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Tamsyn MuirA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Harrow heads off to kill her 14th planet alone. The Body is with Harrow always now; she believes that the Body’s constant presence is due to her impending death when the Resurrection Beast arrives. While Harrow makes her way to an optimal site to kill the planet, she reminisces on a conversation with John from two days prior.
Two days ago, John insisted that she join him in his inner sanctum when the Resurrection Beast attacks. The Mithraeum is designed to shut John into an impenetrable inner sanctum while his Lyctors deal with the Resurrection Beast. Harrow refuses, believing that she must fight the Resurrection Beast. While Harrow thinks this over and walks through the alien forests of the planetoid, she is momentarily happy.
Harrow realizes she is being followed. She stops and is confronted by Camilla Hect. The sight of Camilla deeply upsets Harrow, who saw Camilla’s dead body in her false-Canaan memories. Camilla’s presence causes Harrow’s brain to begin hemorrhaging. Harrow recalls that one of her letters is for Camilla; she hands it over and learns that she owes Camilla a great deal. The letter demands that her present self cooperate with Camilla. Harrow has many questions, but Camilla cannot answer them. She came looking for Harrow and hands her a fracture piece of skull, lovingly put back together from splinters. Contemplating the skull causes Harrow’s hemorrhaging to worsen. The skull belongs to Palamedes Sextus, Camilla’s necromancer.
Camilla believes Palamedes attached his soul to the skull as a revenant. Harrow enters into the River to discover if Palamedes succeeded. She finds him in a small pocket dimension that resembles the room he died in at Canaan House, when he tried to blow up Cytherea. Palamedes explains that necromancers can exert their will on the River and change its laws, like being in a bubble of air underwater and ignoring the physics of the surrounding water. Their reunion is cut short by the Sleeper. They barricade the door, and Palamedes begs Harrow to leave. As the door is broken down, Harrow leaves. The narrator—Gideon, who has been narrating Harrow’s journey in second person—reveals that she broke down the door, not the Sleeper. Palamedes sees Gideon just as Harrow leaves his pocket dimension.
Harrow awakes on the alien planet and finds that Camilla has brought her to a strange shuttle that is not of Nine Houses origins. Harrow confirms that Palamedes is attached to the skull and reshapes it into a hand; Palamedes had asked her to make his bones into something articulated. Harrow discovers that the shuttle has two people in it and a poster. The shuttle contains Deuteros and Coronabeth, who died in Harrow’s false memories in Act 2, Chapter 18 and Act 3, Chapter 26 and were presumed dead and missing, respectively, at the end of Gideon. The poster is of Commander Wake, though Harrow doesn’t know this. The poster terrifies her.
Harrow recalls a letter that she was meant to read if she met Deuteros. The letter tells her to silence Deuteros and kill her if she must. She does so with necromancy and silences Coronabeth as well. After Camilla works out the standoff between the three, Deuteros loudly announces that there is a plot against the Emperor’s life from the inside and that Harrow must do something. The other two women silence Deuteros, and Camilla tells Harrow that they are with Blood of Eden and no longer on the same side. Harrow is bound by her old self and cannot harm them.
In the false Canaan House, it has begun to snow while cancerous growths of organic matter invade. The group prepares to retaliate against the Sleeper, while Teacher eagerly awaits death. Teacher condemns Harrow and blames her for what is happening to them as the Sleeper hunts them down.
One month prior, the Mithraeum went into lockdown. Mercy put the ship into emergency lockdown after looking too closely at the approaching Resurrection Beast, trying to determine its trajectory. The momentary glimpse sent her into an incoherent panic.
In the present, Harrow begins praying for comfort before the Resurrection Beast approaches. The prayers remind her of childhood and bring her comfort. She grows desperate for the touch of the Body and tries to kiss the Body while they lay in bed together, to no avail. Distressed and with nobody to turn to, Harrow becomes feels paranoia about the others. She wonders who is the one who will betray and kill John. The other Lyctors and John begin making plans for the approaching Resurrection Beast; Harrow is excluded from their plans. The others think she is useless while John still hopes to convince her to hide with him. Harrow learns that they plan to drag the Resurrection Beast to the bottom of the River, where the stoma wait. The stoma are huge mouths that empty out into an unknown space beyond the River, which they all assume is Hell. The Resurrection Beasts can only be killed by jettisoning them into hell via the stoma. The stoma have so far only opened when a Resurrection Beast approaches.
Ianthe and Harrow begin last-minute lessons as the Resurrection Beast approaches. John once again offers to place Harrow in his inner sanctum when the Resurrection Beast arrives. Harrow asks why he must be shut away when the Resurrection Beasts come. He explains that, when he committed the Resurrection, he had to resurrect the star Dominicus and sustains it on his endless thanergy. Without him, the star will explode as it naturally should have 10,000 years ago. He shuts himself in the sanctum to ensure that Dominicus does not become volatile and threaten the Nine Houses.
Harrow asks who “A.L.” was: She has heard Augustine and Mercy use “A.L.” to refer to the person in the Locked Tomb. John is upset by the mention of “A.L.” He reveals that she was the first person to be Resurrected after climate change and nuclear disaster made humanity extinct on Earth.
John admits that he wishes Harrow had been his daughter. This enrages Harrow, who confesses her sins to John in a fit of passion. She confesses that she trespassed in the Locked Tomb as a child and that is why her parents killed themselves. John completely absolves her of her sins, though he doesn’t believe that she truly saw inside the Locked Tomb; the final ward can only be opened with his blood and there is no way to bypass it. When John touches Harrow’s face, he realizes that her brain has been tampered with. Harrow, not understanding her actions, flees when John asks who tampered with her brain.
