The Kiss of Deception

Mary E. Pearson

56 pages 1-hour read

Mary E. Pearson

The Kiss of Deception

Fiction | Novel | YA | Published in 2014

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Chapters 13-20Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death.

Chapter 13 Summary

The next morning, Pauline and Lia braid each other’s hair and get dressed to go pick blackberries for Berdi. Lia makes sure to take her dagger, which her brothers gave her, and which she brings with her everywhere.


Pauline asks about the two men from the tavern and wants to know which one Lia prefers; Lia doesn’t answer. She thinks that she finds both attractive but prefers Rafe. He was in her dreams last night, appearing as a face in the woods or the fire.


Lia and Pauline go to Gwyneth’s first so she can guide them to the best place to pick berries. They bring their three donkeys and head along a trail that passes a graveyard. A wind sweeps through, and Lia suddenly gets the feeling that something happened to Mikael. Pauline stops to say a prayer for his safety, and they move on, but the worry remains. They reach Gwyneth’s place and find her tending to a young girl who isn’t her own. This surprises Lia, who knows little about Gwyneth. Suddenly, Pauline begins vomiting, and all three agree that she is too unwell to go on. She insists she ate some bad food, but Lia suspects she may be pregnant. Pauline leaves, and Lia and Gwyneth go on without her.

Chapter 14 Summary

Lia and Gwyneth ride down the trail toward Devil’s Canyon, a hot and somewhat desolate but beautiful place. Lia samples the blackberries and finds them delightful. When Gwyneth refers to her as “Princess,” Lia is immediately startled and pretends not to know what Gwyneth is talking about. Gwyneth admits that Berdi told her about Lia’s true identity because Gwyneth has connections in town and can alert them to new visitors. Lia reacts angrily at first, fearful of being caught and putting others at risk.


Gwyneth reacts differently to Lia’s decision to leave than others have; she questions Lia’s dismissal of her responsibilities as a royal. She admits that she has made mistakes of her own. When Lia asks what those were, Gwyneth refuses to answer and leaves to collect. Lia is alone and sitting by a palm tree to rest when Rafe appears on his horse.

Chapter 15 Summary

Rafe hands Lia two baskets and tells her Pauline sent him to bring them back to Lia. He offers to help collect berries. Lia is struck by his sudden kindness but agrees. As they pick berries, neither admits where they’re really from, and both claim to be from small, nameless towns. Rafe says he plans to stay in town at least until the upcoming festival. Once all the berries are cleared, they make their way to a new spot and Lia suggests that Rafe could renovate the cottage to live in. She adds that she and Pauline could move back to the barn loft. Rafe seems skeptical of the idea and doesn’t comment much further.


As they explore the canyon, they come across two large dome-shaped buildings. They are leftover remnants of the Ancients, “demigods” who lived long ago and brought about their own demise. Lia dislikes these reminders of the old world. Rafe is perturbed by Lia’s disregard for tradition and assures her that some things are meant to last. Rafe notices Lia’s tattoo and comments on it, and Lia detests the fact that she is still unable to get rid of it. She yells out that the people who put it on her are barbarians. Lia tries to leave but Rafe grabs her wrist, staring at her. Lia waits for him to say something or kiss her. He does neither and leaves instead.

Chapter 16 Summary

Lia finds an anonymous note in her wardrobe asking her to come to the east ruins alone that night. She wonders if it might be for Pauline, but decides to go on her own. As she walks, she wonders if she offended Rafe earlier with her comments about the Ancients or by using the word “barbarian” as an insult.


When she gets to the ruins, Lia hears someone approaching. It turns out to be her brother, Walther. Thrilled to see him, Lia runs and hugs him, and he congratulates her on her ability to hide well. He explains that he led some of the troops further north and then came south to find Lia with the three men he trusted most. Walther also tells Lia that she is likely to be discovered eventually. He reports recent raids, possibly by the Venda people, who may be planning a larger attack.


Walther brings out some of Lia’s favorite foods, which she’d forgotten how much she missed. He warns her that the Scholar and Chancellor of the kingdom are looking for something she stole, and asks what it was. Lia admits she took a gold box containing two ancient texts, one of which is from the Venda people. Walther encourages her to attempt translating them when she has time. He adds that she should keep practicing with her dagger. Finally, Walther announces that his wife is going to have a child, and Lia realizes how much she is missing by being gone. Before her brother leaves, she asks if he has heard of Mikael and his whereabouts. Walther doesn’t recognize the name at first, but after a brief description, he remembers and reveals that Mikael goes from town to town using and leaving women. Lia is shocked and has no idea how she might tell Pauline.

Chapter 17 Summary: “Kaden”

Kaden follows Lia into the woods and sees her with Walther. He immediately assumes that Walther is a lover and becomes enraged and jealous. Rafe is close behind, and is clearly upset by the discovery as well. The chapter ends with a long verse from The Last Testaments of Gaudrel, as a woman tells the story of a massive storm and a princess who “found grace” within it.

