Interior Deterioration: “The Yellow Wallpaper” Write Up by Caroline Paden

“The Yellow Wallpaper” by Charlotte Perkins Gilman is the story of an unnamed mentally ill narrator whose husband, a physician named John, has rented a summer home for them as part of her treatment. She is deprived of all stimulation except for the ugly yellow wallpaper that coats her bedroom, only able to write when she is sure no one (either John or his sister, Jennie) will catch her. John is incredibly dismissive of his wife, insisting that her condition is a “temporary nervous depression”, and that after some rest and fresh air, she’ll be as good as new. The months pass, and the narrator is continually agitated by the wallpaper, spending hours at a time examining it as her condition worsens—she claims it shifts depending on the time of day, and eventually asserts that it does this because there is a woman trapped inside who comes out at night to creep around. The last day of their stay, the narrator peels off the yellow wallpaper to trap the woman in the walls, arming herself with a rope and locking out everyone else by throwing the room key out the window. When John returns, the narrator tells him where the key is. When he unlocks the door, he faints—the narrator is creeping around the room on all fours, believing herself to be the woman in the walls.

The chronic tension is the narrator’s mental illness, and the acute tension is the narrator being trapped in a room with nothing except ugly yellow wallpaper to look at.

The first technique I tracked was plot progression as shown through the writer’s personal opinions (in pink on the highlights). Since the story is in first-person, obviously a large portion of the story is the narrator’s inner monologue; however, I restricted my highlights to thoughts the narrator would want to conceal or descriptions of her worsening condition, specifically. The narrator leads a very restricted life to treat her illness, the theory being that rest and fresh air could cure her nervous troubles. This under-stimulation and forced rest was a real treatment many women in the nineteenth century went through, including the author, Charlotte Gilman—this story is based in part on her experience. Because the narrator is so closely monitored for signs of progress, it is only in her journal that she can safely express her feelings about her condition and her husband’s ideas. At first, her disagreements are with her husband concerning the efficacy of her treatment:

Personally I disagree with their ideas. Personally I believe that congenial work, with excitement and change, would do me good. But what is one to do? I did write for a while in spite of them; but it does exhaust me a good deal— having to be so sly about it, or else meet with heavy opposition. I sometimes fancy that in my condition if I had less opposition and more society and stimulus— but John says the very worst thing I can do is to think about my condition, and I confess it  always makes me feel bad.

The narrator longs to write and meet with other people, but her husband refuses. As the narrator is more and more upset by and fixated on the wallpaper, however, her private thoughts focus more on the wallpaper than her treatment—she believes she is improving, despite the fact that she doesn’t sleep at night and is seeing people walking through the grounds where there are none. She views John with more suspicion (that’s focused on in the next section) and guards her observations about her room very closely for fear of institutionalization. Bluntly, her private thoughts become much more paranoid and delusional as the story progresses.

I’m feeling ever so much better! I don’t sleep much at night, for it is so interesting to watch developments[.]

I don’t like the look in [John’s] eyes.

But I am here, and no person touches this paper but me—not alive!

The second technique I tracked was the characterization of the narrator’s husband, John, through her descriptions of him—and how that characterization changes throughout the piece (in green on the highlights). At first, the narrator is incredibly deferential to John (even if she does disagree with his ideas), refusing to contradict him or acknowledge her own resentment of him as valid. She sees him as her knight in shining, pragmatic armor.

He is very careful and loving, and hardly lets me stir without special direction. […] he takes all care from me, and so I feel basely ungrateful not to value it more.

John is incredibly controlling of his wife, all in the name of treating her illness. He uses his authority as a physician to prevent his wife from getting what she wants, and she has no way to combat this due to her condition and her place as a subservient wife. One of the reasons I tracked this technique was because it struck me as odd my first read-through that this narrator, who seems so confident (at least at the start of the story), would be so deferential towards someone who obviously never takes her seriously. John treats his wife like a petulant child instead of a grown woman, going so far as to call her a little girl at one point

“What is it, little girl?” he said. “Don’t go walking about like that— you’ll get cold.”

Ironically, this militant you’re-going-to-get-better-because-I-say-so attitude leads directly to the narrator’s deterioration—he ignores his wife’s pleas to get rid of the wallpaper, and she ends up fixating on it to the point of insanity.

At first he meant to re paper the room, but afterwards he said that I was letting it get the better of me, and that nothing was worse for a nervous patient than to give way to such fancies.

As the narrator grows more paranoid because of the wallpaper, she is more suspicious of John’s intentions, though he is ostensibly the same skeptical pragmatist he was at the start of the story. The more the narrator hides from her husband, the less she trusts his judgment.

I believe John is beginning to notice. I don’t like the look in his eyes.

He asked me all sorts of questions, too, and pretended to be very loving and kind. As if I couldn’t see through him!

