64 pages • 2-hour read
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Aurora contrasts her morning in the wilderness with her confined routine at the palace. Returning shivering from washing up, she finds Callum has relit the fire. He teases her but promises to protect her in their upcoming journey. She asks how one becomes the Wolf King. He explains the position unites the clans for war, making the king the alpha of alphas.
After Callum refills his flask, she admires the Northlands landscape. He agrees it is beautiful but gazes at her before averting his eyes. They continue toward the castle.
Aurora resolves to stay strong when meeting the Wolf King. They stop to eat, even as she delays their arrival. A rainstorm begins, and she laughs and enjoys it; however, an hour later, she is cold and miserable. She worries about being presented to the Wolf King in her bedraggled night dress.
A memory of the violent fight involving Ryan prompts her to say he failed Ryan. He angrily says he should have hurt Ryan earlier to prevent the situation and confesses that in the ring, he intentionally roughed Ryan up, banking on her compassion to spare him. She is moved, feeling he truly saw her. He teases that she found him handsome. They reach a hilltop overlooking Castle Madadh-allaidh and gallop toward it.
The courtyard is filled with wolves who stare at the Aurora, though Callum tries to calm her. A young woman named Fiona approaches and embraces Callum warmly. The narrator assumes she is his lover. Callum introduces Aurora as Rory, a rescued prisoner. The rest of his party has not returned, troubling him. Inside, Aurora asks why he told his wife she was a prisoner. Callum clarifies Fiona is his oldest friend and teases Aurora for being jealous.
Aurora bumps into a servant named Kayleigh, who smells that she is human and snarls. Seeing Callum, Kayleigh bows and flees. He says he is hiding Aurora’s identity until she’s presented to the Wolf King. When she asks why the king will not execute her to send a message to Sebastian, he says the king wants the Heart of the Moon and owes him a debt.
Callum carries the exhausted Aurora up the stairs and calls for Isla, a girl who fawns over him. Callum instructs Isla to provide Aurora a dress in clan colors. Isla protests but obeys, resentfully handing over clothing. Aurora despairs at her appearance after changing but resolves to be strong. She exits, ready to meet the king.
As they reach council chamber, Callum freezes, pushes her against the wall, and signals for silence. He begins pulling her away, but the doors open. A man named Duncan calls out and invites them inside. Inside, four men sit at a table. Aurora notices a handsome, dark-haired man peeling an apple, feeling a strange recognition. She curtsies and addresses the largest man as Your Majesty. All except the dark-haired man laugh. Callum says the man is not the king and asks where James is. The large man, Robert, explains that James had business to attend to and left him in charge. Robert leers and asks who Aurora is.
Callum tries to leave, stating she was Sebastian’s prisoner and is now with him. Robert stops them. When pressed for her identity, Callum says her name is Rory, a kitchen maid. The dark-haired man looks at her; Callum shields her. When Robert threatens to have her warm his bed, the dark-haired man says in a Southlands accent that Robert should let Callum keep his “pet.” Robert relents. The man suggests he may have met Aurora when he was in her king’s army.
Callum leads her to his bedchambers and apologizes. They agree the dark-haired man, an incredibly dangerous wolf named Blake, knows her identity. He tells her there is a feast that night and she must accompany him to speak with Blake.
Aurora refuses to attend the feast, feeling unprepared. Callum insists she must come. He tries to coerce her into attending before crouching before her and sincerely asking her to come, admitting the situation is his fault. Moved by his earnest expression, she agrees. She says she needs to wash. He teases her but says he will wait outside and leaves with a warning that wolf feasts can get lively.
Aurora wakes on Callum’s bed and watches Callum standing shirtless by a wardrobe. He places the letter opener he took from her during the siege on the bedside table, then he shows her where to strike a wolf if threatened. He warns her to guard against Blake and to stay close to him.
Walking to the Great Hall, they pass a young bagpipe player named Brodie. They enter the hall, filled with over a hundred wolves. Robert sits at a raised dais. Callum leads her to the high table where alphas sit. After tension with Robert, the atmosphere returns to merriness. Callum serves her food and explains alphas must sit here. She asks about Blake; Callum says he is also an alpha. Blake appears, locking eyes with Aurora.
Callum tells Blake they need to talk; Blake agrees they will speak after eating. For two hours, Aurora observes the feast and notes multiple clan colors. Callum worries about Ryan and the missing party. After, Callum and Aurora follow Blake through an exit.
At the door, he warns the room is used for sexual privacy and that, for their meeting with Blake, he must pretend she is his prisoner. They enter a dark room where a couple is engaged in sexual activity. Blake sits by the hearth with one empty chair. Callum sits and pulls Aurora onto his lap. Blake belittles her.
