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N. K. JemisinA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Hoa provides some ambiguous context for himself. He outlines an ancient war that he likens to eradicating unwanted vermin (he also hints that humans are the vermin for having cracked the surface of the planet and lost the moon). The problem is that not all the vermin were killed; the survivors became stronger and split into different factions, all with their own interests—many of which do not even pertain to the original conflict.
Hoa claims he was once vengeful but now wants to find a peaceful resolution to the conflict. He says that “we” (the other stone eaters who originally tried to eradicate the vermin) cannot be permitted to win. Finally, he admits that he has already betrayed Essun and plots her death because it is necessary.
Nassun reflects on childhood memories of her parents. Regarding Essun, she remembers the strict rules, the constant commands, the physical punishment, and the “[endless] displeasure” that her mother inflicted upon her to teach her how to hide her orogeny. Her memories of Jija are the opposite: He made her toys, took her fishing on his days off, and told her stories about the stars. He never punished her or had strict expectations and was never too tired to talk to her at the end of the day.
One day, Jija instinctively knocks her off the wagon when she attempts to touch his arm. Before she has even processed what happened, Jija scrambles down to check on her, tears streaming down his face. It is in this moment that the shockwave from the Rifting reaches them. The world around them is torn apart, but despite being in shock from the fall, Nassun manages to hold down the ground around them while spinning a torus (an area of orogeny) that protects them from flying debris.
Once the shockwave has passed, Jija has the same look of violent rage about him as when he killed Uche, and he questions if Nassun is responsible for the shockwave. Using orogeny caused a spike in adrenaline that has cleared Nassun’s head. For the first time since leaving Tirmino, she understands her father’s contempt for her as an orogene. Her heart breaks but her instinct to survive takes over. She realizes that she can manipulate her father by appealing to his parental instincts. She calls him “Daddy,” she inflects her voice in the necessary ways, and she calms him down. Despite everything, the last thing she wants is to go back to Tirmino now that she is finally free of her mother. She informs Jija that many of the nearby towns have been destroyed and that it is likely the start of a new Season. Jija initially wants to go back toward Tirmino, but Nassun softly tells him, “Mama knows, Daddy” (86). It is enough, and they continue to journey south.
Essun asks Tonkee (a traveler who joined her on the way to Castrima who is interested in science generally and the obelisks especially) what she knows about moons and satellites. Tonkee hasn’t heard of a moon before, but she is familiar with satellites, which she says are objects whose motion and position are dependent upon another object. This makes the obelisks a kind of satellite since they converged on Essun when she was living in Tirmino (this is how Tonkee was able to find Essun in The Fifth Season).
Much of Tonkee’s knowledge comes from objects, maps, and books that her family has access to because they are part of the Leadership caste. She admits that much of it is probably propaganda intended to legitimize their position in society, but elements of it appear to be true. This is how she knew how to find the obelisk “socket” hidden in the Fulcrum when the two first met as children in The Fifth Season. Tonkee reveals two theories she believes to be true. First, the obelisks are older than recorded history and may predate the Shattering (the event that led to the first Season and nearly destroyed the world). Second, the obelisks were made by people and can be used to fix the world and end the Seasons once and for all.
Hoa is not there when Essun returns to her apartment later that day and is not seen again for some time. She goes to Alabaster to tell him she called the onyx and topaz obelisks and to try to get more information out of him. Alabaster is impressed by how much Essun has improved—something she realizes is the result of having to be so vigilant while raising two orogenic children—and tells her that he thinks she has the ability of a nine-ringer now (Fulcrum orogenes are ranked by how many rings they wear).
During the conversation, Essun can’t help looking at the parts of Alabaster that have turned to stone. He tells her to look inside him, which she finds perplexing at first because she’s never tried using orogeny on a person in this way before. However, as she aims her orogenic awareness toward him, she feels something. He reveals that what she senses is the stuff that makes orogeny work, that it’s what the obelisks are made of, and that past civilizations even had a word for it: They called it magic. The word, along with the idea of its very existence, has been erased over time because of its dangerous potential. Alabaster tells Essun that she needs to learn how to perceive and control this material. Essun still wants to know more about the moon, but Alabaster is too tired to continue. He briefly explains that losing the moon is what caused the start of the Seasons and that they can talk more the next day. Though not convinced she wants to help him further destroy the world, Essun commits to learning what he wants to teach her.
