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52 pages 1 hour read

T. Kingfisher

What Moves the Dead

Fiction | Novella | Adult | Published in 2022

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Chapters 1-3Chapter Summaries & Analyses

Chapter 1 Summary

Lieutenant Alex Easton and kan horse, Hob, are travelling from Gallacia to Ruravia to visit kan twin friends, Madeline and Roderick Usher. Madeline, who is ill, has written to ask Easton to come. Now, Easton stops near a tarn—a small mountain lake—to examine a flesh-like mushroom. Ka suggests that Hob take a drink from the tarn, but the water looks dark and suspicious, and Hob refuses. The Usher’s decrepit house sits on the other side of the tarn.

A woman approaches from behind and warns Easton not to touch the mushroom, which is a stinking redgill, or A. foetida. The woman advises Easton to hold kan horse, and she pokes the mushroom with a stick, prompting it to release a putrid scent. The woman is Eugenia Potter, an illustrator and amateur mycologist, and she is working on documenting a fungus that she has discovered. When she publishes her findings, she will name the fungus A. potteri, and she hopes that the discovery will gain her entrance to the Mycology Society. Gallacian, the language of Easton’s home country, does not have a word for mushrooms, but the language does have seven pronoun variations, including the military-specific ka/kan.

When Miss Potter points out the Usher family’s house, Easton explains that ka is on kan way to visit Madeline. Miss Potter hopes that Madeline is not as severely ill as the rumors suggest. She leaves, and Easton continues to the Usher’s home. Ka briefly stops when ka has a passing bout of tinnitus, and ka notices that the windows in the house look like eyes. The house unsettles Easton, but ka does not know why, especially since ka has been to war and has extensive experience in gloomy settings.

Chapter 2 Summary

Riding Hob, Easton continues toward the house of Usher. Ka passes a hare with orange eyes, which stands and stares at kan. Easton dismounts and leads Hob across a causeway, which leads to the Usher’s courtyard. Knocking on the door to the house, Easton waits several minutes until a servant appears. The servant agrees to send a boy to take care of Hob, and Easton enters the dark house.

Roderick, who is extremely thin and pale with wispy white hair, asks Easton why ka is there. Easton says that Madeline wrote and asked kan to come. Roderick leads Easton through the house, which is in poor condition. They arrive at the parlor, where Madeline is sitting. Madeline is thinner than Roderick, and her lips and fingernail beds are cyanotic. After Easton greets Madeline, Roderick introduces kan to James Denton, an American. Easton can tell that Denton recognizes kan as a sworn soldier from Gallacia.

Madeline announces that she is tired, and Roderick anxiously leads her to her bedroom. When Easton and Denton are alone, Denton addresses Madeline’s condition. He has attempted and failed to discover the cause of Madeline’s deteriorating health. In her letter, Madeline wrote that she is dying, and Easton fears it is true. Ka is troubled by Madeline’s illness, as ka is familiar with war-related deaths rather than slow, progressive illnesses. Denton has tried to get the Ushers to leave the house, but Roderick refuses to leave because Madeline would probably not survive the move.

In an aside to the reader, Easton describes the various pronouns in the Gallacian language, including the militaristic ka/kan, and va/van, which are used for children. Years ago, Gallacia was facing invasion, and the military was weak, so women began to join the army. Later, Gallacians tried to force women out of the army, but the women refused to leave, and new policies were made to guarantee women the right to become sworn soldiers. They are represented by a pin so that others know to address them as ka/kan, and they have the same clothing and hairstyles as male soldiers. Easton spent 15 years in the military and retained the ka/kan pronouns after becoming a civilian, although retired soldiers have the option to resume using the pronouns used prior to their service, if they so choose. (Roderick, for example, returned to using he/him after his service was complete.)

Easton explains that ka joined the military to support kan family. Roderick, who served under Easton’s command, returns to the parlor and explains that he and Easton were “scared witless” during the war. When Roderick reveals that Denton is a doctor, Denton argues that he had little training and contends that most of his medical experience is war-related. Easton, Denton, and Roderick sit together and exchange war stories.

Chapter 3 Summary

Roderick and Easton talk as Roderick leads Easton to kan bedroom; Roderick is worried that Denton said something offensive, and Easton explains that ka did not mean to surprise Roderick with kan arrival. Roderick is comforted by Easton’s authoritative presence, saying, “You led the charges. You knew what had to be done and you did it. I…I could use that now” (30). He is more afraid of the house than he was of the war. At breakfast, Easton thinks of ways that ka can contribute to the Ushers’ food supply. Denton enters, and Easton asks for Madeline’s medical diagnosis. In Paris, Denton says, Madeline might be diagnosed with hysteria, but Denton believes that to be a useless diagnosis. He is certain that she has catalepsy and anemia, but those are symptoms, not diagnoses. Easton suggests that ka can help by hunting and providing meat.