I think Gilman’s use of her protagonist’s relationships to other people, as well as her relationship to herself, is a brilliant way to subtly guide the reader through the story without overloading them with exposition or heavy-handed dialogue. By the time the narrator states her mistrust of John outright, the reader is already primed to agree with her because of Gilman’s skillful characterization. The narrator’s whimsical, willful personality is apparent from paragraph one, which is what led me to pick this story in the first place—a cursory glance at the first page completely drew me into the story. I love it when narrators talk directly to the reader (probably a byproduct of my being raised on several Snicket-esque children’s series), and Gilman also used it as a way to explain the narrator’s secrecy around writing—in a way, the reader becomes the narrator’s confidant.

Writing exercise: Write a story using a narrator who believes that they’re something they actually aren’t.

Discussion Questions

  1. Is John written more as a misguided physician or an abusive husband?
  2. How does Jennie serve the story? Is she more or less sympathetic than John or the narrator?
  3. Why did the writer make a point to mention John and Jennie examining the wallpaper, too?

“Today is August 4, 2026 . . . “

A presentation on Ray Bradbury’s “There Will Come Soft Rains” by Natalie Hampton, Athena Haq, and Deonna Ford

Summary Part 1: Natalie

A voice echoes throughout the house, saying the date and time. The house is run by technology; the stove makes breakfast and voices continuing to repeat the date, time, and events happening that day. The garage door opens but shuts when no one comes. The untouched food is scraped away. Robot mice come out of the walls, clean, and disappear again. The house, standing alone in a city of rubble and ashes, is cleaned by technology on the outside. On a black wall, there are the silhouettes of a family of five.

Summary Part 2: Athena

At noon, a skinny, bruised dog walks into the house, looking for his owners, but realized they are gone. It died, and the cleaning robot mice cleaned up its body. As time passed the house was still silent, and everything the house prepared for whoever lived there was untouched. Some parts of the house were pretty broken down, including the nursery. A radioactive glow hung over it. From five to nine o’clock, the house continued with its nightly routine. Then, it asked Mrs. McClellan what poem she would like to hear that night. When there is no response, the house recited her favorite one. The poem, There Will Come Soft Rains, is about how when man destroys itself with war, nature will go on happily without it.

Summary Part 3: Deonna

It’s 10PM after the house recites the poem. The wind picks up, knocking a tree branch into the hearth and setting the house on fire. The house spirals into a frenzy. It sends various robots to try and extinguish the fire – a bevy of mice spewing water, robots spitting a green fluid, mechanical snakes batting the flames with their tail – none of which seem to work and, in fact, make the house more hysterical. All the house’s functions switch on at an insanely rapid rate as the house continues to burn. By the next morning’s sunrise, a voice is heard repeating, “Today is August 5, 2026” through the mass of burnt rubble.

Natalie’s Analysis

The first craft element I identified was sensory detail. Sensory detail was used to convey how dependent the house was on technology and the ruins it was left in, building setting. The lines,

The house stood alone in a city of rubble and ashes. This was the one house left standing. At night the ruined city gave of a radioactive glow which could be seen for miles,

illustrate the state of this dystopian world.

The story was mainly visual sensory details. While the characters were limited as it was a setting driven story, the dog contributed to building the backstory of the world.

The dog, once large and fleshy, but now gone to bone and covered with sores, moved in and through the house, tracking mud.

These lines demonstrate the change from a luxurious and joyful life, to an empty one with no humans around. The description of the dog also is used to invoke emotion in the reader, as many people have personal connections with pets and imagine the dog as their own.

Use of visual and sound sensory detail is especially evident as the house is dying and technology is failing.

Ten more voices died. In the last instant under the fire avalanche, other choruses, oblivious, could be heard announcing the time, playing music, cutting the lawn by remote-control mower, or setting an umbrella frantically out and in the slamming and opening front door, a thousand things happening, like a clock shop when each clock strikes the hour insanely before or after the other, a scene of maniac confusion, yet unity; singing, screaming, a few last cleaning mice darting bravely out to carry the horrid ashes away! And one voice, with sublime disregard for the situation, read poetry aloud all in the fiery study, until all the film spools burned, until all the wires withered and the circuits cracked.

The detail there is a sharp contrast to the calmer beginning, with lines such as, “In the kitchen the breakfast stove gave a hissing sigh and ejected from its warm interior eight pieces of perfectly browned toast, eight eggs sunnyside up, sixteen slices of bacon, two coffees, and two cool glasses of milk.” These lines show how the house is surviving, while the above paragraph from the end shows how it is dying.

By using sensory detail in my pieces, I can illustrate setting, evoke emotion in readers, and contrast the beginning of my story to the end.

The second craft element I identified was similes. Similarly to sensory details, by using similes in my writing, I can illustrate setting, character, and set the tone/mood of a piece. Similes also engage the reader and help the flow of a story.

