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66 pages 2 hours read

Catherine Fisher

Incarceron

Fiction | Novel | YA | Published in 2007

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Part 2Chapter Summaries & Analyses

Part 2: “Underground, the Stars Are Legends”

Part 2, Chapter 8 Summary

Content Warning: This section of the guide contains descriptions of imprisonment and enslavement.

Long ago, King Endor mandated that everyone “retreat” into the past and erase the last several centuries of technological, scientific, and medical progress to make life “simpler.” In a vision, Sapphique tells Finn that he needs to use the key to unlock time.

In her father’s study, Claudia makes a hologram of the key and puts it in the desk drawer, taking the real one with her as she leaves. She also releases some ladybugs to make it appear that they set the alarm off. She heads back to Jared’s tower.

Keiro informs Finn that he has been experiencing a vision for two hours while everyone else has divided up the treasure. Finn doesn’t believe he had seizures when he was Outside. Keiro speculates that Jormanric killed Maestra to warn Finn not to defy him. Finn feels guilty about her death because he promised her safety if the ransom was paid. They discuss the key, and Finn explains to Keiro that keys are used to open things. Keiro agrees that the eagle on the key looks just like Finn’s tattoo, and Finn theorizes that the key came from Outside because its materials do not resemble anything in Incarceron.

The Warden finds Claudia and Jared studying in the tower. He notices that Jared’s possessions do not entirely conform to the mandated “Era,” but he allows the deviations because the Sapienti receive some leeway on this. The Warden has settled Claudia’s dowry with Evian and suggests that she start packing, then leaves. Jared and Claudia believe that the Warden is aware that Claudia entered his study but isn’t saying anything because it is part of his “game.” Jared examines the key and suspects that it has other abilities besides opening doors. Claudia believes that her father can monitor Incarceron’s inmates through the screens in his study. Some people believe that Incarceron is underground because nobody besides the Warden knows where it is. It must be massive because when it was created, half the population was sent there. If it is so large, someone should have found it by now, unless it is hidden underground. In the key, Claudia and Jared see lights moving like small stars.

Part 2, Chapter 9 Summary

Finn tells Gildas about his vision, in which Sapphique told him to use the key to unlock time. Finn saw a small door in his vision, and Gildas says that it is nearby in Civicry territory. Gildas thinks they should make their escape that night. However, Keiro argues for staying because they have a relatively good life with the Comitatus; they are well-fed and powerful and will most likely be able to kill Jormanric and take his place. He also argues that it is dangerous to leave Comitatus territory and journey through the unknown labyrinths of Incarceron. Finn wants to escape to discover his true identity. The three men part ways to pack belongings and plan to meet soon. For a moment, Finn sees a girl’s face in the key.

Lord Evian speaks to Claudia alone and tells her about the “Steel Wolves.” A Steel Wolf was the symbol of Lord Calliston, a man accused of treason; he was the first prisoner of Incarceron 160 years ago. Now, the Steel Wolves are a secret group of people who want to overthrow the current administration and get rid of the laws forbidding the use of technology and mandating that everything be “Era.” Evian claims to be a part of this group, which is planning to assassinate Queen Sia and Caspar; they hope that Claudia will help them and then take the throne as a far more effective ruler. Medlicote interrupts to tell Evian that he has documents to read, so Evian leaves. Because Caspar will be arriving tomorrow, Claudia worries that Evian is just trying to determine whether she is loyal to the Queen.

Finn, Keiro, and Gildas regroup with their packs, planning to travel to the door that Finn saw in his vision. However, they are intercepted by Jormanric and his minions, who want the key.

Part 2, Chapter 10 Summary

Jormanric now believes that the key can open any lock. He is happy to let Gildas leave, but not Finn or the key. Keiro insults Jormanric and they fight until Jormanric is near death. As Keiro takes Jormanric’s supposedly magical rings, the prison starts a lockdown, turning on lights, sounding alarms, emitting gas, and slamming doors. Before he dies, Jormanric implies that Keiro is the one who killed Maestra, not him. Gildas, Keiro, and Finn sneak away. Finn sees the enslaved person whom Jormanric forced to taste-test his food; he wants to bring the person along. The four of them climb up to the transitway and walk through Civicry territory until they find the door from Finn’s vision.

