Three Dark Crowns

The characters’ experiences highlight how identity building is a complex process that is determined by several influences. Mirabella, Katharine, and Arsinoe’s fates seem to be decided for them: They are queens born into rigid roles, and each one is expected to embody a specific gift and use it to murder her sisters once they reach the age of 16. However, there is a significant discrepancy between who they are supposed to be and who they actually are. At various points in the narrative, they struggle to reconcile this, and they end up acting out against one another and themselves. 

According to Fennbirn tradition, the Goddess determines the queens’ abilities, and these abilities shape their communities’ expectations. For many years, the triplets measure themselves against these expectations and either feel capable, like Mirabella, or inept, like Katharine and Arsinoe. For example, when Pietyr tells Katharine what his role in her life will be, she says, “It is all pressure and expectations. And I will fail” (107). Katharine thinks of herself as a disappointment and feels the immense pressure of performing her poisoner skills. While Pietyr’s “training” gives her more certainty, ultimately, his attempt to kill her pushes her to believe in herself as she sheds her former, hesitant self and redefines herself. However, her struggle to figure out who she is characterizes her for much of the novel.

Power structures and deceit further complicate the queens’ sense of identity. For example, the Arron family’s political maneuvering undermines the sacred mythology surrounding the queens. As the narrator says, “The gift matters less and less. Crowns are no longer won, they are made, through politics and alliances” (61). This statement highlights that belief in the Goddess and her power—which is said to underwrite the queens’ strength—is less important than the powerful families that rule behind the scenes. This calls into question the entire structure on which this community is built, how it allocates power, and how the queens come to understand their identities. Mirabella’s identity is similarly shaped by the temple’s agenda and her relationship with Luca, the High Priestess. While “[t]here was a time when Mirabella listened to no one, and nothing” (205), she has become docile under Luca’s influence. Luca has deceived Mirabella, constrained her behavior, and even tried to control her memories to mold her into the kind of queen who will prioritize the temple’s goals during her reign.

Even outside perceptions can impact identity. Billy tells Arsinoe about a song mainland children are taught in which the queens are described as “witches” who seek to “devour” one another, but this song is an oversimplification that mischaracterizes the triplets and strips them of their humanity. Further, when Arsinoe uses low magic on Jules to find Joseph, Jules is described as “magic encased in skin, with no person left inside” (196). This showcases just how easily identity can be abandoned, reformed, or distorted. Rather than a stable trait, identity is constantly evolving, and it can be difficult to pin down.