The Once and Future Queen

Paula Lafferty

68 pages 2-hour read

Paula Lafferty

The Once and Future Queen

Fiction | Novel | Adult | Published in 2025

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Chapters 9-16Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death, child abuse, substance use, and cursing.

Chapter 9 Summary

Vera wakes briefly during the night, noticing that her book has been moved to the bedside table and that the light has been extinguished. When Matilda wakes her near midday, Vera isn’t confused about her location or time, almost as if she has awoken in a long-inhabited room. After dressing in a burgundy gown with her circlet, Vera peeks into the adjoining chamber and sees only Arthur’s empty, neatly made bed with a book atop it.


Matilda tells Vera that she has been summoned urgently by Merlin; she leads Vera past a tower containing a well with an ingenious bucket pulley system and then down to Merlin’s expansive study. The study is filled with alchemical equipment, shelves of ingredients, crystals, scrolls, and a bathing pool.


After Matilda leaves, Vera asks Merlin why he didn’t come for her sooner in the modern timeline. Merlin explains that because time-travel magic is finite, he could only visit Vera at particular points of time. Further, since the curse is causing magic to wane, time travel has become even trickier. Vera wonders if this means she will be unable to get back to her time. Merlin reassures Vera that he will do everything possible to return her home.


To familiarize Vera with her milieu, Merlin tells her the story of how Arthur united the scattered tribes of the British Isles after the Romans departed. The mages could sense that the young Arthur was chosen for this purpose by magic, though the legendary tale of Arthur pulling the sword from the stone is a bit too dramatic. In Arthur’s time, nearly one in four people possess a magical gift, though most have only one ability; mages like Merlin are rare, possessing multiple gifts.


Merlin reveals that Camelot once had a second mage, Viviane, who betrayed the kingdom by attacking Guinevere. The official story claims that Viviane died on a mission in Saxon lands, but the truth—known only to Arthur, Lancelot, and now Vera—is that Viviane attacked the queen and was executed. Viviane’s betrayal was kept a secret to preserve peace in the kingdom. Viviane cursed the kingdom before dying, causing the magical birthrate to plummet from one in four to one in 10. Guinevere’s locked memories about Viviane’s end hold the key to reversing this curse.


When Vera expresses doubt that she’s truly Guinevere, Merlin insists that she has already begun remembering, citing how she dismounted her horse with practiced skill that she could not have consciously recalled. He explains that the more familiar she gets with her surroundings, the more she will begin to access her memories. Merlin’s final bit of advice, for which he requested Vera’s presence today, is that she should reconnect with Arthur, whose love is key to unlocking her past.

Chapter 10 Summary

That afternoon, Matilda gives Vera a tour of the castle. Vera remains mostly silent to hide her ignorance.


At dinner, Vera finds the head table empty except for Lancelot, who greets her warmly as the gathered diners watch. Arthur doesn’t attend the dinner, which displeases Merlin since Arthur’s absence may get people talking. Lancelot puts Vera at ease by chatting with her, pointing out a nobleman who has brought his daughter as a potential wife for him. Lancelot tells Vera that he has no desire to marry; him and most other knights remained unmarried due to the wars. Vera jokes about sabotaging Lancelot’s future courtships by recounting how he scared thieves at sword point. He entertains her throughout the meal and then jokingly proposes to Matilda to escape his suitors before winking at Vera and using a new endearment, “Guinna.”


Upon returning to her chambers, Vera finds Arthur’s door locked. The next morning, he is gone. This pattern continues over the following days.


On the third morning, Lancelot knocks at Vera’s chambers before dawn and invites Vera for a run. They run with a magical orb floating between them, providing light. Afterward, Lancelot reveals that it was not him who generated the orb—Merlin provides most of Camelot’s enchantments. Lancelot himself doesn’t have a magical gift. When Vera asks if Arthur has magic, Lancelot replies that Arthur’s gifts are not explicit; rather, his talent lies in bringing people together. Noting to herself that Arthur hasn’t attempted to bring her close, Vera bluntly asks Lancelot what’s wrong with Arthur. Lancelot says that it’s not his story to tell but encourages Vera to speak to Arthur directly.

Chapter 11 Summary

Two mornings later, Lancelot takes Vera to the armory, where they meet Randall, a scruffy, middle-aged knight weaving chain mail. Randall wordlessly hands Vera new running clothes. She marvels at the fit and material of the garments. Lancelot explains that Randall possesses a sensory gift that allowed him to know Vera’s measurements just by seeing her at dinner.


