The Phoenix Pencil Company

Allison King

59 pages 1-hour read

Allison King

The Phoenix Pencil Company

Fiction | Novel | Adult | Published in 2025

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Chapters 8-14Chapter Summaries & Analyses


Chapter 8 Summary

In winter 1941, 14-year-old Wong Yun learns to Reforge for the first time. Her mother closes the Phoenix Pencil Company early, sharpens a pencil, and explains that pencil hearts remember every stroke and that their family can access those memories. Then she drives the sharpened pencil into the head of the phoenix scar on her wrist. The heart melts into black ink and absorbs into her bloodstream, which she then bleeds onto a notebook, where it forms written characters. These are the pencil’s memories, Reforged.


Yun tries with a sample pencil and glimpses students who previously used it. The family celebrates, but days later Japan attacks Pearl Harbor and formally occupies Shanghai. As foreigners are rounded up, the family stays inside, and the girls cry over the changes reshaping their world.


Meng doesn’t want to flee again, but the girls’ mothers say they may have no choice. In their bedroom, Yun says that their power is useless, but Meng insists that preserving stories is vital. Together, they begin co-writing a story about their own lives, their only defense against the occupation of their home.

Chapter 9 Summary

On September 4, 2018, Monica settles into a routine in Cambridge. She spends her days coding for EMBRS, running errands for her grandparents, and messaging Louise. One day, her grandmother asks to see the pencil she gave Monica and explains the family’s secret power of Reforging, which she describes as reviving a story to understand a writer’s words exactly as intended. Then, without warning, she inserts the pencil into her wrist. The heart melts into her bloodstream, and her phoenix scars pulse and darken.


When her grandmother opens her eyes, Monica realizes she now knows everything Monica wrote about, including her feelings for Louise. This is how Monica unintentionally comes out. Her grandmother bleeds black ink onto a notebook, recreating Monica’s drawings and a line expressing how powerfully Louise affects her. Then she asks about Louise and suggests inviting her over.


Overwhelmed by her grandmother’s acceptance, Monica cries in her embrace. She asks if her grandmother will forget this moment because of her illness. Her grandmother promises she won’t, though the promise sounds like a plea.

Chapter 10 Summary

In the present, Yun regrets Reforging Monica’s pencil without her permission, recognizing it parallels a past wrong against Meng.


The story flashes back to the early 1940s. To reduce the suspicion on their family while their husbands fight the Japanese, the girls’ mothers pretend that Meng is Yun’s sister and that Yun’s father died many years ago. Despite this, collaborationist police frequently harass them. One night, the girls sneak to the workshop, and Yun Reforges a spy’s pencil, a traumatic experience in which she witnesses the story of a young woman who joined the resistance and was raped and murdered. Meng comforts her.


In early 1942, resistance member Mr. Gao demands they use Reforging to pass coded messages, threatening to expose Yun’s father and the rest of their family if they refuse. Yun’s mother agrees. To cope, the girls continue writing their shared story. When Meng realizes their anti-Japanese tale is dangerous, she crumples the pages. Yun retrieves and burns them, then devises a safer method: They’ll take turns writing illegibly over newspaper, pass the pencil to Reforge, then destroy all evidence so the story exists only between them. Meng agrees, and they promise to stick together.

Chapter 11 Summary

On September 13, 2018, Monica feels uneasy knowing her grandmother can access her private thoughts through her writings. When she asks her grandmother to Reforge Meng’s pencil, her grandmother refuses and becomes agitated.


On a visit to Chinatown with her grandfather, Monica learns he’s known about Reforging for about 70 years. Later, Professor Logan asks to use the story of how EMBRS reconnected Monica’s grandmother with Meng and requests that Monica give his students a coding demonstration.


Louise calls to thank Monica for the meatballs. Monica tells her about Reforging, and Louise surprises her by finishing Monica’s explanation of the process. Louis explains that Meng had told her about the power, though she hadn’t fully believed it. When Monica asks if Louise only befriended her because of her grandmother’s power. Louise admits initial curiosity but insists she continues talking to Monica because she likes her.