Part 2, Chapter 11 Summary

Claudia tells Jared about the Steel Wolves’ plan to assassinate Sia. Suddenly, the key becomes warm, and voices come out of it. (The voices are Finn and Gildas arguing about how to use their own key to open the door, but Claudia and Jared don’t know this.) Jared and Claudia hear a door open, then the key stops making noise. They conclude that they just overheard a conversation from people who have a similar key and surmise that the keys can be used for communication. Jared and Claudia are confused because the people they overheard sounded afraid, but Incarceron is supposed to be a utopia. Jared advises Claudia against speaking to the people who hold the other key because it could interfere with Incarceron’s ability to run as a paradise.

The Warden arrives and announces Caspar’s arrival, and Jared returns to his tower. Claudia admits that she broke into her father’s study because she senses that he already knows. However, she does not admit to taking the key. The Warden thinks that Claudia’s intelligence and sneakiness will serve her well as a future queen. Feeling bold, Claudia asks why there aren’t any pictures of her mother in the estate. This upsets the Warden, and he warns Claudia not to test his patience, then leaves.

Caspar has come to collect Claudia and take her and the Warden to his palace. He did not want to come, but his mother compelled him to obey. Caspar does not want to marry Claudia any more than she wants to marry him.

Part 2, Chapter 12 Summary

Finn, Gildas, and Keiro successfully open the small door, and nothing bad happens. They are still in Incarceron, but now they are in a metal forest and see no people around. Keiro denies being responsible for Maestra’s death. The formerly enslaved person removes some layers of rags and reveals that she is a young woman, which surprises everyone. She was also wearing fake sores to make people want to stay away from her, but she is not really sick. Her name is Attia, and she’s loyal to Finn for helping her. Finn clarifies that he doesn’t want a servant but says that she can come on their journey.

Claudia wonders why her father got so upset when she asked about her mother. She wonders if her mother died of some illness that could have been addressed with modern medicine, and if her father withheld the medicine due to “Era” laws (also called “protocol”). In her bedroom, she asks the key to speak.

Finn hears the words “speak to me” (154) come out of the key. Everyone else is asleep. Finn speaks to the key, stating that he is in Incarceron; Claudia says that she is Outside. Finn is glad to know that Outside exists. He asks if there are stars there; Claudia confirms that there are. They discover that they each have an identical key. Finn asks Claudia to help him escape, but this confuses her because she has been told that it is a utopia.

Part 2, Chapter 13 Summary

Claudia practices fencing with her instructor and thinks about Finn’s voice, which sounded familiar to her. His accent resembles those at the palace. The fencing instructor tells her that he is being fired after her wedding, but Claudia plans to remedy this. She thinks that her father and Sia are trying to isolate her from everyone she likes or trusts. Evian visits and reiterates that the Steel Wolves are planning to assassinate Sia and Caspar shortly after Claudia’s wedding; for this, they’ll need Claudia’s assistance. He claims that it is not a trap. Claudia asks Evian what he knows about Giles’s death and is told that one day, Giles went horseback riding without his usual companions. Someone returned to report that he fell off the horse and died. Many people came to mourn him. Oddly, when a man named Bartlett, who helped raise Giles, came to see the body, he laughed instead of crying. This was bizarre because Bartlett loved Giles, and everyone expected him to be devastated.

In the metal forest, snow begins to fall. Gildas believes that they are on the same path that Sapphique took. Keiro disappears, then reappears with a dead sheep. It is partially made of organic material and partially metal, but parts of it are still edible. The others are worried because Keiro has “stolen” from someone by killing the sheep. Keiro protests that they must eat and justifies his theft by claiming that everyone belongs to Incarceron, and Incarceron is the enemy. Gildas remembers when animals were made of organic material. Now, Incarceron recycles both organic material and metal to make new animals and people. In the gang that Attia was originally from, half-men are murdered at birth. By contrast, the Comitatus lets them live, but only by enslaving them or making them into bodyguards. A blizzard starts, and the group takes shelter in a metal tree’s hollow. A picture of Sapphique is carved into the tree. Gildas puts the key into the picture, and the key starts glowing, which bolsters his belief that they are headed in the right direction.

Part 2, Chapter 14 Summary

Caspar talks to Claudia while she packs. He doesn’t care if she has other lovers, and he plans on taking lovers himself. The wedding is just a formality so that they can produce an heir. Claudia doesn’t want to live a lie, and Caspar counters that she just wants to be with Giles, or Jared. Claudia threatens to kill Caspar if he ever brings that up again. She leaves the room and goes riding even though she is supposed to get the final measurements for her wedding dress. She sees her father standing in the window of his study and apparently talking to someone, even though the window doesn’t exist.

Claudia asks a child servant named Job if he knows Bartlett. Job says that Bartlett lives nearby but doesn’t like talking about his time at court. Claudia and Jared set off to find Bartlett.