There Will Come Soft Rains was rich in similes, several in particular standing out to me.

There, down tubes which fed into the cellar, it was dropped like evil Baal in a dark corner.

This line unique and I’ve never heard it before, immediately drawing my attention and perfectly describing the situation. It fit the overall vibe of the story and added just another layer to the plot.

Another specific line that stood out was,

At four o’clock the tables folded like great butterflies back through the paneled walls.

A lot of the story was spent building a world of ruins with more depressing imagery, but just the word butterfly has a positive connotation and the contrast between a butterfly and ruins is beautiful.

The entire paragraph where the house was burning was filled with similes.

The house shuddered, oak bone on bone, its bared skeleton cringing from the heat, its wire, its nerves revealed as if a surgeon had torn the skin off to let the red veins and capillaries quiver in the scalded air. Help, help! Fire! Run, run! Heat snapped mirrors like the first brittle winter ice. And the voices wailed Fire, fire, run, run, like a tragic nursery rhyme, a dozen voices, high, low, like children dying in a forest, alone, alone. And the voices fading as the wires popped their sheathings like hot chestnuts.

It both personifies the house and uses similes to illustrate as it loses its life and the last home in this area is destroyed. Throughout the story, the house has almost been a character, and the image of it being burned is painted perfectly and the paragraph reads poetically.

Discussion Questions:

  1. How does the use of sensory details and similes affect the tone and mood of the story?
  2. How does the use of sensory details and similes build a backstory and develop setting?

Athena’s Analysis

One craft element Bradbury used was the passing of time. First, there were voices in the house announcing the hours and what needs to be done throughout the day, such as waking up at seven o’clock,  eating breakfast at seven-nine, and filling the bath at five. The time passing throughout the day also shows the mechanics in the house. No people are left, but no nature is left either. All the “nature” is technology and machines, such as the cleaning mice. He also began the story with, “Today is August 4, 2026”, and ended it with, “Today is August 5, 2026.” This implies that this cycle of destruction is never-ending.

This brings me to the next craft element Bradbury used, irony. The poem that the house recites, There Will Come Soft Rains, is about how nature will live on and thrive when mankind has destroyed itself. For example, this is shown when the poem says,

Not one would mind, neither bird nor tree, if mankind perished utterly; And Spring herself, when she woke at dawn Would scarcely know that we were gone.

But throughout the story, it is shown that even with man gone, war has destroyed nature. One sign of this is the dog, who is skinny and bruised but was once healthy and plump, dying. Furthermore, nature is almost nonexistent. There’s a radioactive glow hanging in the air, and the closest thing to “soft rains” is the sprinkler running in the backyard.

This story was also very interesting to read because of its progression from the beginning to the resolution. In the beginning, I mostly just got the impression that humans had destroyed themselves, and this is what was left. From the automated house running by itself, to the various robots helping out, to the dog coming in and dying, I learned that in the story man destroyed itself and nature. The way all this was revealed was very compelling, especially with the use of a poem inside of a story. The poem really enhanced it because it revealed the prominent theme of irony with its contrast to what was really happening in that world. As I mentioned when explaining the craft element of time, the resolution of the story is that there isn’t really a resolution, and the last voice of the house repeatedly recites the date, as it will likely do for a long time.

Discussion Questions:

  1. How did the use of the craft element of time passing help shape the resolution?
  2. How did the use of the poem in the story reveal the theme of irony?

Deonna’s Analysis

Techniques tracked:



When people in the 1950s spoke of the future, it was always with a hopeful glint in their eyes, dreams of fast-flying cars and robot maids quick to heed to your beck and call. In Ray Bradbury’s case, however, he sees our heavy reliance on technology as a ball-and-chain to society. In his short story, “There Will Come Soft Rains,” Bradbury follows a house that is the last house in some unknown war that destroyed everything else in the city, people included.

The house stood alone in a city of rubble and ashes. This was the one house left standing. At night the ruined city gave off a radioactive glow which could be seen for miles. Ten-fifteen.

Though there are no people in the house, it continues to function as it normally would; it prepares breakfast, it powers up a play area for the children, it washes dishes, and even recites a poem, the story’s namesake, “There Will Come Soft Rains” by Sara Teasdale for its past owner. After the poem, the house catches fire, and though the houses tries its hardest to douse the fire, the attempts come to no avail, and the house is destroyed.

Bradbury’s story is itself extended metaphor for the dangerous, cold, and apathetic nature of technology. Early in the story it’s evident that the house is only doing what it was programmed to do – daily, routinely activities such as preparing food, for instance. It can’t detect that it’s doing all of this for no one. On top of this, these are all things that an adult should easily be able to do.

Seven-nine, breakfast time, seven-nine!