Easton gets lost in the house and finds Madeline sitting on a balcony, looking at the tarn. They reflect on a fishing trip years ago, then discuss Madeline’s condition. She feels restless and knows that she doesn’t have much time left. Easton suggests that Madeline leave the area, but Madeline refuses, arguing that she enjoys going to the lake to confess her sins. After helping Madeline to her bedroom, Easton returns to kan room and finds that kan batman, Angus, has arrived. Angus once worked for Easton’s father; he agreed to work for Easton when ka joined the military, and he stayed with Easton after ka separated. Angus is naturally superstitious, and he agrees that there is something malicious about the house of Usher. Easton tells him about kan encounter with Eugenia Potter. Mushrooms, Angus claims, are a sign of both the Devil and of fairies. When he passed through the village, he learned that the villagers also dislike the Ushers’ house, though they appear to be sympathetic toward the Ushers themselves. The villagers say that the house is haunted by witch-hares, or witches disguised as hares. The hares in the area do not behave normally and are unafraid of humans. Angus refuses to hunt on the property but plans to go fishing.

Chapters 1-3 Analysis

What Moves the Dead is a highly cerebral novella that relies heavily on literary devices to develop its context, characters, and themes. The opening lines use vivid imagery to create an ominous tone of brooding danger and almost gory connotations, for the descriptions of the mushrooms are designed to equate the strange fungi with ragged tatters of mutilated flesh. As Easton states, “The mushroom’s gills were the deep-red color of severed muscle, the almost-violet shade that contrasts so dreadfully with the pale pink of viscera” (1). By using metaphorical imagery to compare the stinking redgill mushroom to a wounded body, the passage introduces the implicit connection between fungi and death and establishes the Gothic style first captured in the novella’s parent text, “The Fall of the House of Usher.” This strategic use of imagery continues throughout the development of the setting, building a vision of the dilapidated state of the Ushers’ home. The imagery surrounding the characters themselves is also designed to create a sense of the uncanny, as when Easton notes that Roderick’s hair “floated in the air like spider silk” and explains away kan uneasiness by saying, “I told myself that it was a trick of the candlelight that made it look white rather than blond” (14). The melodramatic portrayal of the grotesque house, the decaying environment, and the inexplicable suffering of innocents is characteristic of Gothic literature, and T. Kingfisher makes it a point to faithfully recreate the foreboding ambience of Poe’s classic tale.

Another key literary device in the novella is foreshadowing, which is employed frequently in the text and overlaps with other literary techniques. For example, the imagery of Roderick’s appearance cited above implicitly foreshadows the fact that Roderick, like Madeline, has a severe fungal infection that threatens not only his life, but his psychological autonomy. The imagery of a silent, invasive presence likewise permeates the entirety of the narrative, and from the very beginning, Kingfisher makes it clear that the very fabric of the world has become insidious. The extent of the fungus’s infestation is thus foreshadowed through sensory language, as when the noise of Hob’s hooves is described as sounding “curiously flat, as if muffled by wool” (11). These details also emphasize The Psychological Impact of Isolation and Environment, for long before Easton reaches the house, kan unease at the uncanny surroundings foreshadows the slow, creeping horrors that lurk within the very flesh of the Usher siblings.

Kingfisher’s advancement of key characterization occurs with relative swiftness, for all of the critical characters—Easton, Miss Potter, Roderick, Madeline, Denton, and Angus—are introduced within the first three chapters and vividly described in such a way that both their individual quirks and their utility within the larger plot are immediately clear. Additionally, Kingfisher relies on the action of the story itself to make many of the details apparent without relying too heavily on expository narration. Although Easton does make direct statements about kan past and identity, much of kan characterization appears indirectly. For example, the personification of Hob indicates farm more about Easton’s character than Hob’s, as Easton is the narrator and is thus personifying the horse. Likewise, Miss Potter’s harsh bitterness and sarcasm immediately convey the fact that she is an oppressed feminist character, and this dynamic becomes clear when she self-deprecatingly calls herself “[a]n amateur [in mycology] only, I fear, as supposedly befits my sex” (4). Through this comment, Kingfisher implies that Miss Potter is an expert despite her lack of formal education, and the tone of her dialogue demonstrates her resilience, determination, and nontraditional outlook.

Easton and Miss Potter’s characterizations establish and advance The Reinterpretation of Classic Literature. From a modern perspective, many works of classic literature are considered sexist or otherwise prejudiced, and by reimagining Poe’s classic tale with nontraditional characters and concepts of gender identity, Kingfisher implicitly addresses the inherent biases in the literature of the late 19th century, often employing understatement to hint at a wealth of unexpressed social criticism. As Easton says of Miss Potter, “I could guess at the shape of some of the obstacles she had faced” (4). Both characters have experienced different struggles for the same reason—neither of them are cisgendered men. Thus, Miss Potter is barred from professionally pursuing her interest in fungus, and Easton faces judgment and intense questioning because of kan role as a sworn soldier. These satirical depictions are further enhanced by the characters’ honest demeanors and frank assertions, and from the resulting dialogue, Kingfisher delivers the nuanced message that people should be judged on their character rather than their gender.

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