59 pages • 1 hour read
Katherine RundellA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of death and animal death.
The novel has three epigraphs. In the first, historical figure Isidore of Seville describes a griffin. The second features a quote from The Epic of Gilgamesh, in which the narrator describes a dragon. In the third, John Donne promises to sing the song of a soul that cannot die.
The novel opens in medias res, or in the middle of the action: A freakish, dog-like figure with sharp fangs and flames for ears (a kludde) pursues an English boy named Christopher Forrester, who runs for his life.
Malum “Mal” Arvorian has been having a good day as she flies about with the help of her voluminous coat. The coat only allows her to fly when the wind is blowing; it is too big for her and looks like it has wings when it is in the air. Mal’s lovely day is ruined when someone attempts to murder her.
On the day before the animal attacks him, Christopher is waiting at the train station. He is on his way for an extended visit to Scotland, where he will stay with his grandfather, Frank Aureate. As Christopher sits on the bench, wild animals cluster around him, causing people to marvel. Animals have always been attracted to Christopher, no matter where he goes, and he encourages their attention because he loves wild things. He wears a coat that sparrows love to nest in and has a necklace made of all the bits that nesting birds have brought him, earning ridicule from his classmates. His mother, who died nine years before, was just the same. His father, an anxious man who guards Christopher closely, disapproves of Christopher’s affinity for animals. Now, as Christopher sits on the bench, he intuits that something incredible will soon happen, and he is ready for whatever it is. The narrator confirms that Christopher’s premonition is accurate.
Mal is known as an odd girl. Her coat came from a traveling seer who never got the chance to explain the workings of the coat. (Mal’s mother died around that same time.) Now, Mal lives with her great-aunt Leonor, a woman who forbids Mal from doing many things that she would like to do. Mal mostly ignores her great-aunt’s rules, especially the one about flying anywhere other than the yard around the house. Mal feels free whenever she is in the sky, far away from the questions of strangers and the awkwardness of social interactions. She uses her coat to fly high in the sky and visit with the wild beasts who are her friends. She tells them stories, including the one about how she found Gelifen, a baby griffin, and hatched him from an egg. Nowadays, she flies with him tucked under her arm. Whenever people see her flying about in her coat, they think of her with envy or wonder, but they all suspect that she has some strange, unknown destiny. Mal is such a visible figure in the Archipelago that the murderer, Adam Kavil, has no trouble finding her one day.
When Frank picks Christopher up at the station, animals mob the car. Frank is neither surprised nor upset about the animals’ attraction to Christopher and says that it is a good thing. Christopher feels a sense of exhilaration because the countryside seems much wilder than his home in England. Christopher hadn’t expected to enjoy this impromptu winter break with his grandfather. His father had reluctantly sent him to stay with Frank due to an unexpected work trip.
Mal lives in the isolated town of Icthus, which is located on an equally isolated island called Artidina. Strangers are a rare sight in the seaside city due to the island’s remoteness. On the morning that the murderous Adam Kavil finds Mal, she goes aboard the Sailsman, the ship of a smuggler who sells strange goods whenever he comes to town. Mal looks at a glamry blade, which can cut any substance, but she decides to buy a casapasaran, a compass-like machine that can always point the way home. Mal has no sense of direction, so this is the perfect tool for her. Mal intends to use the casapasaran to fly back home after she goes to a place deep in the forest: one that she had been avoiding because she fears getting lost. Kavil follows her as she takes flight.
Frank’s house is a big, old wreck that looks like it could fall at any minute. It sits at the foot of a steep hill. When they arrive, Christopher asks if he can use the car to explore the countryside, but Frank says that Christopher is too young to drive. However, he gives Christopher permission to wander anywhere except the top of the hill that looms over the house. This restriction comes from Christopher’s father and is nonnegotiable. When Frank asks Christopher to swear not to go to the top of the hill, Christopher merely acknowledges the restriction without promising to obey it.
Mal flies to the center of a forest to see if what she suspects is true—that the soil is turning gray and has become inhospitable to life. She marks out the margin between the gray soil and the black soil so that she can keep track of whether the gray patches are growing. She also sees other signs that something is wrong in the Archipelago. She keeps finding dead creatures—ratatoskas, unicorns, and a gagana—and she is not the only one who notices these oddities. The City of Scholars has already marked griffins as extinct because no one has seen one in two years. Mal doesn’t tell them about the soil because she fears that if she brings attention to herself, the scholars will take her griffin, Gelifen, away from her. Mostly, people ignore the signs of environmental collapse. Even Great-Aunt Lenore refused to come along when Mal tried to take her to the forest to see the graying soil.
