42 pages • 1 hour read
Holly BlackA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Wren senses romantic history between the now estranged Tiernan and Hyacinthe. The group stops by Wren’s camp in the woods, so she may gather her valuables—including a fox figurine from her childhood games with Oak. Oak reveals his plan to appeal to Queen Annet of the Court of Moths for safe passage through her swamps, where an ancient hag called the Thistlewitch lives. The Thistlewitch has a dowsing rod that can find anything, including Mellith’s heart, which Lady Nore requested in exchange for Madoc’s return. Oak does not yet reveal this information to Wren, “[leaving] [her] to wonder what part of his plan he has elided, that he needs a hag to find something for him” (70). As they leave Wren’s encampment, they’re attacked by stick figures animated by the power Lady Nore siphons from Mab’s bones.
In a moment of privacy after their escape, Hyacinthe offers information to Wren in exchange for removing his bridle. Though Hyacinthe has not given an oath to Lady Nore, he yearns to return to her so she can remove his curse; Oak has only been able to partially remove it. Wren refuses to help him, despite her sympathy; Tiernan and Oak don’t trust him, either. Hyacinthe gives Wren a vague warning about trusting Oak.
Oak and Tiernan continue to treat Wren as their prisoner, motivating her to prove her worth. Wren showers at the motel they stop at, observing herself in the mirror with a critical, disapproving gaze. Oak brings her food, which she gobbles down like a starved animal, before they continue on their journey. A horse was injured in the stick figure attack, so Oak has acquired a new steed—a fae called a kelpie.
The kelpie introduces himself as Jack of the Lakes, and along the journey, Hyacinthe attempts to sow seeds of distrust in Wren. The group arrives at the Court of Moths, and the troll guarding the entry passage threatens to kill them. The troll recognizes Oak as the Elfhame Prince, and Oak requests Queen Annet’s permission to seek the Thistlewitch. Oak, Tiernan, and Wren are escorted to Queen Annet, but Hyacinthe is taken to the dungeons.
Before Hyacinthe is taken away, he warns Wren that Oak’s mother, Liriope, was a gancanagh, a love-talker or honey-mouth, who can compel others with words. Oak arranges for Wren to visit the royal seamstress, Habetrot, to be outfitted for Queen Annet’s revel. Habetrot is known for creating garments from the dreams of her clients, but Wren doesn’t know what she wants. However, Habetrot senses her desire for destruction. After she’s dressed, Oak collects Wren. He untangles and braids her hair, a moment of tenderness that makes her “feel as though this is a different kind of game, one where [she does] not understand the rules” (106). She looks in a mirror and sees herself as pretty.
Oak, Tiernan, and Wren are escorted to the revel. Wren asks Tiernan questions about Hyacinthe, and he suspects she judges him for his complicity in Hyacinthe’s imprisonment. He tells Wren that Hyacinthe’s father, a knight, died by suicide after failing Lady Liriope, Oak’s birth mother, when she was poisoned. Hyacinthe wanted to avenge his father and joined forces with Madoc during his coup, believing Prince Dain responsible. His loyalty became solidified when Madoc ensured Dain’s death. Though Tiernan tells the story to assuage his guilt, it doesn’t sway Wren’s opinion on the golden bridle.
Oak appeals to Queen Annet about the Thistlewitch, and she offers his group a marking to write on their shoes that will lead them to her. This conversation reveals to Wren that Madoc is being held captive by Lady Nore; she is angry at his deception. While staying the night, Oak admits he should have told Wren the truth and pleads for her help. She hesitantly agrees and they share a dance, during which she reminds Oak that he still owes her a favor from their childhood game. She suspects he might try to charm her and kisses him, thinking “the least [she] can do is make it cost him […] to prove to [herself]—to prove to [them] both—that his flirtation isn’t sincere” (122). After a moment of shock, he kisses Wren back. Affected by his charm more than ever, Wren ends their dance and slips away to find Hyacinthe.
Jack of the Lakes follows Wren, believing she plans to free Hyacinthe from prison. She hadn’t thought about freeing Hyacinthe, but decides she must play Jack’s game lest he alert the guards. She offers him her cherished fox figurine in exchange for his help.
The dungeons contain a merrow (merman), a human girl named Gwen, and Hyacinthe with his bridle removed—because Oak doesn’t want it falling into Queen Annet’s hands. Gwen reminds Wren of her unsister Bex, prompting her to free all three prisoners by solving their cells’ riddles; she also requests Gwen’s phone. In exchange for his freedom, Hyacinthe reveals that Lady Nore requested something in return for Madoc’s freedom, but he does not know what. Wren removes Hyacinthe’s curse—a supposedly impossible feat—in exchange for him helping Gwen and the merrow escape. Hyacinthe swears fealty to a reluctant Wren because she knows “those who pledge loyalty come to resent those oaths and wish for the destruction of the one who holds them” (140). He insists she order him to return to Lady Nore, so she might have an ally when she arrives, but Wren refuses, wanting him to enjoy his freedom.
