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Sogolon finds peace in the stables. It’s been over a month since Likud has taken the throne. Sogolon visits Olu again, but his room is empty, and all the writing has been wiped clean. She discovers loose planks in the wall and pulls one free to find writing on the back. In the light of the stables, she reads, once again, mysterious references to the King, the Aesi, and Jeleza. This message is written in blood.
Although she loves caring for the horses, over time, the routine becomes dull, and Sogolon yearns for a change. She wants to read. One day, as she walks to the library, she is confronted by the spider-child and the red-faced demon. At the approach of the Aesi, however, both demon-children freeze. The Aesi escorts Sogolon into the library, asking her what she knows about the political structure of Fasisi. She has more questions than answers, however, such as why Emini is not awarded a royal title—Regent—until after she bears a child. When she asks about Olu and Jeleza, she detects a moment of hesitation in the Aesi’s face. Before he leaves, he tries once again to probe her mind, finally muttering, “Her mind won’t move” (183). He departs, and she is racked again by an intense headache.
From her perch on the roof of the stables one night, Sogolon hears a commotion—the headwoman desperately trying to hustle Emini out of the city. Emini, not wanting to flee like a coward, resists. Suddenly, her guards are felled by arrows. The Aesi steps forward and escorts the King Sister back to her palace. There are whispers of a purge; the king is executing any soldiers suspected of having sexual contact with the King Sister. One morning, guards come for Sogolon. They lead her to the archives, where a group of elders questions her about her knowledge of Emini’s plan to install a child born out of wedlock on the throne. She denies knowing anything, so they send her to the Aesi. Despite his attempts to read her thoughts, he cannot penetrate her defenses. She finally pushes his mind away, and he falls to the floor, his eyes rolling into the back of his head. Meanwhile, Emini stands accused of “violat[ing] the sacred space of the King Sister” (193). The elders send Sogolon to the palace “to await the King’s pleasure” (193). She comes upon Emini, stripped of her title. She complains about her brother’s political scheming, but Sogolon thinks she is guilty of the same.
Over time, Sogolon sees the rot that infests the city—women and men are executed as witches based solely on accusations. She decides to leave and begins collecting food and supplies for her journey. She is interrupted by a summons to Emini’s chambers, where she finds the King Sister angry, depressed, and spoiling for a fight, but Sogolon remains passive. If she fights, she knows she will kill Emini without a second thought. Just then, Emini’s husband, Prince Majozi, enters to inform her that their marriage is annulled. She calls him a fool for annulling the marriage and not divorcing her because he gets none of her wealth, and he attacks her. A powerful wind blows through the chamber, lifting the prince and hurling him through a window. Emini eyes Sogolon. “Now is not the season for witches” (202), she tells her.
Emini’s palace has become a place of lost memory—the King Sister doesn’t remember Commander Olu, for example—and Sogolon suspects the Aesi is the cause. She plots her escape.
One morning, Sogolon wakes to an overpowering stench. Outside the window, she sees the rotting body of the headwoman impaled on a stake. Sogolon sees something red in her hand—a key tied to a red ribbon. At the mention of it, Emini flees the room in fear. The key, Sogolon is told, is a death marker. It has come for the King Sister and anyone in her service. One night, as Sogolon prepares to escape, figures in white robes burst into her room, bind her, and take both her and Emini from the palace. They throw them in a pool and scrub their bodies. They drag them back to the palace and dress them in white robes—white, “the color of nothing” (210). Emini struggles, but when the white robes threaten to cut out her tongue, she submits.
Having banished his sister to a nunnery, Kwash Moki refuses to visit her. Forced into submission, Sogolon and Emini both must defer to the king’s sons, who mock them cruelly. They hunt Sogolon for sport until Keme defends her. He offers her a dagger for protection, but she refuses his help, calling him a coward for serving the king. She wants to escape, but he claims it’s out of his hands. A powerful wind suddenly lifts him off the ground and holds him in the air. She gains control of it, bringing him gently back. “Don’t touch me witch” (217), he barks at her. That night, Keme leaves a gift on her windowsill—the dagger, its blade hidden inside an ivory handle.
The next morning, Sogolon and Emini are ordered into a caravan that will take them to Mantha, an ancient mountain fortress. Along the road, they pass hordes of bodies, all impaled, rotting in the sun. Sogolon asks again about Commander Olu—rumor has it that he was Emini’s lover—but she still has no memory of him. Sogolon suspects the Aesi has erased Olu and Jeleza from Emini’s memory. She quizzes Emini about past events, but Emini’s memories are vague. Later, the caravan stops, and one of the white robes—the “divine sisters”—orders Emini and Sogolon to bathe. Emini claims she’s menstruating, which makes her “impure.”
The caravan presses forward, and Emini beckons to Sogolon to show her a secret. She begins to disrobe, and Sogolon realizes that the long fabric wrapped around the King Sister’s torso is actually a scroll, a parchment covered in numbers, runes, and drawings of an imagined city. Sogolon asks what it all means, and Emini replies: “The future. A future. A dream. I don’t know” (226).
The caravan stops for the night. When everyone is asleep, Sogolon slips out of the wagon and flees into a forest. Running in the darkness, she stumbles and falls into nothingness, but the air keeps her afloat until it drops her to the ground, unharmed. She has no destination, and she fears wild animals may be stalking her. At dawn, she finds her way back to the caravan.