Keiro says that the sheep were freely roaming with no fence, so he’s not too worried about being reprimanded for stealing. The blizzard is still ongoing, so they decide to rest. Finn thinks that by opening the small door with the key, they crossed some sort of boundary and angered the prison, so it might try to punish them. Finn waits until everyone seems to be sleeping, then takes the key out to try to speak to Claudia again. He overhears Claudia talking to Jared, but they don’t seem to hear him. Keiro overhears Finn and asks who Claudia is.

At Bartlett’s cottage, Claudia and Jared discover Bartlett’s dead body. His neck has been broken, and Claudia assumes that someone killed him to prevent her and Jared from interrogating him. Bruises on Bartlett’s body suggest that a larger person killed him, not Job. Claudia and Jared search the cottage and find a parchment with Bartlett’s story, which they take, and a picture of Giles on a piece of gold. The fact that Bartlett didn’t sell the picture suggests that he really did love Giles.

Part 2 Analysis

In this section, the epigraphs that open each chapter continue to provide information from other sources that are not included in the general narration; sometimes, these excerpts detail the historical context of the kingdom and deepen the author’s world-building. Additionally, these segments create dramatic irony by including important information that the protagonists are not aware of. At other times, the epigraphs are taken from texts that Claudia may feasibly have access to, such as King Endor’s Decree, which outlawed modern technologies, medicine, and knowledge and mandated that society conform to a bygone historical era. Other epigraphs come from texts that neither Claudia nor Finn has access to, such as Lord Calliston’s diary, which explains how Incarceron gradually descended into a dystopian status quo despite its creators’ intentions to create a paradise. Significantly, Calliston notes that even as the inmates turned against each other, the prison itself became a “demon,” and his words are designed to implicate both humans and technology in the experiment’s failure, thereby highlighting The Use and Abuse of Technology. One epigraph contains an excerpt from a letter from Queen Sia to the Warden, which reveals that she is threatening him if he doesn’t go along with her plans. This excerpt implies that the Warden may not be the pure villain that Claudia currently believes him to be, and that Sia may be more of a villain that she appears to be.

The Ambiguity of Imprisonment and Freedom is further illustrated in this section as Finn seeks a way out of Incarceron and Claudia seeks a way to escape from the social expectations that are currently boxing her in. Within this broader framework of confinement and escape, the symbol of the key further complicates the meaning of freedom. To Incarceron’s inmates, freedom is such a foreign concept that they can barely imagine how it could be obtained or what it would be like; this incomprehension is implied by the fact that most of them do not understand what a key is. However, because Maestra calls it a “crystal,” this epithet implies that she instinctively knows the value of freedom even if she cannot articulate its true meaning. Those who have heard of keys, such as Gildas, regard them as “magical” unlocking devices, which implies that they conceive of freedom as a mythical, near-unattainable ideal. Because the two keys are revealed to be communication devices in addition to their primary function, the narrative implies that communication and knowledge represent abstract forms of freedom that can “unlock” a myriad of unseen doors. As Claudia and Finn speak to each other remotely, they each learn more about their world than they could have otherwise have discovered. Thus, “freedom” is revealed to be a psychological construct; accordingly, access to knowledge, truth, communication, and trust are essential to liberation. This complicates The Ambiguity of Imprisonment and Freedom because Claudia and Finn both lack the mental freedom that is symbolized through the key, even though Claudia is not physically incarcerated.

While the beginning of the novel is dominated by two distinct narrative threads—Claudia’s view of “Outside” and Finn’s of Incarceron—this section of the novel eliminates the rift between the two characters, and the disparate narrative threads converge when Claudia and Finn use the key to establish communication. From this point forward, even though the narrative continues to alternate between their perspectives, the protagonists are finally able to start working together, and the discoveries of each character support and intensify the actions of the other as the plot unfolds. Most importantly, the two threads become even more connected when Claudia suspects that Finn might really be Giles, her former fiancé. This realization raises as-yet-unanswered questions about the deeper political realities of Claudia’s world.

Significantly, Finn is not the only character with a double identity, for Attia’s character develops considerably when she sheds her disguise, and this scene develops The Distinction Between Appearances and Reality. Previously enslaved, Attia wore layers of rags and fake sores to conceal her gender and create the impression that she had a contagious disease; this subterfuge kept others away from her, increasing her safety in this treacherous environment. However, Attia’s disguise also illustrates the fact that physical appearances can be misleading, a point that is repeated throughout the text to emphasize the importance of honesty, communication, logic, and critical thinking, all of which are more effective than surface-level observations.

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