In the kitchen the breakfast stove gave a hissing sigh and ejected from its warm interior  eight pieces of perfectly browned toast, eight eggs sunnyside up, sixteen slices of bacon, two coffees, and two cool glasses of milk.

Bradbury highlights that our society is one of convenience. Technology is something we use to make our lives easier and, in this story, it has gotten to the point where even the most menial of tasks are performed by robots.

Later in the story, as the house lights on fire, it’s clearly not well-trained on handling a situation like this, seeing as the house burns down after many miserable attempts to extinguish it.

The fire burst the house and let it slam flat down, puffing out skirts of spark and smoke.

In the kitchen, an instant before the rain of fire and timber, the stove could be seen   making breakfasts at a psychopathic rate, ten dozen eggs, six loaves of toast, twenty dozen bacon strips, which, eaten by fire, started the stove working again, hysterically hissing!

This may be part of the reason the family living in the house was killed – expecting that technology was going to save them, which didn’t happen to be the case.

The poem included in the story, There Will Come Soft Rains by Sara Teasdale, adds to the theme of non-human things going forth without us. It describes a landscape, still growing and blossoming with beauty even after humanity was wiped out by war, presumed to be World War I as the poem was originally published in 1918, the year the war ended. Lines 10 through 12, in particular, contribute to this:

If mankind perished utterly;

And Spring herself, when she woke at dawn,

Would scarcely know that we were gone

A relationship between these three lines can be drawn back to the house still running even though the owners are not there. However, where Earth’s actions are graceful and natural, the technology’s whirring out of control straight after the poem is read can be perceived as a bastardization of this scene.

In summary, the short story There Will Come Soft Rains is a lengthened metaphor of technology’s repetitive, rehearsed, yet dangerous tendencies. The addition of the Teasdale’s poem of the same name flavors the story’s message by describing a landscape of Earth continuing forth even without the presence of man, a nod to the story’s post-apocalyptic premise of a technology-heavy house going through its routine without its owners being there.


  1. Many of the actions from objects in the story are described with human/”living” verbs – such as sighing, shrugging, and dying. Why is that?
  2. How does the author use imagery of an altar to illustrate the functions of the house?


Faith and Rage: “The Murder” Write Up by Miguel Hugetz

The Murder” opens with an orthodox religous service at a train station, where Matvey Terehov participates joyfully in the church choir, singing with great enthusiasm. When the service is over, Terehov, a middle aged man, goes to the station’s bar and tells the waiter, Sergey Nikanoritch, about his old tile factory’s choir and their skill. He reminisces about days gone and reflects on the current state of his current household, where he lives with his older cousins Yakov Ivanitch and Aglaia, as well as Ivanitch’s daughter Dashutka. Terehov laments that Ivanitch has taken to prayer and religious service with his sister only at home, scorning the clergy and involvement in the church. Terehov sees this isolation as a prideful sin, and tells his cousins to repent daily. Terehov goes home and reads a book borrowed from his police friend, Zhukov, before going to sleep. In the morning of Annunciation Day, Terehov returns to the station bar and tells Zhukov and Nikanoritch of his earlier religious experiences, where he strayed from normal church attendance and entered extreme piety until he was rebuked for becoming prideful and being a backslider from the church. Terehov describes Ivanitch as being in a similar state right now, despite his repeated attempts to get him to call off that way of life. Zhukov and Nikanortitch mostly ignore this and discuss how Ivanitch is rich and has screwed Terehov out of some inheritance. Meanwhile, Ivanitch reflects on his misery and troubles since Terehov returned from the factory and the way his cousin’s repeated insistences are beginning to undermine his thoughts and faith. Terehov is rebuked by Aglai for sending what money he had after leaving the factory to his former lover. Ivanitch calls her away to pray with him, and while they are praying Zhukov and Nikanoritch come to visit Terehov. Nikanoritch asks a baffled Terehov for money, prompting him to ask his cousin for money and a horse to leave town. Ivanitch considers it but decides that his money, wrapped up in banking and merchantism, is not available to him to lend. Ivanitch continues to question his religious faith while Nikanoritch and Zhukov continue to visit Terehov for money. After one visit ends and Ivanitch presumes Nikanoritch to have left, he begins his personal religious services but is interrupted by Terehov. This encounter causes Ivanitch to leave the room in anger. Terehov eats oil on a fasting day while the rest of the family watches, causing Ivanitch to angrily yell at him. In response, Terehov loses his cool and declares Ivanitch a heretic and backslider from God. Ivanitch and Agaila physically assault Terehov, accidentally killing him while Nikanoritch, revealed to still be in the house, witnesses. He initially flees the house but is bribed by Ivanitch to go along with the murder coverup. Ivanitch and Dashutka take his body away from the village and dump it on the road. Soon enough, the police catch up with the culprits and arrest them. At trial, the murderers are subjected to variously lengthening sentences of prison in labor camps. Ivanitch is sent to East Siberia, where after misery and a brief lack of faith he discovers what he believes is true faith and reflects tragically that he wishes he was able to attain it without so much early suffering. The story ends as Ivanitch works with other convicts in Siberia.