Later, Monica tells her grandmother that Louise knows about Reforging. Her grandmother proposes a trade: She’ll Reforge Meng’s pencil once Monica invites Louise to visit. Monica agrees.

Chapter 12 Summary

In the present, Yun fears her memory loss will leave only the mechanics of Reforging, causing her to relive others’ stories long after her own is gone. She plans to ask her husband to keep pencils away from her if this happens.


The narrative flashes back to the Japanese occupation. Reforging non-Phoenix pencils is dangerous, and one attempt leaves Yun’s mother incapacitated for a week. Over three years, Yun and Meng Reforge coded messages for the resistance nearly every night, their phoenix scars deepening.


When Yun is 17, Meng learns her father has died in battle. Meng’s mother begins a relationship with Mr. Gao, which angers Meng but helps secure supplies and protection for the family.


After Japan’s surrender in 1945, a boy asks Meng to go out with him. As Meng prepares for the date, the girls’ mothers allude to another method of Reforging that’s pleasurable instead of painful. They refuse to explain further, warning only that her arm must be clear of any un-bled Reforgings before she meets the boy. The chapter ends with Yun resolving to explain this alternate method to Monica.

Chapter 13 Summary

On September 22, 2018, Monica describes her grandmother’s worsening condition. Her grandmother expresses guilt over Reforging Monica’s pencil without permission and asks if Monica still wants to learn about the family’s power. Monica asks for more time to decide and uses EMBRS and cleaning as outlets for her worries about her grandmother.


Monica’s coding presentation for Professor Logan succeeds, and he praises her as the most talented sophomore he’s worked with. Louise watches the recording and tells Monica she looks cute.


When Louise sends her thesis proposal for her new major, Monica realizes the project focuses on her grandmother’s generation of Shanghai women and feels used. Sensing her discomfort, Louise reaffirms her personal interest in Monica, and they share a mutual coming-out moment discussing their first kisses. Monica resolves to distance herself, but her resolve breaks when Louise sends her vacuum filters with a sweet note.


Spurred by her grandmother wanting a fourth player for mahjong, Monica invites Louise to visit. Louise immediately accepts and schedules a visit for her upcoming fall break. Monica tells her grandmother she’s fulfilled her end of their deal, but her grandmother insists she’ll only Reforge Meng’s pencil after Louise actually visits.

Chapter 14 Summary

In the present, Yun describes Monica’s frantic preparations for Louise’s visit and admits she can’t recall Meng’s postwar boyfriend’s name or appearance.


The narrative flashes back to late 1945. Meng begins dating regularly and grows distant from Yun, who is now 19. Mr. Gao brings news that Yun’s father is returning. He also brings more pencils for the women to Reforge, as the Nationalists are now fighting the Communists and prefer to use the same covert means of communication they favored during the Japanese occupation. Meng reverts to her own surname and spends most afternoons away. Yun’s old jealousy resurfaces.


One night, Meng cryptically mentions discovering the other way of losing a Reforging but refuses to explain. Feeling excluded, Yun tricks Meng’s boyfriend into letting her inspect his pencil and secretly swaps it for a different one. Alone, she Reforges it and experiences his intimate, desire-filled poems about Meng. Consumed with guilt, she bleeds the poems into a notebook but doesn’t have time to burn it.


Later, Meng silently slips Yun a pencil. Fearing discovery, Yun Reforges it and finds only the next chapter of their shared story. She joins Meng in the workshop and helps with Meng’s portion of the Reforging. Although Yun doesn’t apologize for what she did, she feels close to her cousin again. She understands for the first time that some stories aren’t meant to be shared. She reflects that this was their last peaceful moment before the next war separated them.

Chapters 8-14 Analysis

The dual-narrative structure in these chapters foregrounds the theme of Preserving Versus Weaponizing a Person’s Story by juxtaposing Monica’s unintended coming out with Yun’s unauthorized access to private narratives. In the present, Yun unexpectedly Reforges Monica’s pencil, absorbing her private feelings for Louise and bleeding them onto a notebook. Conversely, in the past, a teenage Yun deliberately steals and Reforges a pencil belonging to Meng’s boyfriend to access his intimate poems about Meng. Both instances represent a breach of consent, illustrating how the desire to know another person deeply can violate personal boundaries. Yun’s action in the present is spontaneous, prompted by her fading memory, while the pencil’s theft stems from jealousy over Meng’s growing independence. In both cases, the ability to extract a narrative strips the original writer of their agency, demonstrating that the ethical weight of storytelling relies on intent and consent.