She wakes up to flames and smoke, a fire consuming the wagon. She tries to escape and trips over the burnt body of Emini. At the front of the wagon sits the Sangomin she saw in the palace, the boy of light and fire. A wind whips up, flings the boy into the air, and drops him to the ground. With each attack, Sogolon’s wind beats the boy back, eventually slamming him repeatedly to the ground until he dies. Just then, another creature pounces on her, strangling her. She finds the dagger hidden in her sleeve and stabs the creature through the throat. The Sangomin and the white robes battle, but the sisters are on the losing end. Sogolon can do nothing but run. She tumbles down a hillside into an open field, where the spider-child, in pursuit, seizes her and drags her back to the others. They try to kill her, but the wind comes to her defense once again, shielding her and flinging her attackers away. At last, her rage gets the better of her, and her power erupts in a massive burst.
Sogolon awakens, buried alive. She claws her way up until she emerges from a hole, choking on dirt. She stands at the bottom of a vast crater, and at the surface, she sees the caravan, the bodies of the divine sisters, and the Sangomin, all dead and mutilated. She collapses, awakening again at dusk. She wraps herself in a dead sister’s cloak for warmth. As she wanders the devastated landscape, she realizes that all this power—the wind, the “mighty thing” that created the crater—came from her. After a few days of gathering the few supplies she can, she sets off.
With no clear idea where to go, she climbs through the mountains. Her power helps her when she needs it, but it is still out of her control. As she wanders, lost in the mountains, she tries to understand and master the power. Eventually, she finds snow—and some ancient ruins—where she decides to rest for a while. During the night, she is attacked by a wild animal, but her power blows the beast to pieces. The next morning, she hears riders—a contingent of soldiers from Fasisi. She surmises they are searching for any survivors of the caravan, witnesses to link the murder of the King Sister to the king. Sogolon tries to hide, but a soldier finds her and drags her to his commanding officer—Keme—but he doesn’t remember her. Having come across the decimated ruins of the caravan, Sogolon appears to be the only eyewitness. She denies knowing anything, but the soldiers are suspicious of her because she survived alone in the wilderness unscathed, and Keme orders her to be taken back to Fasisi.
Likud, now King, begins his brutal reign by purging and executing any men or women accused of witchcraft—a lengthy list, including the headwoman. Likud’s strategies are despotic: Stifle all dissent in the most public and vicious means possible, silence protests, and terrify the rest into submission. While the King seeks to get Emini out of the way because he knows she is plotting against him, he cannot execute her publicly because she is still the King Sister. He purportedly sends her and Sogolon off to Mantha (a nunnery), only to send his Sangomin in pursuit to kill them all on the road. Likud’s actions here are motivated and informed by Misogyny and the Oppression of Women. He asserts his own political power over his society’s traditional matrilineal power structure by removing the women who could assert their own claims to the throne. Along with political power, Likud recognized Emini’s sexual power and her ability to produce an heir. With this, he removes her access to sexual power by sending her to a nunnery, condemning her to a life of imposed celibacy (before he kills her outright). Moreover, he creates a sexist political climate by criminalizing witchcraft; women in the kingdom, therefore, live in terror of being accused, regardless of whether they have done something that could be considered witchcraft. Here, James comments on how tyrants vilify the unfamiliar—in this case, feminine power—to create fear, which they leverage for their own power. The fear stoked in mob circumstances forgoes due process, and Likud’s victims are not given the luxury of a fair trial. Furthermore, those that might recognize these tactics for what they are too cowed by fear to take a stand, lest they too end up impaled by the roadside.
The Aesi, as the king’s chief counselor, is largely responsible for these purges, and part of his power—not yet clearly defined—seems to be the manipulation of minds. A collective amnesia infects the court: first Olu, then Emini, and even Keme. By erasing memories, the Aesi erases the potential for rebellion. The passion to fight for justice requires memory of injustice, and when Olu can’t remember his wife (and King Sister) Jeleza and Emini can’t remember Olu, two powerful representatives of the court are silenced. They wander the palace in a fog, lost, hopeless, and not working to gather allies. Here, James establishes the Connection Between Memory and Identity by asserting that life and culture are a collection of memories; without them, life is bereft of power and identity. Sogolon reminds Olu that he was once a commander and a fierce warrior, but he responds, “So people tell me” (146). Any sense of the past that might motivate him to reclaim his old identity is gone, and not only does he forget, but he begins to forget that he is forgetting, the final stage before he descends into a permanent shadow. By erasing the memories of political opponents and powerful warriors, the Aesi is able to prevent future uprisings.
James also subverts a typical metaphor in the fantasy genre in these chapters: “White” equals good, and “black” equals bad. The “white robes,” representatives of Mantha, are brutal oppressors, nearly drowning Sogolon and Emini until they submit. Here, he associates the color white with evil and violence, evoking the white robes of the Ku Klux Klan rather than purity or innocence. In subverting these symbols, James puts his novel in conversation with the fantasy genre, asking why we associate certain traits with certain colors and whether these stereotypes “color” readers’ perceptions when it comes to issues like race. James’s decoupling of black and white with their archetypal meanings also poses the question about whether morality itself is so black and white, particularly concerning violence. Sogolon has survived physical and sexual abuse through violence of her own; her wind impales her attacker on a stake in Chapter 2 and kills the Sangomin sent to kill her in Chapter 10. With this, James establishes a thread that runs through the narrative about violence as a valid response to violent oppression.
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By Marlon James