The acute tension is the increasing conflict between cousins Yakov and Matvey, while the chronic tension is the two’s majorly divergent religious practices which operate at the cores of their self-identities and internal struggles.

While on the surface Chekhov’s narrative is about a family feud that leads to a tragic death and its consequences, “The Murder” is a story that concerns itself with religious faith. Matvey and Yakov’s disparate religions drive the two cousins to deep conflict with each other, as the former’s persistent attack on Yakov’s beliefs drive him to fundamentally question his personal values and identity. 

Chekhov uses this internal confusion to build tension as the story escalates, raising the reader’s anticipation of violence with each detailing of Yakov’s declining mental state and faith. This tension works in tandem with the story’s title- “The Murder” is a clear declaration of what the reader ought to expect, and as the story progresses, our anticipation of it grows higher.

When Chekhov begins to show the reader Yakov’s perspective, he reveals his religious perspective early on. Faith is central to Yakov’s identity and belief about the world, as is shown by this passage:

Man cannot live without religion, and religion ought to be expressed from year to year and from day to day in a certain order, so that every morning and every evening a man might turn to God with exactly those words and thoughts that were befitting that special day and hour. One must live, and, therefore, also pray as is pleasing to God, and so every day one must read and sing what is pleasing to God–that is, what is laid down in the rule of the church.

Yakov’s faith is extremely strong, but he commits to it on his own terms, viewing the local clergy and church as improperly devoted to God and sinful. Unfortunately for Yakov, his views closely mirror those that his cousin once held dearly but has since given up. Matvey’s own personal experiences cause him to have a particularly strong view of Yakov’s relationship with God, which he sees as inherently prideful and thus full of sin. Matvey acknowledges Yakov’s criticisms of the church, but views those flaws as being aspects of human nature, and thus part of God’s intended life. His cousin’s adherence to strict regimen alienates him to other members of the community, which to Matvey is far more dangerous and against god then drinking milk on fasting days. Matvey’s continual needling of Yakov leads to ruptures opening up in the latter’s mind, as his internal devotion to faith proves less firm then he thought.

But yet he was troubled and could not pray as before. As soon as he went into the prayer-room and opened the book he began to be afraid his cousin would come in and hinder him; and, in fact, Matvey did soon appear and cry in a trembling voice: “Think what you are doing, brother! Repent, brother!”

Though he regarded his cousin’s words as nonsense, yet for some reason it had of late haunted his memory that it is hard for a rich man to enter the kingdom of heaven, that the year before last he had made a very good bargain over buying a stolen horse, that one day when his wife was alive a drunkard had died of vodka in his tavern…

Matvey’s continued assaults on Yakov’s faith take their toll on him. And as Yakov’s mental state declines, the tension of the story rises.

…little by little the broodings settled like a burden on his mind, his head burned and he could not sleep.

Yakov begins to question his own religious beliefs when he witnesses his own daughter and neighbors’ lack of faith, but this questioning does not lead to positive revaluation of his own belief, but instead shakes him to his core.

He kept shaking his head, as though there were something weighing upon his head and shoulders, as though devils were sitting on them; and it seemed to him that it was not himself walking about, but some wild beast, a huge terrible beast, and that if he were to cry out his voice would be a roar that would sound all over the forest and the plain, and would frighten everyone.

Yakov’s deep faith is replaced by deep anger, mainly directed against his cousin and the doubts his presence has engendered within him. Tension is now reaching its critical boiling point.

He was afraid Matvey would come in, and was certain that he would come in, and felt an anger against him which he could overcome neither by prayer nor by continually bowing down to the ground.

It was clear to him now that he was himself dissatisfied with his religion, ant could not pray as he used to do. He must repent, he must think things over, reconsider, live and pray in some other way. But how pray? And perhaps all this was a temptation of the devil, and nothing of this was necessary? . . . How was it to be? What was he to do? Who could guide him? What helplessness! He stopped and, clutching at his head, began to think, but Matvey’s being near him prevented him from reflecting calmly.

Yakov’s anger eventually spills out into physical violence, leading to tragedy and tearing his family apart. Tension breaks with his religion, and as the story comes to rest at a less agitated tempo, Yakov loses and then rediscovers comfortable faith. Religion in Chekhov’s story is tied not only to its characters and themes, but to the pace of the narrative itself. 

If Yakov’s primary conflict comes from his struggle with religious faith, Matvey’s comes from a more general dissatisfaction with his life. He constantly yearns for his former life at the factory, laments his inability to change his cousin’s ways, and feels constrained by illness and malady. Matvey reminisces on his former factory life often, and wishes to return to it.

