62 pages 2-hour read

The Heir Apparent

Fiction | Novel | Adult | Published in 2025

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Symbols & Motifs

Content Warning: This section of the guide includes discussion of death, bullying, and emotional abuse.

Jewelry

Jewelry serves as a motif associated with the monarchy throughout the novel. The most narratively and symbolically significant piece of jewelry is the crown; there is not a singular crown that the monarch wears constantly, but Lexi refers to the monarch’s role as “the crown.” For example, the crown stands in for The Burden of Legacy and Public Expectations as Lexi contemplates the monarchy’s various misdeeds and concludes that the crown “should be quietly tossed into a city dumpster like a murder weapon. It had turned siblings against each other, triggered wars, broken up marriages, enslaved millions, destroyed civilisations” (142). Lexi then questions, “What did it say about me that I would now consider bearing its weight?” (142). Lexi’s stated desire to be rid of the literal crown strongly implies a belief that the monarchy itself should be abolished, though she begins to “consider” wearing the crown and becoming monarch in the wake of her brother and father’s deaths.


Jewelry appears in other places in the narrative. Lexi, Amira, Demelza, and Birdie all wear tiaras to the Bahamian state dinner, and Lexi refers to these as “sparkly playthings.” Her word choice pokes fun at Demelza and Birdie as they squabble with the palace over their right to wear a tiara alongside Lexi, but it also makes a broader point about the monarchy’s ornamental status in contemporary society and the way that status encourages petty, childish behavior. Isla’s ring is also an important and symbolic piece of jewelry. Lexi understands the ring’s meaning clearly: “It hung like an albatross from Mum’s delicate hand. Louis hoped the ring on Amira’s finger would evoke the fairytale our parents’ marriage was once supposed to be. I […] remembered the way Mum would absentmindedly twist it on her knuckle, the way it would dwarf Amira’s small hand” (365). Lexi then affirms that she has “no desire to try it on” (365). The ring is an embodiment of the monarchy and its negative impact on Isla and Amira, developing themes of Duty Versus Personal Freedom and The Challenges of Identity Formation Under Institutional Constraints. In refusing to put the ring on, Lexi pushes back against the monarchy and its attempts to control her life.

Clothing/Fashion

Clothing and fashion serve as a motif related to the novel’s exploration of class, status, and identity. Lexi’s ability to walk in Louboutin So Kates, for example, illustrates her integration into upscale royal life after months of trying to fit in. However, simply wearing designer clothing is not enough to signal royal status. Amira wears an outfit to Wimbledon that doesn’t quite fit in with upper-class standards: “She was in a white sundress and a black YSL logo belt, sure to make Demelza curl her lip in disdain. Most royals preferred to buy a belt that looked like it came from Marks and Spencer but actually cost £1000” (227). The royals prefer luxury clothing that doesn’t appear outwardly luxurious. The YSL logo is a visible marker of expense, and Lexi is correct about Demelza, who sarcastically says “cute belt” to Amira. Amira’s new money status appears in her attire, so fashion becomes another way for the royal family to “other” Amira, making her feel like an outsider even while she adheres to royal standards.

Water

Water is a motif associated with trauma and truth throughout the narrative, as Lexi’s fear of water after Isla’s death symbolically suggests her fear of the truth coming out. When Lexi swims in the ocean with Jack, she temporarily forgets that she’s scared of the water (implying her trust in Jack) but then abruptly panics: “[S]uddenly I was up to my neck in it, looking at Jack, who was slick and glowing under the moonlight, and the fear returned” (167). The moment echoes the broader dynamics of their relationship, in which the truth creeps up on Lexi, puncturing her attempts to be with Jack. Similarly, when Lexi swims in the pond at Hampstead Heath, she relishes feeling connected to Isla before having a flashback to her mother’s death: “The springwater surrounding me suddenly gave way to the stinging brine of the Ligurian Sea” (225). She’s still hiding from the truth of Isla’s death, and until she both releases her secret and forgives herself, water cannot relax her.

The Dollhouse

The dollhouse in Lexi’s childhood room serves as a symbol of the burden of public image. The house appears briefly in the early chapters of the narrative, as Lexi finally returns to royal life. The dollhouse originally contained dolls of Isla and baby Lexi and Louis, memorializing in sentimental form a moment that was highly traumatic to Isla—posing for pictures in the wake of a difficult and dangerous labor. Similarly, when Lexi examines the Isla doll closer, she looks at her miniature wedding gown and thinks, “I had always thought it looked like a dress designed by a little girl. It took me too long to realise that it had been—a nineteen-year-old eaten alive by her ridiculous gown” (53). The doll both encapsulates and exposes the PR veneer of Isla and Frederick’s romantic wedding: It presents their domestic life in idealized but also infantilized form, treating Isla as the pawn (and child) she effectively was. It is also significant that, as Lexi notes, “Louis’s doll was lost years ago, but [Lexi’s] was still there, forever in Isla’s porcelain arms” (34). In this, the dollhouse mirrors the public perception of the royal family. Louis is now gone, and Lexi remains with Isla, two outcasts connected by their attempts to change the conservatism of the monarchy for the better.

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