When Aurora tries to leave Callum’s lap, he growls harshly. Blake kisses her knuckles. Blake confirms he knows her identity and that the Wolf King, James, went to the border. He correctly deduces Callum’s plan to trade her for the Heart of the Moon and agrees to keep her secret.
Callum asks for help with Magnus, who he fears will cause trouble if he returns before James. Blake toys with him, pressuring Callum to agree to his terms about where to keep Aurora. He teases that their arrangement with her may cast doubt about her virginity in future marriages. Aurora frees herself and demands her opinion be considered. She insists on her own chambers, arguing her value would diminish otherwise. Callum reluctantly agrees but says he has a condition she will not like.
Aurora’s journey into the Northlands forces her to shed some of the more performative aspects of her royal identity in favor of her real self. This transformation is catalyzed by her direct immersion in the natural world, which stands in stark contrast to her sheltered existence in the Southlands. Her joyful reaction to a downpour, where she turns her “face towards the sky and stretch[es] out [her] arms” (95), marks a symbolic baptism, washing away the artifice of a life where she was treated like an object to be protected from the elements. This experience of liberation from social constraint is mirrored in her physical appearance. After changing into clothing in Callum’s clan colors, she assesses herself in the mirror and finds not a princess, but a reflection that looks “wild,” as if she’s acclimating to her new environment. This process represents a step toward reclaiming her agency. The captivity she experiences is thus reframed within the theme of The Importance of Choosing One’s Own Path; while physically a prisoner, Aurora gains an unprecedented degree of internal liberty, breaking free from the expectations tied to her royal status.
The narrative complicates the human-animal binary through the character of Callum, whose “wolf” nature is depicted not as simple savagery but as a form of emotional honesty and integrity. When Aurora attempts to label him a gentleman, he immediately corrects her, stating he is “[n]ot a gentleman […] [a] [w]olf” (90). This statement is not an admission of barbarism but a declaration of an identity rooted in transparency and instinct rather than deceptive courtly manners. Aurora observes that his power means he has “no need to conceal his emotions” (96), positioning his directness as a strength, unlike the calculated duplicity of the Southlands nobility. This concept is central to the theme of The Duality of Man and Beast, which challenges the assumption that “civilized” human behavior is superior. Callum’s strategic actions in the fighting ring—intentionally injuring Ryan to provoke Aurora’s compassion—reveal an emotional intelligence and intuition that prioritizes others’ well-being. His wolfishness is synonymous with a fierce, protective loyalty, a quality seemingly absent in the cold, transactional world he has removed her from.
The novel’s ideological conflict is structured by the symbolic opposition between The Northlands and The Southlands, which represent untamed authenticity and repressive civilization, respectively. Aurora’s confined palace life contrasts with the “vast, unending silence” of the northern landscape, reinforcing the tension between freedom and restriction (89). Nonetheless, even within the less oppressive atmosphere of the werewolf kingdom, Aurora faces restrictive customs, specifically toward women. To protect herself as both a princess and a woman, she must lie that she is a housemaid named Rory, one Robert and other men assume is Callum’s sexual prisoner. Callum continues this charade when going to speak with Blake after the feast, asking Aurora to sit on his lap. In doing so, the other men view her as “claimed” and won’t act on the lewd threats made against her, revealing the sexist social structure she must navigate. That Callum does this while ensuring she feels safe and unpressured when alone reaffirms his trustworthiness to her. This connects to the theme of Challenging Bias Through Intimacy and Trust as it forges a connection that transcends their status as enemies, and he demonstrates that the misogynistic alphas don’t represent all werewolves.
The introduction of Blake establishes a new antagonist who functions as a foil to both Callum and Robert, shifting the narrative from a captive-captor dynamic to a complex political conflict. Blake’s hybrid identity—a wolf with a Southlands accent—makes him an unpredictable figure who understands the weaknesses of both societies. He dismantles Callum’s plan by exposing its core vulnerability, taunting that Callum is a “saviour, not a kidnapper” (146). This observation reveals that Callum’s compassion makes him an ineffective strategist in this political landscape. Blake’s reliance on psychological manipulation contrasts with Callum’s physical dominance, introducing a different form of threat. His calculated tactics force Callum into a charade of cruelty, testing the fragile trust developing between him and Aurora and elevating the narrative stakes beyond physical survival. Blake’s arrival suggests that the primary dangers may not come from overt force, but from those who navigate the conflicts between warring cultures.



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