65 pages 2 hours read

Emily Wilde's Compendium of Lost Tales

Fiction | Novel | Adult | Published in 2025

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Chapters 16-23Chapter Summaries & Analyses

Chapter 16 Summary: “19th January”

Content Warning: This section of the guide includes discussion of graphic violence, death by suicide, animal cruelty, and illness and death.

Emily does not want to write the events of January 19 in her journal, but she knows she must make a record. The story should not end where it does. However, some stories do end, even though one wants them to continue.

Chapter 17 Summary: “19th January, Again”

Because Emily could never have guessed that Arna’s hideaway was in Lake Silverlily, she feels that the story of King Macan has run away from her. Events are unspooling in a way she cannot always predict, which makes her uneasy. Thus, when Wendell decides that he and Emily should sail on Silverlily alone, she refuses at first. However, when Wendell insists, Emily realizes there is no option but to go to the lake. Taran prophesizes that Emily and Wendell’s quest will end badly. Wendell hugs Orga and asks her to stay behind. As he and Emily get onto a boat, Orga slashes Taran viciously, taking her revenge on him for trying to kill Wendell early in the novel. The cat then leaps onto the boat.

Chapter 18 Summary: “19th January, Again”

The wind carries the boat southwards until the castle disappears from view. Looking at the beautiful sunlit lake and the grassy banks, Emily’s mood lifts a bit. Meanwhile, Wendell tells Emily that before finding his stepmother they must do something more important. He asks Emily if she will marry him immediately.

Emily is surprised that Wendell would want to marry her on a day when they’re both so tense, but he realizes that he is thinking of the Macan story. Mona, Macan’s wife, never came to harm, perhaps because she was married to the Macans. In case something happens to Wendell, Emily will have the formal title of his wife and the queen as a defense. Emily is touched by Wendell’s thoughtfulness and agrees. Since in Faerie getting married can be as simple as making a declaration, Emily and Wendell embrace and are wed. Thousands of fairy lights now dot the river banks, with little fairies bringing out lanterns in celebration.

Emily and Wendell sail along, watching the beautiful lights. After a while, they reach the southern bank of the lake, where Emily spots weeds with barbed thorns just like those described by the hairdresser. The boat comes to a stop against an unseen object. Orga on his shoulder, Wendell pulls himself and Emily off the boat and into the water.

They land on a tiny island with a small, roofless castle. Wendell remarks that this must be Queen Anne’s Isle, said to have been created by the realm itself to protect a mortal queen fleeing from her murderous husband. They’ve been able to access the island only because Emily, a mortal queen, was on the boat; Arna can hide here because he is half-human. As Emily and Wendell try to approach the castle, they spot snails like the ones the butter faerie showed them. Wendell asks the snails for help, and the snails glide out from shadows to illuminate a path to the castle.

When Emily and Wendell open the castle’s doors, they find a large hall with an attentive oak growing in the middle. Wendell pauses, spotting something at the other end of the room. It is a bed on which Queen Arna lies, a dagger through her heart. It is obvious that Arna has just died by suicide, perhaps when she heard Emily and Wendell’s footsteps. Wendell mutters that vengeance is so important for Arna she pursues it even in death. Emily cannot understand Wendell’s words or his sad demeanor, since the curse is now lifted. Just then, a dark mist descends upon the roofless castle. Emily jumps back from the mist, Orga in her arms. Wendell darts forward, picks up Arna’s dragger, and drives it through his own heart. As the blood bursts out of him, the attentive oak takes hold of the horrified Emily and pulls her and Orga away from the mist. The castle vanishes.

Chapter 19 Summary: “19th January, Still”

Emily finds herself leaning against another attentive oak in the forest. The tree in the castle must have acted as a door for her. She is in a state of shock, still unable to comprehend what happened to Wendell. Later, she will have little memory of Callum and Niamh finding her in the forest and bringing her back to the castle.