Nassun and Jija continue their journey south. Because they travel by horse cart, they move faster than Essun and stay ahead of the worst of the changing climate. They stop at comms Jija deems safe, and he provides rides to people they meet on the road in exchange for food and other provisions. At one of the comms, they stop at, Jija must kill a man to escape, and they lose the cart in the process. Another comm opens fire without warning, and Nassun uses orogeny to kill everyone inside. Jija is horrified by this, and Nassun vows not to do it again.
It takes them over a year to finally reach the location Jija has been looking for: a comm named Found Moon that he claims can “cure” her. The comm is up on a plateau. Leading to it is a long column of rock formations that Nassun recognizes were made by an orogene. Likewise, she believes the only way to climb these formations and reach the plateau would be to use orogeny. While she waits for Jija to accept this, they are attacked by a group of bandits. Jija is harpooned through the leg and pinned to the ground, but Nassun hesitates to use orogeny to deal with the bandits because of how Jija reacted previously.
The two are saved by Schaffa, who descends from the plateau and gracefully kills the bandits. Nassun uses orogeny to cut the chain that is attached to the harpoon in Jija’s leg. When she reaches down into the earth to gather the energy to cut the chain, she notices something finer and more precise than the lava waves she normally uses. She manages to form it into a sharp blade edge and cuts Jija free. Upon introduction, Schaffa believes he recognizes Nassun, but she insists they’ve never met. He offers to help her father and bring them up to the comm. Before they depart, Schaffa touches the back of Nassun’s neck, and for a moment, she notices a small thread of silvery light—not dissimilar to the light emitted when she cut the harpoon—pass from her to his fingers.
Essun settles into life in Castrima and begins to enjoy the mundane political issues she is tasked with dealing with. However, despite Castrima’s pro-orogene stance, she still hears people harboring resentment and distrust toward orogenes. She joins a party of hunters and Strongbacks to scout a camp that has appeared near Castrima. The camp has lined its perimeter with dead bodies impaled on poles and is flying a blood-red flag. The party debates the intent of the camp and where it came from. They conclude that it is most likely a camp from Tettehee (the next closest comm to the north) intended as a warning to establish territorial boundaries.
Castrima has not had contact with Tettehee since the start of the Season, and Essun suggests sending an orogene-escorted trading party to start a dialogue with them. Hjarka argues that a “rogga” (a slur referring to orogenes) would just as easily kill their own as the enemy, which prompts a display of orogenic power and precision from Essun. The party is impressed with her ability, having no previous exposure to Fulcrum-trained orogenes, and Essun is enlisted to teach the younger orogenes in the comm.
Back in Castrima, Essun and Alabaster continue their lessons, but Essun loses patience with the way he talks down to her. The subsequent argument causes some minor tremors around the comm. This orogenic sparring causes more of Alabaster’s arm to turn to stone. Essun realizes that if Alabaster has not changed in the 10 years since they last met, she must. Once things have calmed down, Alabaster agrees to tell her where he has been for the past 10 years.
The interlude reveals much about Hoa and the three-sided war that Essun finds herself in the middle of, though the metaphor does not fully coalesce until some reveals that come later in The Obelisk Gate and its sequel, The Stone Sky. The “vermin” Hoa describes are the people responsible for disrupting the equilibrium of Father Earth and starting the Seasons; Alabaster later reveals these were the orogenes who ran Corepoint. In The Stone Sky, it is further explained that Alabaster is only partly correct and that Hoa played a central role in causing the Seasons. Hoa was a tuner, a kind of proto-orogene created to control the Obelisk Gate and harness the power at the Earth’s core; however, once he realized the true nature of what was going on, he changed his mind and attempted to use the power to destroy humanity, accidentally sending the moon out of orbit.
Even without this context, Hoa’s choice of metaphor is suggestive and reveals how he sees the conflict: The tuners (now stone eaters, including Hoa) were attempting to exterminate a harmful pest and thus viewed their actions as justified. This is also why he suggests “[war] is a poor word” to describe it (75). It has never been an equal conflict, and it has been going on for so long, and the sides have become so fractured that most people are unaware it is even still happening. This is also why he is no longer one of the vengeful ones: He believes that the descendants of those original “vermin” should not be held accountable for what their ancestors did and wants to make amends and find equilibrium once again. This puts him at odds with many of the other stone eaters (all originally tuners) who still want to finish the job, and it begins to clarify the different goals, motivations, and parties involved in the “war.”