On the way back, Lancelot leads Vera through the training arena, where she spots an enclosure called the pit, inside which people play a keep-away game with a football. Vera joins in. During the game, Vera teaches Lancelot the high-five, which delights him.


In the next game, Vera finds herself in the final two against Walter, the tall thief she had blocked on the road. Walter has now joined the king’s army. A terrified Walter tells Vera that he can’t play against the queen in front of Lancelot and the king. Vera turns and sees Arthur watching. Vera threatens to expose Walter’s “crime” to Arthur if he doesn’t play against her. Walter relents; the match resumes, but Vera is distracted by seeing Arthur and Lancelot talking. She’s hit hard in the back by the ball and tumbles. Walter helps her up. To save Walter from punishment for accidentally hitting the queen, Vera raises his hand in victory. The crowd cheers, though she hears whispers calling her behavior inappropriate.


Arthur approaches Vera and asks if she’s injured—the first words he has spoken to her since her arrival. When an old man praises Vera’s spirit, Arthur’s cold demeanor softens. He agrees that she was impressive, directing warmth toward her but not meeting her eyes. As Vera turns to speak again, he is already walking away.

Chapter 12 Summary

That evening, Arthur attends dinner for the first time. Merlin smiles encouragingly at Vera. Arthur is forced to greet her when Lancelot acknowledges her arrival but immediately turns his back.


A herald announces the North Wind Players, an acting troupe that performs a tragic tale using magical effects, including a blanket of storm clouds on the ceiling. As the clouds descend, Arthur touches them with a grin and meets Vera’s gaze. They share a moment of mutual amazement. After the performance, Arthur thanks the ensemble and wonders about a historical inaccuracy in their tale. The leader provides a poetic explanation, which Arthur accepts graciously. Lancelot whispers to Arthur and Vera that he has no idea what the troupe leader’s grand words mean, causing Arthur to smile and Vera to snort with laughter. Arthur notices Vera’s amusement but abruptly rises and leaves.


Over the next two weeks, Vera falls into a routine: morning runs with Lancelot, castle duties with Matilda, and dinners featuring performances and Arthur’s continued avoidance of her. One day, Merlin, who has been away frequently, summons Vera to his study. He explains that he has to leave for a while for Exeter, where a magical irrigation system has failed, imperiling the harvest. Viviane’s curse is spreading, disrupting the recirculation of magical gifts when their bearers die and leaving towns without the abilities needed to maintain infrastructure. Merlin presses upon Vera the urgency of retrieving her past. She must tell Arthur that she needs his help recovering her memories.


During that night’s performance, Vera finally tells Arthur that she needs him to help her recover her memories, insisting that she will not try to replace Guinevere. Arthur flinches, looks at Vera with fury and fear, refuses, and storms out. The room falls silent. Embarrassed, Vera quietly asks Lancelot for help, and he smoothly makes excuses for Arthur’s abrupt departure to the court.


In her chambers, Vera asks Matilda to stay for a drink. She thanks Matilda for the flowers that regularly appear and asks her to call her Guinevere, instead of “Your Majesty,” in private. Matilda tells Vera that she had noticed her strange behavior and guesses that Vera has amnesia from her accident. Vera goes along with the explanation. When Vera asks why Arthur hates her, Matilda reveals that she doesn’t bring Vera flowers—Arthur does. Matilda assures Vera that he has never hated her.

Chapter 13 Summary

The next morning, Vera resolves to ask Lancelot directly if he and Guinevere had an affair. After their run, Lancelot shows Vera a hidden grove with a pond and waterfall. Lancelot removes his shirt and uses a rope swing to jump in the pool. After Lancelot taunts Vera about a lady’s delicate disposition, Vera strips to her modern undergarments and swings in. They share a high five in the water.


Lancelot leads Vera under the waterfall into a dark cavern, where he produces a light and blankets. As they dry off, Vera asks Lancelot if they had an affair. Stunned, Lancelot firmly denies the notion, assuring Vera that he did not bring her there to seduce her. He explains that he and Guinevere hardly knew each other before her accident. When Vera asks why he waited for her in Glastonbury, he says that he simply didn’t want her to be alone. He notes that Vera is very different from the more reticent Guinevere, though he sees glimpses of a fearless side in both.


Lancelot hands her a smooth, black, heart-shaped river stone. The shape reminds her of Allison, who collects such stones, and the memory is painful. Vera tries to return the stone, but Lancelot tells her to keep it. Upset by memories of her parents and Vincent, she refuses. Lancelot pockets the stone and takes her hand. Realizing their intimacy, he pulls back and reassures Vera that he has no physical desire for her. She asks if their friendship is scandalous. He admits it is, though his position as her escort gives them latitude. He jokes that he’s being decent around Vera; usually, he swims naked.