When Emily is able to think, she reflects on the sudden events in the underwater castle. In the Macan story, it is the murder of the first Macan at the hands of the second that heals the land. Since Arna died by suicide, the land was still cursed. Wendell realized this and sacrificed himself to save the realm. Arna must have planned the entire thing, which is why Wendell remarked on her continuing need for vengeance. If Arna had to die, she would make sure Wendell would die too. Emily berates herself for not being able to predict Arna’s final move.

Chapter 20 Summary: “21st January”

Emily writes theories and ideas to bring Wendell back and then burns the pages. When she wakes up, she has a viable idea in mind. She recalls Niamh saying that the butter faerie was a native of Somerset. The fact that the faerie is in Wendell’s realm indicates that there is a door between Somerset and Silva Lupi. Exmoor, from which his grandfather’s capricious, beautiful faerie hailed, is also in Somerset. There is a possibility the fairy walked through the Somerset door into Silva Lupi. Emily thinks she knows who the fairy is.

Emily asks the housekeeper to show her the room of the Lady with the Crimson Cloak. They enter her chambers, where the housekeeper melts into the shadows. The lady enters, clearly expecting Emily, and congratulates her on figuring things out. As she serves Emily tea, her hands dripping blood, Emily notices her hair, golden just as in Edgar’s descriptions, but their ends are now dipped in crimson. The fairy tells Emily that she destroyed the door to Somerset once she came to Silva Lupi so that her enemies could not follow her. She had been fond of Emily’s doting grandfather till she tired of him and abandoned him for her people to claim as sport. Emily tells the lady she is not interested in the past. She has come to her because Edgar wrote about the lady knowing the location of the door of death. Emily wants the lady to show her the door so she can seek Wendell. The lady agrees, but only on the condition that she be allowed to leave the realm unharmed. After she’s done telling Emily how to find the door, an unafraid Emily asks the lady to run before she changes her mind about sparing her life.

Chapter 21 Summary: “21st January—Later”

Wendell and Arna’s bodies are carried back to the castle and placed on stone daises in a large, spare lakeside room. Emily, Shadow, and the housekeeper keep vigil next to Wendell, as various courtiers visit to mourn. Lord Taran sits on a bench at the far end of the room. When Emily asks her about Deilah, he tells her the child has been wandering in dramatic grief in the forests. Meanwhile, Wendell has transformed as well, but not to the same extent as Arna, who is half-covered in moss. Taran tells Emily that Wendell and Arna will be soon removed to the forest, where they will turn into trees or some other natural feature. Emily replies that before that, she must do something “mad.”

Rubbing the coin in her pocket for strength—coins and iron ward off enchantments—Emily looks for the door of death in the shadow of Wendell’s body, as the Lady instructed. She detects a darker rectangle within the shadow and tells the oiche sidhe about the door. The housekeeper tells Emily that no mortal can pass through the door. An angry Emily tells the housekeeper that she has to get Wendell out. The housekeeper tells Emily that Wendell is one of his own kind, hands Emily his rag, and unexpectedly opens the shadowy door and disappears.

Chapter 22 Summary: “22nd January”

Emily spends the hours following the housekeeper’s exit in an agony of worry. When she tells Lord Taran about what has transpired, he refuses to believe her. There is no door to Death, Death being too final a state. Emily tells him the Lady said the door led not exactly to Death, but to a realm where the spirits of the Folk briefly linger before truly dying. Niamh confirms that there exists a rare tale about a brownie visiting his mother in the afterlife, giving Emily some hope.

Emily refuses to leave Wendell’s side, despite Niamh’s insistence that she eat something. As she lies next to Shadow in despair, she realizes that he has not howled once since Wendell died. Shadow, a Grim, should have howled in the presence of death, but he has been quiet. Moreover, Shadow is now looking at something in Wendell’s shadow. The dog stands up all of a sudden, scouts the shadow with his snout, jumps, and disappears. Emily bursts into tears. Deilah appears in the room and hugs Emily tightly till Emily quiets down. Deilah asks Emily to call to Shadow, enticing him with his favorite meal of raw, stinky meat. Suddenly, they can hear Shadow howl. The howls grow louder and Shadow jumps out, dragging the housekeeper by his ankle. The oiche sidhe is holding a lantern, which disappears immediately. Before the housekeeper can tell Emily what happened, Wendell surprises everyone by sitting up.

