78 pages • 2 hours read
Namina FornaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
The Elders release Deka to White Hands because she is an emissary of the emperor. White Hands travels with horse lords, or equus (half-human/half-horse creatures with talons), named Braima and Masaima. Deka is able to befriend them with the help of apples that Elder Durkas donates. There is a friendly Northern farm girl named Britta in White Hands’s wagon who reminds Deka of Elfriede. Deka is free of her chains and listens to Britta ramble, almost fainting after the trauma she has endured in the cellar.
As a distraction, they talk about White Hands, who has not revealed her real name (she turns out to be Fatu, an ancient royal) and discuss what they are. Alaki are supposedly the descendants of female demons called the Gilded Ones. Later it is revealed that the Gilded Ones are in fact goddesses, but the girls have been taught a warped history. Deka has questions about her mom’s death (which was actually staged) because there was no gold blood, so her lineage isn’t clear.
After an uncomfortable week of travel in winter weather, Deka won’t let Britta—who is clumsy and bubbly—touch her yet. Deka discovers her unnatural strength when she rips up furs during nightmares. They arrive in Gar Melanis to board a ship called Salt Whistle to Hemaira. Once aboard, they look at the Northern Lights. White Hands is still secretive; she reveals some information about the difference between almost-deaths and final deaths of alaki but omits the connection to deathshrieks. Deka, unlike Britta and other alaki, is ”practically immortal” (57). Alaki all age very slowly.
In the hold of the Salt Whistle, Deka realizes Britta is scared and they vow to be friends. Britta, excited about their new friendship, invites Deka to come to her village when they are made pure again. They talk about boys, kissing, and beauty. Britta hopes heading south will help Deka have success with boys.
Britta wakes Deka as the ship arrives in Hemaira, and Deka smells flowers. Deka has slept for four weeks, and the season has shifted from winter to spring. To combat the excessive sun, they line their eyes with tozali from White Hands. Deka realizes she is not hungry even though she has not eaten for weeks, and Britta worries about her.
On the crowded docks, a “pious-looking” (68) man tries to accost them, but White Hands intervenes, and they get in the wagon. They see the gates of Hemaira with statues of Emperor Emeka; “exotic” (69) animals like Orrillions (silver apes with human faces) and Zerizards (lizards with wings) herded by caravan masters; and jatu in red robes herding travelers. They and other wagons with alaki pass through jatu checkpoints. Once through the gates, they see that the city is on a lake, and are in awe of the palace of the Emperors.
Above the waterfall that encloses one side of the city, they see a giant statue of the first emperor’s mother (Fatu the Relentless, who they are unknowingly traveling with). Then they head to the Jor Hall administrative building where there is a long line of alaki who are thin, dirty, and probably abused. White Hands and her horse lords say goodbye.
In Jor Hall, there are lines for 10 different training grounds. They find the line for theirs: Warthu Bera. Other girls are scared of jatu who are trained to subdue alaki and deathshrieks. Their fears about the other girls being abused and raped are confirmed. Deka and Britta feel lucky to have had White Hands protecting them and comfort each other.
In a huge gold and black room, they see 100 boys in masks and, above them, platforms with officials in yellow robes. A girl (named Belcalis, it turns out) pushes off her transporters “like they were fleas” (81), demonstrating alaki strength, which Deka is not used to seeing. A captain named Kelechi defends the girl, saying as a soldier she has rights, and a recruit named Keita talks to the girl, saying the alaki are free to go but will be persecuted outside Hemaira. The girl remains skeptical but decides staying is the better of the two options, having experienced enough trauma outside Hemaira already (it is later revealed that she was sold into prostitution).
Captain Kelechi, who is dark-skinned like the royal family and other Southerners, introduces himself on a platform. He explains that the boys are uruni, or “brothers in arms” (86). Kelechi says that they will go on monthly raids of deathshriek nests. Then the line of boys files past the line of girls, and Kelechi orders them to pair up when he says stop, like a game of musical chairs. Kelechi stands with a silent, masked female jatu commander. Deka ends up with Keita, and they exchange polite introductions, despite Keita reminding Deka of Ionas in height. The captain declares they are “bonded” (90).
After the ceremony, the boys leave, and an intake process involving many forms (scrolls) begins. Deka is reminded again of how she feels “unnatural” (91) compared to the malnourished girls. A male transporter asks for money in exchange for his girl but doesn’t receive it based on her maltreatment. Other transporters receive a reward, but White Hands isn’t there to collect money.
The girls’ hands are gilded with an urn of a mixture that includes alaki gold blood, and the hall begins to smell like burning flesh and fill with screams. Britta tries to comfort Deka. When it is Deka’s turn in line, an official asks if she seeks absolution, and she replies yes. Then an accountant asks if she swears fealty to Emperor Gezo and asks about her treatment on the journey. She learns that others were being used as prostitutes. The accountant explains the gilding marks alaki as property of the emperor and will disappear in 20 years. When gilded, Deka smells her burning flesh, and vomits when she leaves the hall.
This section expands on why Deka is unique, or “unnatural.” Even her closest friend, Britta, calls Deka “unnatural,” and Deka remarks, “There it is, that word again. I know Britta didn’t mean to hurt me, but the word still stings. Even worse, it’s true” (66). The theme of persecution is centered on difference. Deka, as the chosen one, is initially the most oppressed but eventually will become the most powerful.
Oppression being centered on blood reflects the ideas surrounding discrimination based on blood quantum of African Americans after the institution of chattel slavery. There are a number of texts about people fearing African Americans passing as the more privileged race, and blood quantum refers to a “one-drop” rule as a way to justify oppression against people who may not appear Black. Deka and other alaki outwardly appear to be similar to other humans, so bloodletting is the only way to discern their difference.
Ideas about people as property also reflect slavery and Jim Crow laws. The alaki who choose to fight become the “emperor’s property” (91). Belcalis says, “Yes, we can flee here, but once we leave Hemaira’s gates, we return to our old lives—to the Death Mandate, the constant threat of deathshrieks….Keita is just like all the rest, giving us impossibilities and calling them choices” (84). This speaks to trying to escape enslavement only to enter a world that will apprehend free Black people and place them back in chains. The Elders use literal chains to hold Deka, which White Hands scoffs at; she does not “fear little girls nor need shackles to compel them” (48). A shackled slave in supplication is an early symbol of the abolition movement, a political image printed in a variety of media sources, such as books by William Wells Brown.
Beyond allusions to slavery, there are allusions to famous pieces of fantasy media. For instance, Deka being “freed from the cellar” (44) alludes to Ursula Le Guin’s story “Those Who Walk Away From Omelas.” Le Guin’s story asks if people would be willing to allow the torture of one child in a cellar to maintain a utopian society. Those who walk away are those who do not accept the terms. N.K. Jemisin responded to Le Guin in a story called “The Ones Who Stay and Fight,” arguing that a utopian society built on the suffering of one person must be dismantled rather than abandoned. On a lighter note, the “almost-deaths” (56) of the alaki will remind readers of how Westley was only “mostly dead” and could therefore be revived by Miracle Max in The Princess Bride.
Action & Adventure
View Collection
African Literature
View Collection
BookTok Books
View Collection
Diverse Voices (High School)
View Collection
Feminist Reads
View Collection
Magical Realism
View Collection
New York Times Best Sellers
View Collection
Pride & Shame
View Collection
Romance
View Collection
Sexual Harassment & Violence
View Collection
The Best of "Best Book" Lists
View Collection