The Body disappears and Harrow begins to doubt if she had ever existed. Harrow begins to slip in her daily routine, including forgetting her sacramental death’s head face paint. She finds Cytherea’s body underneath her bed and runs off to get Ianthe. Ianthe sees nothing underneath her bed and questions Harrow’s mental health before leaving. After Ianthe leaves, Harrow looks under the bed and finds that the body was never there.
On the last day before the Resurrection Beast attacks, Duty tries to kill Harrow again. Harrow confronts him and asks why he is so intent on killing her. Duty explains that he has been trying to kill her to prevent her suffering. Duty cryptically tells her that somebody else had the idea that he should kill her, though he won’t explain who. Duty walks away without trying to kill her in earnest.
The Heralds arrive, announcing the Resurrection Beast’s presence. Fear hits Harrow as the insect-like aliens land on the Mithraeum. The narrative ties back into the events of the Prologue: Ianthe tries to talk Harrow out of entering the River, but she refuses; when Harrow tries to enter the River, she wakes up in the hallway impaled on her own rapier.
The Epiparados returns to the actual Canaan House shortly after the events of Gideon the Ninth. Harrow has written her letters for her future self and talks Ianthe through “the procedure.” Ianthe helps Harrow through conducting brain surgery on herself as she molds her brain to erase Gideon Nav from her memory entirely. Harrow chooses Ianthe to help her because she believes that Ianthe understands being “fractured” (344).
It is not made clear, but during this process, Harrow installs fail-safes, such as papering over any instance of “Gideon” with “Ortus” (thus leading to “Gideon the First” being “Ortus the First” in Harrow’s mind). Harrow rigs her brain to hemorrhage any time something occurs that might jog her memory about Gideon. By forgetting Gideon, she ensures that the Lyctoral process cannot be completed; her soul cannot devour Gideon’s soul entirely. Harrow hopes to save Gideon at some point in the far future.
Act 4 begins the climactic action and denouement, interwoven together due to the temporally fractured nature of the narrative. The Epiparados reinforces the presence of Greek tragedy: The Epiparados acts as an introduction to the Parados, the chorus of a classical Greek play. Muir uses the Epiparados and Parados to present Harrow like a stage play. The spirits of the pocket dimension sing a third-person “chorus” that punctuates the action of the second-person chapters. A chorus is repeated after each verse: In this case, some reference to how the false memories are incorrect, as the spirits attempt to reach through to Harrow’s consciousness. The presence of Greek tragedy continues in Act 5, where the legendary hero Nonius is summoned from his Iliad lookalike, the Noniad.
Harrow’s Lost Childhood comes to the forefront in Act 4 and ties into the theme of Religion and Cycles of Violence. When John tells her that he wishes she had been his daughter, Harrow’s stoic demeanor falls apart. Harrow injures herself with broken glass and confesses her trespass in the Locked Tomb, then asks, “Did I sin, Lord? Did I kill two of my fathers that day?” (331). While “Father” is a typical title for the Christian God or for pastors, Harrow does not call John “father” until he muses about her being his daughter. By using the lowercase “father,” Muir equates John to a biological, very human father.
Much of Harrow’s childhood was taken by the “sin” she committed, which led to her parents’ deaths. This moment shows that Harrow has struggled with Coping With Grief for many years, even before Gideon’s death. Calling John her father and tacitly agreeing that she wishes to be his daughter reveals the missing sense of childhood that Harrow harbors. By linking their discussion of a parent-child relationship to her “sin,” Harrow reveals her guilt over her parents’ deaths that took her childhood from her. Gideon comments:
What dismantled you—you bereft idiot—was not even the God who made the Ninth House […]; your end appeared in the form of a grown adult telling you that they might have liked you for their own (330).
Gideon’s insult implies that the source of Harrow’s problems is clear to her, and thus to many others looking at Harrow’s situation from the outside. Gideon points out how obvious it is that Harrow is exceedingly lonely and starved for adult affection and parental approval. She suggests that Harrow’s devotion to John has nothing to do with his godliness; it simply stems from John being the first adult to ever treat her with open kindness, even after learning about her “sins.” When Harrow’s reverence is destroyed and she sees John as fully human is when he is most situated to affect her life; John the man wishes to be her father, not John as God. Harrow’s previous loss of faith is used in an ironic twist to give John even further importance in her life by touching on her lost childhood and the grief that it has caused.
Act 4 also delves into the intricacies of the plot by revealing the circumstances of Harrow’s brain surgery. Chapter 39 loops back to the Prologue, implying that the story has “caught up” to the present moment—only to be launched back to a point before the events of Harrow begin, creating an increasingly volatile and harried pace. Muir maintains suspense by not explaining what Harrow is doing, but she provides more explicit hints than ever before, such as Ianthe’s accusation that Harrow is “running away” and that she seems like a “lovelorn child.” This begins to add context to Harrow’s confusion throughout the book, which sets up the full reveal in Act 5. Once fully contextualized, the Epiparados is the biggest of sign of Harrow’s failure in Coping With Grief and her refusal to relinquish Gideon’s soul. Ianthe confronts her with the extreme risks and physical trauma she will face with such a procedure, but Harrow dismisses her and demands her cooperation, her typical self-assuredness bolstered by grief. To Harrow, who is fully confident in her own brilliance, survival is not worth it if it means the consumption of Gideon’s soul.