The motif of scars makes the painful transmission of trauma tangible, advancing the theme of Telling the Truth to Heal Family Wounds. When 14-year-old Yun first attempts to Reforge a spy’s pencil, she absorbs the agonizing story of the man’s daughter, a young female resistance fighter who was assaulted and killed. The process causes Yun both physical and psychological suffering, which is amplified by the experiences she shares with the murdered girl as a young woman in a time of conflict: “I could only rock back and forth, holding on to myself, mind racing between pain and bodies and women, and what it meant to have to be all of those things during a war, wondering if the pain was inescapable” (100). Reforging requires a literal piercing of the flesh, leaving permanent marks that mirror the psychological branding of wartime trauma. By taking the spy’s horrific account into her bloodstream, Yun internalizes a violent reality from which her mother had previously shielded her. The resulting scar serves as a physical testament to the collective suffering she now carries, underscoring the importance of preserving suppressed histories while at the same time indicating the personal toll on those who bear them.


In this section, Mr. Gao emerges as an antagonistic figure whose machinations highlight the link between the Phoenix pencils and the theme of Preserving Versus Weaponizing a Person’s Story. Following the Japanese occupation of the International Settlement, he coerces Yun’s family into Reforging intelligence messages for the Nationalist resistance by threatening to expose her father’s espionage. The family’s craft transforms from a commercial enterprise into a compulsory war effort, as they spend three years extracting coded directives. The Phoenix pencils, initially framed as instruments of intimate familial connection, are co-opted into tools of military strategy. The family’s magical ability offers no protection against the occupying forces or the resistance factions. Instead, it renders them vulnerable to exploitation. Mr. Gao’s blackmail forces the women to commodify their bodies and empathy to sustain the underground war effort. Contextualized within the Second Sino-Japanese War, the family’s predicament highlights how global conflicts infiltrate domestic spaces and demonstrates how authoritarian pressures corrupt the purity of storytelling.


Monica’s budding relationship with Louise utilizes the motif of digital data to examine Reconciling Human Connection in an Era of Technology. The characters build their intimacy through digital means, such as texting about vacuum filters and emails about Louise’s academic proposal. However, this connection is destabilized when Louise reveals she already knew about Reforging from Meng, framing her initial interest in Monica around her memory work thesis rather than organic friendship. Technology enables Monica, a self-described “shy recluse,” to establish a vital emotional lifeline, yet the omnipresence of data simultaneously commodifies their dynamic. Louise’s academic focus on archiving marginalized voices mirrors the algorithmic extraction of EMBRS, making Monica feel like a subject of research rather than a genuine romantic interest. By placing digital communication alongside the unfiltered empathy of Reforging, the narrative questions the limits of technologically engineered relationships, suggesting that while screens can initiate contact, sustainable trust requires a deeper level of vulnerability and interaction.


Yun and Meng’s co-written tale adds another layer to the novel’s exploration of the power and meaning of storytelling. The cousins’ work serves as an assertion of narrative agency and illustrates how creative collaboration offers refuge from external chaos. Confined by the Japanese occupation, the teenage cousins invent a story about two girls who use pencil-based armor to fight soldiers as a way to cope with the terror and powerlessness they feel. When Meng destroys the pages out of fear that the collaborationist police will discover their anti-Japanese sentiments, Yun devises a method to write illegibly over newspaper, allowing them to pass the pencil back and forth to Reforge and secretly share the tale. By layering their words over printed news, they physically overwrite the authoritative reality of the war with their own empowering myth. The illegibility of the text ensures that their resistance remains entirely internal and inaccessible to the state, revealing that when external freedoms are stripped away, imagination becomes the final sanctuary.

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