“It is true we began St. Andrey’s prayers and the Praises between six and seven, and it was past eleven when we finished, so that it was sometimes after midnight when we got home to the factory. It was good,” sighed Matvey. “Very good it was, indeed, Sergey Nikanoritch.”

…he could hear that Matvey, too, was awake, and continually sighing and pining for his tile factory.

Matvey, hungry and melancholy, sat reading, or went up to the Dutch stove and slowly scrutinized the tiles which reminded him of the factory.

This attachment to his former life is noticed by the other members of his family, and Aglaia often attacks him with his factory experiences as the main subject of her bitter mockery.

Matvey wishes greatly to escape his living situation, believing his home to be a miserable place of resentment and anger. He asks Yakov for a horse so he can get away, which Yakov himself desires, but is unable- or possibly just unwilling- to spare the materials that will make that possible.

“Brother,” said Matvey, “I am a sick man. I don’t want possession — let them go; you have them, but give me a small share to keep me in my illness. Give it me and I’ll go away.”

Matvey’s dissatisfaction brings him into conflict with his cousin, as it partially motivates him to attack his cousin’s more rooted and sustained lifestyle and religion.

As far as what I’d like to learn from Chekhov’s writing and this story in particular, I think his method of building tension through internal reflection and a character’s crisis of faith is extremely skillful. The story builds and builds without much even happening for most of it, as most of the conflict occurs within Yakov’s and to a lesser extent Matvey’s minds. It is on the abstract level that most of the thematic and narrative events occur until Matvey’s murder, and even this viscerally physical act is only a final expression of Yakov’s previous internal problems. Chekhov’s dialogue is also very good, and his style of short but narratively important character discourse is something I’d very much like to take from. Hardly a word is ever wasted or expended pointlessly, and it creates a very sharp flow between characters that moves the story along effortlessly while still being captivating on its own merits.


  • Why do you think Chekhov choses to open the story with two sections exclusively from the point of view of Matvey, leaving Yakov for later?
  • Who do you think Chekhov places primacy on as the main character- Matvey or Yakov? Does the story end with either of their religious perspectives as triumphant?
  • Does the story portray Matvey and his actions in a positive light? Do you think he’s any better than his cousin, or is he a hypocrite?

The Cowboy’s Unknowing

A presentation on Stephen King’s “A Death” by Sebastian Kiteka, Gabriela Mejia, and Isabella Jimenez

Summary Part 1: Sebastian

In the beginning of the story, page one says, “Jim Trusdale had a shack on the west side of his father’s gone-to-seed ranch, and that was where he was when Sheriff Barclay and half a dozen deputized townsmen found him,”. This is where Trusdale is confronted and thought to have been the murderer in the story. Throughout the story the question “Where is your hat, Jim?” is mentioned, and Trusdale says back things like I don’t know but on this page (1) he answers, “‘I might have lost it.’” This is his common excuse, but later on in the story it is revealed it is near the dead girl he has killed. King states that the men had gone to town. There intention was to search and jail Trusdale for the time until he went to court. On page 3 it says,“They went to town. It was four miles. Trusdale rode in the back of the mortuary wagon, shivering against the cold. Without turning around, the man holding the reins said, ‘Did you rape her as well as steal her dollar, you hound?’”. This explains why Trusdale is being jailed, and they believe it is him who has killed and possibly raped her because of the evidence of Trusdale’s hat. The townspeople are obviously angered at Trusdale who they think (and know) is the killer of a 10-year old girl. This is mentioned on page 4, “‘Hang that baby killer!’ a man shouted, and someone threw a rock. It flew past Trusdale’s head and clattered on the board sidewalk.” This man has most likely heard the news and I would infer that all of the townspeople think that Trusdale is the murderer. Trusdale is also searched for the silver dollar on page 5, “Trusdale turned, grabbed his buttocks, and pulled them apart. Sheriff Barclay winced, sighed, and poked a finger into Trusdale’s anus. Trusdale groaned. Barclay removed his finger, wincing again at the soft pop, and wiped his finger on Trusdale’s undershirt.” Though it is disgusting for both, Sheriff Barclay wants to find justice in the Rebecca Cline case and he is willing to do it at any cost. On the same page, 5, the sheriff arrests Trusdale and locks him up in a cell,  “‘I’m arresting you for the murder of Rebecca Cline.’” The 5th page ends with Sheriff Barclay saying, “‘I feel sorry for you, Jim. Hell ain’t too hot for a man who’d do such a thing.’” and then walking away, leaving Trusdale “questioning” the situation. I interpreted Barclay’s quote as him feeling “sorry” for Trusdale, and there are a lot of criminals in Hell, and it’s willing to add another one.