Christopher walks up the forbidden hill the very next day, mainly because he is tired of his father’s attempts to shelter him from even the most harmless experiences. Christopher feels a sour taste in his mouth as he thinks about all that his father has kept him from experiencing. When a shutter bangs at the house below, he jumps, but his grandfather is nowhere to be seen. As Christopher gets closer to the top of the hill, the wind grows wilder, and the ground begins to shake, but Christopher doesn’t notice the shaking at first.
Mal returns home to a fine meal that Great-Aunt Lenore has prepared. They are having a peaceful time together when the murderer (later revealed to be Adam Kavil) bursts into the house. Lenore places herself between his knife and Mal, and Kavil stabs Lenore. Mal runs away in obedience to her great-aunt’s command, but not before the man cuts the back of the coat. This makes it impossible for Mal to fly away since the coat can no longer hold the air she needs to glide. Kavil pursues Mal right up to the wall that towers over the river. This path leads to an eight-foot drop to the river below, which is filled with lavellans, creatures whose poisonous bites can kill. Great-Aunt Lenore manages to throw an axe at Kavil, wounding and distracting him. He pursues Lenore behind the house, and the narrative implies that he kills her.
When Kavil returns, Mal pleads with him to explain why he wants to murder her. He says that a man is rising to power in the islands and explains that this man is the reason why the land and animals are dying. Kavil wants to take part in the man’s powers, but to do so, he must first kill Mal on the man’s behalf; everything depends on killing Mal. Kavil, a man who has been downtrodden all his life, will do anything to escape such oppression. With no other choice, Mal leaps into the river.
In these expository chapters, Rundell engages in an intense bout of world building to establish the important rules, dynamics, and relationships in the novel. Rundell’s central focus in these early chapters is to emphasize The Value of the Natural World, as both Mal and Christopher share an uncommon love of wild things and deeply love to explore their environment, seeking out direct experiences as they patiently observe the world around them. They are also savvy enough to respect the risks of the natural world; Mal knows enough to avoid the dangerous lavellans, and Christopher knows that interacting with wild creatures carries the risk of injury. Thus, both children have a pragmatic view of the natural world, and Mal even exhibits the habits of an astute scientist. For example, she is highly observant and is the first to notice that the color is leaching out of the soil in the Archipelago. Mal has multiple ways of apprehending the world, and she takes a distinctly scientific approach to tracking the spread of the dead, gray soil. In this way, Rundell emphasizes the importance of maintaining sensitivity to the environment and respecting its rhythms, and this mindset will gain in prominence as the novel unfolds.
The Archipelago is full of wonders, and Rundell uses these initial chapters to firmly establish the differences between this unique setting and its more mundane counterpart, Scotland. In the Epigraphs, she includes passages from real-world literature to highlight the mythical creatures that exist in the Archipelago, and by presenting both magical and nonmagical creatures, she deliberately blurs the boundaries between the two. For example, Christopher can see the magic in birds who bring him buttons and strings, while Mal sees lavellans as an ordinary danger that she must confront as she tries to escape her great-aunt’s murderer. The blurring of the lines between the magical and the nonmagical is part of Rundell’s effort to portray both worlds as magical. In this vein, Christopher’s affinity for wild animals suggests that those who are observant can see the direct parallels that exist between the fantastical and the mundane.
As Rundell introduces her unique system of magic, it becomes clear that it will rely heavily on key concepts of environmentalism. While humans in the Archipelago do possess magical objects of power—such as Mal’s flying coat or the glamry blade that she sees in the shop—the true magic of her world comes from the mysterious “glimourie,” which will later be revealed as the magical basis of the Archipelago’s entire ecosystem. In these early chapters, however, Rundell conveys the ordinariness of the Archipelago in Mal’s eyes, juxtaposing this view with her lively descriptions of Scotland, which seek to celebrate the hidden magic of the mundane. This deliberate contrast drives home the importance of seeing the nonmagical as magical, a key element of Rundell’s focus on the value of the natural world.
Notably, Rundell also introduces The Importance of Friendship and Love by showing the lack of these two things. Both Christopher and Mal are solitary children who remain separate from others and often find themselves ignored or misunderstood. In Mal’s case, her isolation also makes her vulnerable to the murderer. By contrast, Christopher’s isolation renders him emotionally vulnerable, as he is keenly aware of his differences from others and resents the actions of his overprotective father, who fails to appreciate the things that Christopher is most passionate about. Christopher’s odd habit of wearing the crows’ necklace means that he has few friends at school, and his overprotective father prevents him from accessing the experiences that would allow him to bond with others. Ultimately, both children will assuage their sense of isolation when they find and befriend each other.