Chapter 18 Summary

Lia wants to tell Pauline about Mikael. She doesn’t want to break her heart, so she decides to tell her he died instead. Kaden finds Lia at the inn and confirms that the man he saw was actually her brother. Lia stares into his eyes and notices how vulnerable they make her feel. Throughout the evening, Lia tries to act normal, but Pauline can sense something is off and finds her in the stables later that night. Lia goes there to find relief and answers. She cries as she talks to her donkey for comfort until Pauline suddenly appears.

Chapter 19 Summary: “Rafe”

Rafe is sure that Lia has a lover and that he cannot trust nor fall for her. He reminds himself that they are from different worlds. Rafe drank until he decided to follow Kaden into the woods after Lia, where he saw her with her brother (presumed lover). Tonight, he sees Lia go out to the stables and follows her again. He watches from a dark corner as she cries and talks to her donkey, and then listens as she tells Pauline that Mikael is gone.

Chapter 20 Summary

When Pauline falls down in a state of shock and sorrow, Rafe swoops from the shadows and picks her up to take her back to the inn. After, Lia asks him to stay a while, but Rafe refuses and goes. Lia spends the night watching over Pauline, who is angry with her. Lia realizes that she knew something was wrong with Mikael when they passed the graveyard, and wonders if she has the gift after all.

Chapters 13-20 Analysis

Pearson continues to both engage with and subvert familiar tropes. In works of fantasy, a female protagonist often has an inherited magical gift that does not emerge until maturity, such as in the TV show Charmed and the book Shadowshaper. However, Lia’s potential gift remains ambiguous, subverting the convention in which supernatural abilities manifest clearly and dramatically (in Charmed, for instance, the protagonists can move objects and stop time). Lia’s intuition appears subtly and is easily dismissed as coincidence, creating tension between belief and skepticism.


The novel continues to portray Lia as a princess who rejects royal duty and tradition. Pearson shows the emotional cost of this rebellion, particularly as Lia begins to sense that her actions may have consequences beyond herself. She is slowly drawn back toward her obligations even as she recognizes that the more her parents attempted to shape her into an obedient First Daughter, the more she resisted.


These chapters establish the contrast between the mysterious, Venda man, the assassin, and the refined, handsome prince. This creates suspense, as neither we nor Lia know the identity of each man. As readers later learn, Rafe is the prince and Kaden, the assassin. However, the novel doesn’t paint them as pure opposites. Both men display vulnerability. Each is tender and morally complex. Neither is a pure villain or hero. Moreover, their behavior also makes it hard to figure out who they really are, which further amps up the tension as Lia herself begins to perceive duality in Rafe, noting both his “boorish” behavior (which is a misdirection by the author; he’s meant to be with her) and moments of genuine kindness.


However, Lia’s attraction to Rafe is complicated: “Something about him greatly troubled me, but something enthralled me too” (119). As a result, The Search for Genuine Love becomes more challenging than she ever assumed. This is particularly exemplified by the dramatic moment when Rafe and Kaden both see Lia with Walther and assume that she has a secret lover. These chapters therefore balance romance with unease, emphasizing Lia’s emotional uncertainty. The journey to pick blackberries is initially peaceful, but the graveyard triggers Lia’s first sense of foreboding, foreshadowing much more to come.


Physical details illuminate emotional ones. Devil’s Canyon is both harsh and beautiful, highlighting the tenuous nature of freedom. Kaden’s appearance alludes to his nuance and complexity. His eyes feature “a striking spectrum of bronzed flecks, rich and warm like freshly tilled earth, but disquiet still lurking beneath the apparent calm” (104). The earth tones suggest his warmth; his disquiet, his secret of being an assassin.


The Ancients cast a shadow over the landscape, reinforcing a somber, reflective mood and acting as a reminder of lost civilizations. Lia’s dismissive attitude toward tradition contrasts sharply with Rafe’s insistence that some things are meant to endure, which hints toward his true identity as the prince. More broadly, Pearson continues to blur the boundary between myth and present action. In Devil’s Canyon, language functions as both wordplay and foreshadowing: “The devil had arrived. And some strange part of me was glad” (117). The lines allude to Rafe’s darker nature while acknowledging Lia’s attraction to it. The longer verse in Chapter 17 mirrors the Prologue in structure and tone, describing a “great storm” and a princess who “found grace” within it (146). The callback reinforces the cyclical nature of prophecy and storytelling in the novel, suggesting that Lia’s journey is part of a much older narrative pattern or story.


Meanwhile, objects and recurring moments serve as symbols. Lia’s dagger, which she carries everywhere, represents her bond with her brothers and her lingering connection to the life she left behind. Her dreams of Rafe’s face appearing in fire and forest foreshadow future chaos and danger, suggesting that her bond with Rafe will continue beyond Terravin. The graveyard the girls pass is a metaphor for loss.


Pearson ends chapters with verses, adding tension. Verses referencing “blood of babes” and “tears of mothers” hint at Pauline’s pregnancy and the suffering that may follow if Lia does not go back (111). The language suggests that Lia is bound by her obligations, regardless of how she feels about them.

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