Summary Part 2: Gabi

Jim Trusdale has been led to jail with mocking accusation of him committing unspeakable crimes. Sheriff Barclay leads him to jail where he then searches every part of Jim for evidence. Time passes with more mocking’s and threats of death. The trial finally arrives where he is prosecuted and judged in process that questions his morality. This section is closed with the meeting hinting at the possibilities of a slow death because of established evidence which involves stealing money and killing a girl.

Summary Part 3: Isabella

The execution has been set for the next day and Sheriff Barclay tells Trusdale he can have anything for his last meal, which leads to a conversation between the both of them to try and help Trusdale remember if he recognized anybody’s face at the bar. Trusdale can’t, and the Sheriff takes his dishes and leaves. The next day, the day the hanging takes place, Trusdale is hysterical and tries to fight back, saying he’ll be good if he can see the mountains one last time. The crowd watching jeers and insults him for being pathetic and horrible even after he is hung. The sheriff goes back to the cell, then his office, until the next morning he is called to the mortuary and sees Trusdale’s underwear on the ground covered in feces, and he and his colleague spot the silver dollar that the little girl had presumably been killed for. The sheriff questions his judgement for thinking the man was innocent and thinks himself a fool for being the only one in the town who believed the murderer.

Analysis Part 1: Sebastian

Character- A figure in a literary work (personality, gender, age, etc). Flat characters are types of caricatures defined by a single idea of quality, whereas round characters have the three-dimensional complexity of real people.

There were many flat characters in the story, “A Death” by Stephan King, including the citizens of the town and Trusdale. The main flat character, Trusdale was shown to be flat, because of his personality never changing. He was confused, “‘What thing?’” meaning that he was unsure of whether he did the crime, and he believed it fullheartally until his death:

Barclay nodded to House. House pulled the lever. The greased beam retracted and the trap dropped. So did Trusdale. There was a crack when his neck broke. His legs drew up almost to his chin, then fell back limp. Yellow drops stained the snow under his feet.

This shows in the ending of Trusdale’s life, and the townspeople are happy he has finally died, which is what they wanted, “The spectators stayed until Trusdale’s corpse, still wearing the black hood, was laid in the same hurry-up wagon he’d ridden to town in. Then they dispersed.” Another quote adding on to the previous is the one on page 14, “Because the Clines knew all along. Everyone in town knew all along. He was the only one who hadn’t known.” The round character in this story is Sheriff Barclay. He is skeptical whether or not Trusdale has committed the crime, unlike his fellow policemen. On page 14,

”You believed him,” Hines said at last.

“Fool that I am, I did.”

“Maybe that says more about you than it does about him.”

This shows that the sheriff was very wrong in believing the murderer to be a freeman, which a fellow sheriff’s deputy tells him.

Plot- The major events that move the action in a narrative. It is the sequence of major events in a story, usually in a cause-effect relation.

The plot in the story is finding out who the girl killer is. Stephan King has convinced his readers that Trusdale is innocent, (along with the Sheriff and the killer himself) yet the town believes (and knows) that Trusdale is the person who should be convicted of being a child murderer. The first major event to the story is taking Trusdale into custody, page 2,

“You need to get in the back of the wagon,” the sheriff said.

This is the beginning to the story. The second major event is searching and convicting Trusdale, page 5,

“Where is it, Jim?”

“My hat?”

“You think I went up your ass looking for your hat? Or through the ashes in your stove? Are you being smart?”


“I’m arresting you for the murder of Rebecca Cline.”

This signifies the only suspect who is at fault for murdering Rebecca Cline. The 3rd major event to the story is the trial of Trusdale, on page 10,

“The jury will retire to consider a verdict. You have three choices, gentlemen—innocent, manslaughter, or murder in the first degree.”

This ends the decision for an execution to Trusdale. The next major event to the story is after Trusdale has died and the men find the silver dollar in Trusdale’s feces. On page 13,

They lay on the floor, mostly turned inside out. Something gleamed in the mess. Barclay leaned closer and saw it was a silver dollar. He reached down and plucked it from the crap.

This indicates when Trusdale has finally been proven guilty.

And the final major event in the story is when the sheriff is looking back on how wrong he really was in thinking that Trusdale was actually innocent. On page 14,

He was the only one who hadn’t known. Fool that he was.

Sheriff Barclay truly feels bad and foolish to believe that Trusdale could’ve actually been innocent instead of guilty.

Discussion questions 1, and 2:

I believe Stephan King used a lot of flat characters because his dynamic, round characters represented the sheriff, and us the readers. Many people thought that Trusdale was actually going to be innocent but instead we were proven wrong as long as the Sheriff. I think the story was a little shorter compared to his longer stories like “It” or “The Shining” because he was going for a shorter, straight to the point kind of story. I like many of his stories, and this story was a pretty horrific story. He did use a little less diction compared to his more spooky or horrid novels, but this story had its own vibe, and was very scary, because we thought Trusdale was innocent, and the way he died, and other factors like that were involved. I believed he did this because when he used more diction it was because of the vile things happening in the story.

