezes when she sees her reflection in a hallway mirror. Telling Duke she sees her “twin,” she falls through the glass.
After Rainy and Duke seek advice from the novelist Medda Baker, their investigation transforms into metafictional literary analysis. Medda diagrams a standard plot structure, identifies their current location as the “midpoint,” and explains its narrative function, effectively turning the characters into readers of their own story. This moment of explicit metafiction formalizes a suspicion that has been growing since Duke observed that their convoluted quest “feels like” one of his own novels. The journey into nested fictional worlds—from the real world into The Great Gatsby and then into a fictional copy of Alice’s Adventures in Wonderland—physically enacts this blurring of narrative layers. By framing their lived experience through the lens of literary theory, the narrative forces its characters to engage with the theme of Writing Your Own Story, suggesting that solving their mystery requires more than detective work. Their detective work will necessitate an understanding of genre conventions and authorial intent, shifting their quest from a search for clues to an attempt to decode the very structure of the story they inhabit.
Duke’s citation of The Velveteen Rabbit provides a metaphysical rationale for the novel’s central conceit. His explanation that a toy becomes “Real” when it is “‘REALLY loves you’” (161) articulates the novel’s exploration of When Fiction Impacts Reality. In this case, the reference isn’t a metaphor but the literal, operative magic of their world, positioning a reader’s emotional investment as a creative, world-altering force. However, this romantic ideal is immediately tested by the cautionary figure of Mrs. Turner, the early housekeeper from the Sherlock Holmes canon. Her inability to recall the names of her former employers demonstrates the peril of leaving one’s narrative: A fictional character’s identity is contingent upon their story, and separation leads to existential erosion. Mrs. Turner is a living warning that complicates Duke’s desire to abandon his series for Rainy by revealing that becoming “Real” may come at the cost of selfhood. The novel presents a paradox where existence outside of one’s text leads to a form of nonexistence, raising the stakes of Rainy and Duke’s relationship.
The discussion between Rainy and Duke about the Nancy Drew series introduces the novel’s examination of authorship and textual stability. Their speculation on whether the original 1930s Nancy and the rebooted 1960s Nancy could coexist or swap places directly reflects the real-world literary history of the character, who was the product of the Stratemeyer Syndicate and multiple ghostwriters publishing under the pseudonym Carolyn Keene. This context reframes a character as a fluid concept subject to authorial revision and market demands. The theme is reinforced by the recovery of The Secret of the Old Clock. Medda reveals that Duke’s newly purchased copy is actually Ellery’s stolen book, a brand-new volume bearing an old inscription. This object, simultaneously new and old, embodies the instability of texts and challenges the idea of a single, authoritative version of any story.
The encounter with Adam, the security guard at the Enchanted Forest, brings the novel’s abstract ideas about the power of fiction into the world beyond Rainy’s personal life. When Rainy uses her magic to witness Adam’s history, she sees that Duke’s fictional act of rebellion—saying “No, thank you” to an unwanted inheritance (180)—inspired Adam to make a concrete, life-altering change. This moment moves beyond a reader’s affection for a character to show a character’s narrative actively shaping a reader’s reality. The vision provides Duke with deep validation, demonstrating that his fictional struggles have meaningful, positive consequences in the real world. For Rainy, the experience recontextualizes her entire purpose, shifting her belief in The Importance of Defending Stories into an active mission to protect the narratives that give people the courage to rewrite their own lives. Adam’s final, heartfelt “thank you” to Duke confirms that the border between story and life can offer a channel for inspiration and change.



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