When Wren returns to the revel, a drunk Oak is drawn into a fight with an ogre; he does not lift a hand to defend himself. Queen Annet’s knights interrupt the revel with news of the prisoners’ escape, as Jack confessed Wren is to blame. Oak feels betrayed by Wren.
Wren recalls games she played with Bex in childhood, such as pretending to be princesses. The former is delegated to being a passive princess who sleeps and cries, as Bex argues “that’s what princesses do” (150). Wren recalls a 13-year-old Oak visiting her in the woods, wanting to run away together. She tells him to return to Elfhame, as he is no longer her friend.
The guards take a resistant Wren to her bedroom instead of the dungeons. Alone, she uses the phone she requested from Gwen to call her unmother. The woman recognizes Wren’s voice, causing Wren to abruptly end the call. She’s then summoned to the throne room to be questioned by Queen Annet, with Oak and Tiernan present. She admits she freed Hyacinthe because she believes it’s wrong to lock him up, surprising Oak. Queen Annet demands Wren take Gwen’s place in her prison, but Oak objects. Queen Annet suggests a duel to decide Wren and Jack’s fate. Oak is pitted against Noglan, the same ogre who punched him several times at the revel. Oak fells Noglan, astonishing the crowd that assumed he could not fight. Queen Annet decides to give Wren a riddle to decide whether she lives or dies, which Wren answers correctly. After their release, Oak forgives Jack and releases him from his service, prompting Wren to wonder why he remains angry at her.
Alongside the theme of The Importance of Autonomy, the novel introduces the corruptive allure of power. Wren attempts to prevent Hyacinthe from pledging his loyalty to her, because she does not want the responsibility, but ultimately fails. Growing up as she has, she has “seen what power does to people. And [she] [has] seen how those who pledge loyalty come to resent those oaths and wish for the destruction of the one who holds them. [She] was never less free than when [she] ruled” (140). She despises those who have power and use it cruelly, and simultaneously fears taking power for herself, knowing how easily autonomy can be stripped away by those she dares trust: To Wren, it’s “better to hurt someone else when [she] had a chance” (156). Though she’s averse to power in the present, when she comes into it at the end of the novel, it is her yearning for love, safety, and control that prove dangerous and unpredictable.
Wren’s identity issues grow worse as she reintegrates into the world of Faerie. She remembers a boyfriend from the mortal realm who “was half-sure that he’d conjured [Wren] with his vape pen” and “decided that since [she] wasn’t real, it didn’t matter what he did to [her]” (68). She defended herself with her teeth, but has not formed lasting relationships since. When Habetrot makes Wren a dress of rags and scraps, she admires it, yet wonders if it is a mockery—that “by putting [her] in a gown and speaking to [her] as though [she] were a girl, [she] would become one” (103). This exchange reveals her passivity and uncertainty regarding what she wants, as if she were still the demure princesses she played in childhood games. Yet, Habetrot senses her desire for destruction, foreshadowing Wren’s possession of Mellith’s heart—imbued with the power of unraveling Mab’s creation magic. The seamstress makes her dress while saying “I will dress you, too, and give that for which you were too afraid to ask” (102). In other words, Wren’s conflict is that she waits for permission rather than act on her desires.
Trained through torture to live in fear, Wren allows desperation to dictate her decisions. In moments of terror or pain, she lashes out impulsively, to inflict harm on her oppressors. In brief moments of hope, when Wren is offered anything—whether it be affection, food, or tangible objects—she eagerly takes. She does so with Oak’s affectionate charm, “ready to eat out of the prince’s hand as tamely as a dove. It’s too easy. [She’s] hungry for kindness. Hungry for attention” (120). She wants what she believes she can’t have, but after years of Lady Nore’s conditioning, Wren can only, as Madoc will later comment on, sit at the table and wait for permission to eat. However, her small acts of rebellion—freeing humans from glaistig bargains and the prisoners from Queen Annet’s prison—allow Wren to feel good at being “the cause of events rather than being swept along into them” (140).
As their arcs progress, Hyacinthe becomes somewhat of a foil to Wren. When they arrive at Queen Annet’s court and her guards take Hyacinthe to the dungeons, Hyacinthe glances at Tiernan, “perhaps looking to his former lover to speak on his behalf” (97). The scene mirrors a young Wren looking to Oak as an escape from the Court of Teeth when Lady Nore suggested a proposal between the two. Just as Oak failed to free her then, Tiernan fails to free Hyacinthe now. This becomes a defining moment for Wren, as she frees Hyacinthe, a representation of her passive self, from everything limiting his autonomy: Queen Annet’s prison, the golden bridle, his curse, and Tiernan and Oak themselves.
The symbolism of games becomes more prominent as Wren’s barriers begin to crumble. In a moment of vulnerability with Oak, she feels “as though this is a different kind of game, one where [she] [does] not understand the rules” (106). She cherishes Oak’s fox figurine from childhood, and even describes Oak as having fox-like eyes and a trickster’s mouth, reinforcing the fae and their games as cunning, deceitful. The push and pull of Wren and Oak’s relationship is illustrated by Wren offering Jack of the Lakes the figurine in exchange for his help.
By Holly Black
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