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66 pages 2 hours read

Holly Black

The Cruel Prince

Fiction | Novel | YA | Published in 2018

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Themes

Power Dynamics in a Hierarchical Society

Power is a running theme through the narrative of The Cruel Prince and is explored in a variety of ways. In general, Black portrays power as corrupting, leading to greed and exploitation. Jude observes this dynamic rather succinctly when she says of her bullying classmates, “The more they get away with, the more they believe they’re entitled to have” (47). She views these privileged faeries as having an insatiable desire for control over others, presenting a link between power and immorality. Because these faeries are from elite families, they feel entitled to treat the twins badly.

The powerless in Faerie’s society—such as mortals like Jude, and the servant class—are generally exploited. Because only some of the kingdom’s inhabitants can wield magic, there is a pronounced power imbalance. The vulnerable can try to compensate for their disadvantage in some ways, like wearing rowan necklaces to shield themselves from magic, but those measures don’t completely even the playing field. Jude still can’t wield magical power, for instance, even if she is immune to it. This theme helps explain Jude’s pull toward her role as Dain’s spy. The role helps Jude continue compensating for her strategic disadvantages in the kingdom, as well as protecting her from other faeries’ magic through Dain’s spell. Because knowledge is power in scandal- and secret-riddled Faerie, Jude is also attempting to gain a position of advantage by being a spy. Her role indeed brings her power in the form of knowledge, as when she witnesses Balekin’s abuse of Cardan, which makes her think differently about her enemy.  

Black posits that those who have true power don’t cling to it but understand how to use it—including when it is an advantage to feign its absence. Dain attempts to capitalize on Jude’s outwardly lowly state by counseling her, “Show your power by appearing powerless” (197). Because Jude can enter and exploit valuable situations, such as posing as a servant in Hollow Hall, her “weakness” becomes a strength. And yet, because so much of the faeries’ interaction with humans and with one another is driven by compulsion—forcing someone to do something against their will or inclinations—their power is somewhat fragile and artificial. Jude realizes this when she contemplates what Balekin could give her in exchange for turning in Cardan. She reflects that there’s nothing the prince could give her to make it worth her while, musing that because he exploits other people to gain his power, she doesn’t view his protection as valuable: “True power isn’t granted. True power can’t be taken away” (267). Instead, Jude attains true power by giving people incentives—rather than forcing them—to do her bidding. For example, she uses persuasion to secure the two rulers’ alliance with Oak’s rule; she relates Oak’s kingship to their benefit rather than coercing a reluctant alliance that would dissolve without external pressure. In other words, she has learned how to harness the natural self-interest that the inhabitants of Faerie have to her purposes, rather than trying to stifle it. Doing so fortifies her hold on power and advantage.

Truth and Lying

Jude uses her lying abilities to gain strategic advantage over the faeries, since she is disadvantaged in so many other ways. Even a decade after she’s brought to Faerie, she marvels, “Lying is so easy here. I can do it all day long and never be caught” (14). The normal checks and balances of a child growing up and learning to be honest, guided by an adult authority figure, are lacking in Faerie, and she uses this ability any way she can. For example, she can’t just dismiss Cardan’s sexual comment about Taryn in Chapter 10 because she knows he cannot knowingly tell a falsehood: “Faeries can’t lie. Cardan couldn’t have said it if he didn’t believe it to be true” (79-80). (In hindsight, it is possible Cardan is trying to warn her about Locke’s relationship with her sister, although this is never explicitly discussed in the book.)

While the ability to lie does afford Jude a significant advantage, it also further solidifies her social alienation. Faeries are somewhat wary of Jude and Taryn because of their lying ability, with the Roach noting in response to letting Jude stumble through darkness, that “You’re the liar” (127). He somewhat jokingly uses this minor issue to point out that faeries will distrust her and Taryn because their ability to deceive makes the faeries vulnerable to them. Jude uses this to her advantage in the most profound way when she tricks Cardan into taking the crown. “I promised he was going to be able to walk away from the Court and all its manipulations. I promised he would be free from all this. I lied” (364). Without the ability to consider that Jude might be lying to him, Cardan is at a disadvantage and unknowingly helps her achieve her plan of having him take the throne in Oak’s place.

Jude notes that just because the faeries can’t lie doesn’t mean they don’t deceive and trick one another: “Faeries make up for their inability to lie with a panoply of deceptions and cruelties. Twisted words, pranks, omissions, riddles, scandals, not to mention their revenges upon one another for ancient, half-remembered slights” (24). Jude observes and uses these tricks to her advantage whenever she can. She even observes a certain amount of mutual deception in Madoc and Oriana’s marriage: “They don’t pretend to each other, my ass” (295). Although it seems as though truth is a requirement in Faerie, its inhabitants have still found ways to manipulate and gain advantages over one another. This makes the distinction between those who can lie and those who can’t somewhat blurred, further underscoring Jude’s similarities to the faeries she has grown up with.

Discovering, Negotiating, and Forming Personal Identity as a Teenager

As with many coming-of-age stories, the journey of a teenage protagonist to negotiate and shape personal identity is a theme in the novel. Jude experiences amplified conflict between various conceptions of herself because she is caught between the faerie world and the human one. The faeries who dislike her and Taryn are quick to exploit and remind her of her mortal status. And Jude herself sometimes feels like an outsider. After Cardan and his friends throw her and Taryn into the river, she feels as though she’s living “in a world that isn’t mine and might never be” (52). Jude believes that her mortal nature is the first and only thing the faeries see in her (a belief reinforced by the negative attention from her classmates). She thinks that Dain is chastising her for helping the human servant in Chapter 18, leading her to reflect: “And not only have I disobeyed him, I have declared my loyalty to something completely separate from him. I have helped a mortal girl. I have acted like a mortal” (195). Her expectations are upended when she learns that Dain is actually angry about her stabbing Valerian and isn’t focused on her mortality at all.

As the novel progresses and Jude learns how to use her qualities to her advantage in Faerie, she begins experiencing more belonging and a sense of identity based on her own actions. Others around her begin to see someone who is becoming fully integrated into the faerie world. For example, Vivi says to Jude, “Sometimes, when I look at you, I’m not sure if you’d even know how to be human anymore” (287). Jude’s truest identity, however, is a blend of human and faerie, of “nature” (her human identity) and “nurture” (her faerie upbringing). She occupies a liminal space between the two worlds, able to move between them and express the appropriate aspects of herself depending on the realm. (An example of one realm’s behavior bleeding into another is when Jude punches the strange boy at the mall in Chapter 9, demonstrating that she hasn’t yet learned how to integrate her two identities.) The ease with which she can travel between the two worlds, even though she must rely on Vivi’s magic to transport her, is an advantage and one that she shares with Oak when she sends him to live in the mortal world for a time, shaping him into another liminal figure. Rather than accept the conventional wisdom that she must choose between the two realms and the two sides of her identity, Jude creates her own and does so on her own terms. This creative agency is a common outcome of teenage coming-of-age stories.

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