After Deilah and Emily have hugged Wendell, he tells them he was lost in a dark, icy place for a long while. Faeries could not see him in that place, till the housekeeper arrived and spotted him. Wendell and the housekeeper wandered in the dark, but could not find a way out. Then, Shadow arrived and pounced on them, dragging them around, till they emerged in this room. Folk gather to celebrate Wendell’s return, but soon a shocked murmur breaks out. Queen Arna sits up as well, removing the moss from her person. It is clear she followed Wendell out.

Emily tells Wendell he must not kill the queen, as her instinct says this is the wrong move. Wendell says he will imprison Arna, but not in a dungeon. Wendell makes a gesture, splits apart space, and thrusts Arna into the swirling interdimensional space of the Veil.

Chapter 23 Summary: “5th February”

Even before Wendell and Emily can reach the castle, a party, complete with extravagant food and music, is well underway on the grounds and in the banquet hall. Wendell is nearly mobbed by the courtiers, who ignore Emily and the housekeeper. Emily does not mind, as she dislikes the spotlight. However, Wendell himself is endlessly attentive to Emily. Emily takes the opportunity to pull him aside for a private word. When she tells him that she is sorry to interrupt his happy mood at being back from the dead, Wendell laughs in surprise. He tells Emily that he is celebrating his wedding to her, not his return from the afterlife. Emily, who’d forgotten all about their wedding in light of what happened afterward, is moved with emotion. However, Emily tells Wendell that she has something urgent to discuss with him: Arna needs to be taken out of the Veil, as what he has done to her is wrong by the logic of the stories she has read. Wendell is skeptical of the suggestion. Emily thinks she will not be able to convince Wendell to extract Arna from the Veil, so the next day, leaving the sleeping Wendell a note, she sneaks off to Corbann to research how to rescue the queen.

Chapters 16-23 Analysis

Containing a wedding, two deaths, and a return from the afterlife, this action-packed section marks the climax of the novel. The pace of the plot speeds up in these chapters, swiftly moving Emily and Wendell to Arna’s secret island. Wendell and Emily’s quiet wedding provides a moment of respite from the tense sequence of events and also presents a showcase for their tender relationship. Wendell’s surprise when Emily accepts his suggestion to immediately wed him indicates that he never takes Emily for granted. Wendell may appear to be supremely confident, charming, and powerful through Emily’s eyes, but occasions such reveal Wendell’s typically hidden vulnerability.

Since the novel is a romance, a wedding provides the hero and heroine a chance at a happily-ever-after. However, Wendell specifies that the wedding is not a matter of ceremony, or an exchange in the mortal sense. In Faerie, a wedding can be achieved by a simple declaration of intent; the fact that Wendell and Emily do not even declare their intent through words and are wedded by a simple embrace shows how deeply they are suited for each other. The landscape fills up with fairy lights, indicating that their wedding is accepted and celebrated by the realm. Thus, Emily is now a true monarch of Faerie, fully integrated into the political and cultural life of the Faerie realm despite her mortal status. The brief lull of the wedding is an example of foreshadowing, in which a happy occasion ironically foretells the undoing of that happiness. Fawcett often uses foreshadowing and other narrative conventions to underline the tension in the narrative. For instance, the snails in Arna’s island show Fawcett’s use of plotting, as they are tied up with the snail shells shown to Emily by the butter faerie. Another example is the plot point of Edgar’s diaries, with the diaries leading Emily to the Lady in the Crimson Cloak.