Chapter 14 Summary

Over the next two weeks, Vera stops trying to connect with Arthur and focuses on enjoying herself. Matilda and Vera become genuine friends. Vera teaches Matilda rock-paper-scissors, and they spend the evenings drinking wine and laughing. Vera finds an old embroidery hoop of Guinevere’s and begins working on it. She remembers how to embroider from a class she took with her mother.


Vera also spends time in the chapel, admiring a powerful statue of a pregnant Mary. At a Sunday service, Arthur tells her that Lancelot follows the old faith and doesn’t attend Christian services. It becomes Vera’s ritual to visit the chapel alone in the evenings to embroider and sing pop songs from her time. One rainy night, she hears a strange sound from the front of the chapel. Suddenly, a man appears at her back, startling her. He introduces himself as Thomas, the new deputy treasurer, and compliments Vera’s piety. After he leaves, Vera forgets to wonder what originally caused the noise she heard.


One day, Matilda and Vera visit the stables, where the young stable hand Grady reports that Calimorfis is getting restless since Vera hasn’t ridden her for a while. Just then, a nobleman begins shouting abusively at Grady for not having his horse ready and then strikes and knocks him to the floor. Vera furiously intervenes, grabbing the nobleman’s wrist. She orders him to apologize to Grady. Recognizing Vera, the nobleman gruffly apologizes to Grady but threatens Vera with taking the matter to the king. Telling the man that he has “horse shit” on his face, Vera cooly encourages him to do so.

Chapter 15 Summary

Over the next three weeks, Randall gives Vera two additional sets of running clothes. As winter sets in, she and Lancelot conduct their post-run conversations in a sheltered clearing. Vera completes three embroidery projects, and Thomas visits the chapel weekly, praising her devotion.


One evening, Arthur tells Vera that she should attend the weekly court session the next day, where any citizen can bring grievances before the throne. Lancelot explains that Arthur is famously merciful in sentencing and that he and another knight, Sir Percival, often advise the king.


At court, Vera is seated on a throne next to Arthur. Behind them sit Matilda, the treasurer, two citizen representatives, Lancelot, and Percival, a young knight with a prominent scar. Merlin arrives exhausted. Vera recalls encountering Merlin that morning, when he expressed disappointment about Arthur’s continued distance from Vera and agreed to attempt a magical memory-retrieval procedure after court.


The first order of business is announcing a new mage to fill Viviane’s position. As court proceeds, Vera observes a completely different Arthur: He is engaged, respectful, and commanding, listening to every citizen with genuine interest. She realizes that he truly is the king of legend, and the fact that he denies this kindness only to her strikes as a piercing blow.


Several issues relate to failing magic. A letter arrives with rumors of mage violence in the Frankish Kingdoms. A grieving mother collapses before the throne, announcing that her son has died. Arthur leaves his seat, kneels beside the woman, and comforts her before promising that the crown will help with her harvest. Watching his tenderness, Vera sees him as beautiful for the first time.


The next person to approach is the nobleman from the stables, and Vera realizes that he’s come to make his grievance official.

Chapter 16 Summary

Vera whispers to Arthur that the complaint is likely about her. Arthur greets the man as Lord Wulfstan. Wulfstan complains about the stable boy’s disrespect and the queen’s vulgar language, mentioning that he has traded with Guinevere’s father—making Vera realize that she should learn about her birth family. After Wulfstan quotes her “horse shit” comment, Vera recounts the incident on Arthur’s request, acknowledging that her language was inappropriate but accurate. Arthur declares that while he might have used different language, he shares the queen’s sentiment—an offense against staff is an offense against him. Vera offers a sarcastic non-apology to Wulfstan for her unladylike language. Arthur hides a smile and declares the matter settled.


As Wulfstan prepares to leave, Arthur asks him if he has apologized to the queen. When Wulfstan claims he did, Matilda interjects that he didn’t. Arthur angrily rebukes Wulfstan and growls for him to apologize, stating, “The queen’s authority is equal to my own” (141). Wulfstan offers a terrified apology. Vera tries to apologize to Arthur for losing her temper. He flinches at her touch, tersely says that he’s not angry, and looks away. Frustrated, Vera mutters “horse shit,” concluding that Arthur was defending the throne’s authority, not her.