Nassun quickly adjusts to a dangerous life on the road with Jija and almost instinctively knows how to manipulate and control him. This makes sense, given the severe training her mother has put her through; as an orogene, she isn’t afforded the luxury of ignoring the dangers and harsh realities of the world (an example of The Devastating Effects of Systemic Oppression). However, she initially struggles to let go of the idea that Jija is a good father and that he still loves her. While this is partly down to the shock of what she has just been through, it is also because she has always felt like Jija is the only parent who loves her. This is evident in the way she remembers Essun:
Don’t reach, don’t ice, I’m going to make the earth move and you’d better not react, didn’t I tell you not to react, even listening is reaching, normal people don’t listen like that, are you listening to me, rusting stop, for Earth’s sake can’t you do anything right, stop crying now do it again. Endless commands. Endless displeasure (77-78).
Nassun’s resentment is clear in the nagging tone of her remembered mother and the fact there isn’t a single positive thing she can recall. It becomes even clearer in the next passage, when she starts to compare parents. In her eyes, Jija does everything right: He makes her toys, takes her fishing, tells her about the stars, and is never too tired to talk after work. Essun is the opposite—always too tired, except when it’s to inspect her after a bath or to discipline her when she misbehaves. In Nassun’s eyes, Essun has never really demonstrated that she loves and accepts her, and her anger about this impairs her going forward.
The idea of Parent-Child Relationships and Cycles of Trauma is brought into focus more clearly in the next chapter. After she demonstrates that she can call the obelisks to her, Alabaster remarks that Essun’s orogeny has improved a lot since they last saw one another. Essun realizes this is because “[she] learned to sleep with one eye open, [her] sessapinae primed for the slightest twitch of infant fear or toddler pique” and had to “[quell] a dozen disasters a night” (98). Importantly, this comes right after the chapter in which Nassun complains about how awful Essun was as a mother and how much she wanted to get away from her. The alternative perspective it provides strongly contrasts with the image painted by Nassun, as it suggests how much work it took to ensure her and Uche’s safety. It sheds light on why Essun was often too tired to talk at the end of her workdays and further raises questions about Jija’s role in the household.
This sequence also implies that Jija was never a great parent, even before he murdered Uche with his bare fists. Superficially, he appeared to be a caring and attentive father. However, on closer inspection, this is because he always left anything that generated friction with Nassun for Essun to handle. While Essun certainly made mistakes in how she chose to teach Nassun about orogeny and self-control, Jija’s inability to be the “bad” parent exacerbated the resentment Nassun now feels toward her mother. Essun’s memories don’t completely vindicate her or invalidate Nassun’s experience of their relationship, but they do recontextualize it. The passage suggests that the issue is not whether Essun loves Nassun but how their societal context forces Essun to act. The prejudice against orogenes is so severe that Essun believes ensuring Nassun learns the lessons quickly takes precedence over ensuring she feels loved and accepted. This warping of personal relationships is another effect of systemic oppression.
In Castrima, the façade of orogene acceptance begins to show some cracks. Essun overhears an older man complaining that there are too many orogenes: “Ykka’s all right, earned her place, didn’t she? Gotta be a few good ones. But the rest? We only need one—” (123). The notion that Ykka is alright because she has “earned her place” implies that orogenes need to prove themselves to be accepted. More harmful still is the idea that Ykka is “one of the good ones.” This echoes a common real-world phrase comparing an individual favorably to others in their demographic. It is a backhanded discriminatory compliment, and here it reveals the man doesn’t actually see Ykka as an orogene because she has positive attributes that he doesn’t associate with orogenes. This mental gymnastics allows him to accept that Ykka is someone he likes while maintaining his prejudiced view that all orogenes are dangerous. There is a similar incident with Hjarka toward the end of the chapter. She scoffs at the idea of sending an orogene with a trading party because they would kill half the people trying to defend them. After Essun provides a demonstration of how precise and controlled she can be when using orogeny, Hjarka is impressed but unwilling to concede that most orogenes could do this: “[I]f every rogga could do that, people wouldn’t have a problem with roggas” (136). This reveals how much of the orogene prejudice is based in ignorance, but also how difficult it is to combat. Even when people encounter real examples that run counter to their beliefs, they’re reluctant to change the teachings of a lifetime.
By N. K. Jemisin