Wendell’s sacrifice of himself is a metaphor for his growth as a monarch, illustrating the text’s theme of Leadership as Sacrifice. From the instant Wendell glimpses Arna’s body in the hall, he freezes, as he knows the realm can only be saved by his shedding the blood of a king or a queen. Emily cannot yet comprehend this fact, and thus she is puzzled at Wendell’s sudden silence. Wendell’s blood is described as bursting out of him “in a shower […] bright as rubies” (242). The simile indicates that this is precious lifeblood, which will heal the land. While Arna’s sacrifice of herself is an act of vengeance, Wendell’s self-sacrifice is the act of a true leader. By wedding Emily, Wendell has already ensured that the realm has a worthy monarch in the event of his death, so he goes to his death readily when it is required.

Emily’s sorrow in the aftermath of Wendell’s death highlights the complex nature of grief. Emily responds by growing numb, and she then distracts herself from her grief by throwing herself into the scholarship that defines her—wracking her brain for a way to bring Wendell back. Emily’s taciturn and curmudgeonly demeanor may give rise to the misconception that she has no feelings, but Fawcett uses Emily’s actions to show how she harbors a deep love for Wendell and her friends.

One of the ways Fawcett depicts the complexities of Emily’s nature is by juxtaposing Emily’s understanding of herself and the people around her with the differing perceptions of others. An example of this is when Lord Taran tells her that only love makes life worth living and death worth dying. Emily interprets this to mean that Wendell died for the love of his land, and Taran looks at her “thoughtfully” (260). Though Emily does not decode Taran’s look, it is clear Taran is surprised at Emily’s interpretation of his statement: He was obviously referring to the love between people, whether it be his love for Callum, or Wendell’s love for Emily. The miscommunication makes it clear that Emily is both loved and capable of loving, but sometimes misses cues about expressing and understanding emotions.

One of the important elements of the narrative is the solidarity between the outsiders to the world of the Courtly Fae: This solidarity represents an emergent democratic element in the hierarchical world of the Fae. The Fae often look down upon the smaller and more common faeries, such as brownies and the oiche sidhe. In fact, the oiche sidhe are so ignored that they are literally nondescript, camouflaging themselves into their surroundings. Yet, it is the oiche sidhe who prove crucial in rescuing Wendell, as does the mortal Emily and the dog/Grim Shadow. This indicates the importance of underestimated outsiders in Faerie’s universe, and suggests that in order to reinvent itself, Faerie must give these outsiders greater room.

This section further showcases the author’s use of the literary devices of description and imagery to make the novel’s world come alive for the reader. An example of an evocative description is the portrayal of Wendell and Arna’s bodies in the throne room. Emily notes that the bodies are slowly being taken over by nature in a metamorphosis both strange and beautiful. Wendell’s chest has a dense, leafy vine growing out of it that has wrapped itself around his eyes and temples, knitting him a “strange mask made of leaves and tiny white flowers” (258). This visual description illustrates the motif of the monarch’s inseparability from the land in Faerie. Now that he is dead, the land is absorbing Wendell into itself. The celebration of Wendell’s return also contains detailed descriptions, this time to indicate the whimsical, lush nature of Faerie. For example, Emily notes the feast contains “a bubbling vat of caramel for dipping apples […] as well as the queer blue sandwich cakes that were a court favorite—the blue came from blueberry preserve and a sharp cheese […] layered with a […] cloudlike batter” (279). The food here contains both the familiar—the caramel and apples—as well as the unexpected—smelly cheese with a sweet batter—to emphasize the known yet odd nature of Faerie itself.

One of the oddities of Faerie is that despite its rigid rules and elaborate customs, it is paradoxically also a realm of transformation. One such transformation can be seen in Deilah, who at the beginning of the novel was hostile to Emily. Now the teenager not only theatrically mourns her half-brother by wandering the forest in torn robes, she also comes to Emily’s aid at a crucial moment. The change in Deilah foreshadows the end of vengeance in Wendell’s realm. Just as Deilah forgave her brother for imprisoning her mother and made peace with Emily, Wendell too must abandon vengeance. By thrusting Arna into the Veil, Wendell is stuck in an old pattern. Emily knows the only way to create a new future for Wendell and his land is by seeking a new story.

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