Marcus, a soldier, runs in with urgent news: The magical system in Exeter has completely failed and is causing catastrophic flooding. Arthur begins issuing orders, sending Percival to find Sir Bors and ready troops. Merlin agrees to leave for Exeter, and Vera sees the hope for her memory procedure dim in his eyes.


After dismissing the citizen representatives, Lancelot rearranges chairs for the core group. He revisits Vera’s insult to Wulfstan, and they share a high-five. When Percival returns, Arthur outlines a plan to manage public fear through distributing food stores and keeping key figures visible. Lancelot insists that the queen must be part of this public show. Matilda agrees, stating that Vera’s absence has likely damaged morale. Vera says that she will do whatever is needed. Arthur sighs, his hesitation suggesting that he knows her participation is a performance that neither believes she can sustain.

Chapters 9-16 Analysis

Merlin’s revelation about Viviane distinguishes between the “official story” of her death and the secret truth of her treason and execution, showing how legends are created to ensure political stability. This act of narrative control is mirrored in the performance of the North Wind Players, whose tale of Arthur’s early heroism is anachronistic—a fabrication designed to reinforce the “spirit of the crown” rather than historical fact (99). The narrative thus explores The Malleability of Historical Narratives, presenting history and legend as tools used by those in power to shape public perception and maintain order. This concept also extends to the central Arthurian myth of Lancelot and Guinevere’s affair. When Vera confronts Lancelot, he unequivocally denies any romantic history, recasting their legendary passion as a deep, platonic friendship. This revisionist approach deconstructs a cornerstone of the source material, shifting the narrative focus from romantic betrayal to the complexities of loyalty, camaraderie, and the construction of personal and political narratives.


This section also develops important symbols and motifs such as running and magic. Vera’s runs continue in the seventh century, signifying that she is both Vera and Guinevere. Running represents freedom, strength, and transformation for Vera, Arthur, and Lancelot, the physical action helping them break out of conventional roles. The novel also reinvents the concept of magic as a finite, ecological resource. The declining magical birthrate and the failing infrastructure in Exeter frame magic as a systemic network whose disruption has catastrophic, real-world consequences for the kingdom’s survival.


The consequences of magical and political power are explored through the theme of The Ethical Burden of Power. Arthur’s exercise of royal authority is depicted as a constant negotiation of mercy and justice. He needs to temper his innate merciful nature with a show of authority. In the court scene, his defense of the stable boy Grady is immediately followed by his rebuke of Lord Wulfstan in a calculated performance of power. His declaration that “the queen’s authority is equal to [his] own” is as much a personal defense of Vera as it is a strategic reinforcement of the throne’s integrity (141), illustrating that the burden of leadership involves upholding principles that protect the entire social structure, from the commoners to the crown itself.


Arthur’s character is developed through the juxtaposition of his public and private selves, creating a portrait of a fractured and tormented leader. In the public sphere of the court, he embodies the legendary king, as he is engaged, compassionate, and commanding. The narrative emphasizes his tenderness toward a grieving mother and his capacity to soothe his people with the steady “tenor of [his] voice” (132). This idealized persona disintegrates in his private interactions with Vera, which are defined by hostile avoidance and flashes of “fury and fear” (102). The flowers that he secretly leaves in her chamber serves as the only bridge between his outward coldness and a deeper, unarticulated affection, symbolizing a truth he is incapable of expressing directly. This internal conflict renders Arthur a complex figure, whose burden appears to be not only political but also deeply personal.


As a foil to Arthur, Lancelot is characterized by his emotional accessibility. His easy humor and uptake of anachronistic gestures like the high-five position him as a cultural bridge, easing Vera’s transition into the unfamiliar seventh century. The scene in the hidden cavern serves to decisively dismantle the myth of his affair with the queen. By framing their connection as an intense but explicitly non-sexual friendship, the narrative subverts the traditional love triangle.


Amid these complex dynamics, Vera’s character arc illustrates the theme of Grief as a Catalyst for Reinvention. Initially overwhelmed and performing a role that she feels she cannot inhabit, Vera gradually begins to exercise agency and carve out an identity independent of both her past life and the queen she is supposed to be. Her decision to stop pursuing a connection with Arthur and instead focus on her own well-being marks a shift toward self-determination. The chapel becomes a sanctuary where she can synthesize her past and present selves, singing modern pop songs while practicing the traditional craft of embroidery. This internal growth culminates in her public confrontation with Lord Wulfstan. In defending Grady, Vera moves beyond observation and embodies the authority of her position, not as an act but as a moral imperative.

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