Analysis Part 2: Gabi

Point of view: The story “A Death” by Stephen King is written in 3rd person point of view. 3rd person point of view is when the narrator is telling us what is going on in the story. The story shows more of an omniscient 3rd person point of view which is when the narrator knows or has the knowledge of all the feelings or desires of the characters in the book. “A Death” by Stephen King falls under these guidelines because it never mentions the main character referencing throughout the story as if he was telling it. The reader is considered as a spectator and is only filled in with information that the narrator delivers it to us, even though he knows the thoughts and feelings of all characters it does not mean that the narrator has to expose all of them. We can prove this hypothesis with a quote from the beginning of the story stating

“I don’t know what you’re talking about,” Trusdale said.

This shows the reader the main character Jim is feeling confused, but we don’t have more information to conclude anything else about his feelings. This proves the story is written in a 3rd person omniscient point of view because the narrator is informing us with textual evidence that shows emotions and story plot but not the eternity of the picture.

Style: The story “A Death” by Stephen King is written in a horror/realistic style. When referring to style in a book or novel it means the specific way an author uses diction, use of vocabulary, figurative language and words to immerse the reader scenes in the story. Style also helps portray the mood of the book and helps the reader foreshadow future events because of tension or other created situations. One great example of this in “A Death” by Stephen king is towards the end of the story when it states,

“Let me look at the mountains!” Trusdale bellowed. Runners of snot hung from his nostrils. “I’ll be good if you let me look at the mountains one more time!”

This shows the author’s use of the word mountain to describe life and to continue it instead of dying. Another great example of the diction Stephen King uses use is at the beginning where it states

Trusdale turned, grabbed his buttocks, and pulled them apart. Sheriff Barclay winced, sighed, and poked a finger into Trusdale’s anus. Trusdale groaned. Barclay removed his finger, wincing again at the soft pop, and wiped his finger on Trusdale’s undershirt.

Although this is gruesome it shows the reader how eager the sheriff is to find justice or at least evidence in and “inside” of Jim.

Two discussion questions: 1. The hat is used as a specific piece of evidence in Jim’s trail making him come back to the restaurant in look of it but, why did Stephen King choose a hat, and does it symbolize something more?  2.At the end of the story it is mentioned when Jim dies that he expels all the liquid and bodily fluids in his body. They then find the missing coin in his bodily fluids but earlier in the text  it states “There was a bunk and a stool and a waste bucket.” this proves that Jim could have used the restroom and probably did because of the amount of time he was in jail for. So, did Jim must hide the coin during the inspection of evidence and then eat it before the trial?

Analysis Part 3: Isabella

My two craft elements were theme and setting. First, a couple themes I noticed were prevalent throughout the story; Justice and self importance/rationalization.

Justice- the sense of justice is definitely not the same as we think of it now, as in the 19th century the system and process is incredibly fast, rushed to the point of not being thorough or caring about the wellbeing of the suspect- the suspects are practically guilty till proven innocent. This is reiterated at several points in the story that I will mentioned later. The story deals with a horrible crime; the murder and robbery of a 10-year-old girl and starts off by telling the reader exactly who is suspected to have done it, which has the reader thinking that it can’t be him, it’s too obvious and sudden. (which also goes along with the rationalization theme) The entire time law enforcement (mostly Sheriff Barclay) and people of the town argue over justice and making things right for the poor little girl- even though I personally doubt a 10-year-old girl would want the man hung.  It’s a battle of right and wrong and he hurt her, so we better hurt him back. There are several moments that show how biased the law system is against the defendant/suspect, such as when on page 6 it says

There was no lawyer in town to serve as Trusdale’s defense, so Mizell called on George Andrews, owner of the mercantile, the hostelry, and the Good Rest Hotel. Andrews had got two years of higher education at a business school back East. He said he would serve as Trusdale’s attorney only if Mr. and Mrs. Cline agreed.

This is just the first of a series of events that prove the messy justice and legal process in this town and time. There are also quotes such as;

Roger Mizell, who had familiarized himself with the case, served as prosecuting attorney as well as judge. one suggested that it was a bad idea. It had a certain economy, after all.


Prosecutor Mizell called half a dozen witnesses, and Judge Mizell never objected once to his line of questioning.

Rationalization/Self Importance; as the reader, and as human beings, we often think (unconsciously or not) that we know best and our opinions are irrefutable. So, of course, since the reader is pushed to believe Trusdale is innocent, he must be, and all the gathered evidence and jury ruling are wrong. Stephen King plays on the idea the reader will make up in their head that all the townsmen are vicious, that everyone is mad at a man who did nothing but be uneducated and simple minded. By the end, there is a conclusion, that no, somehow the reader was incorrect (unless you’re one of the few that believed he was a criminal the whole way through) and we see how being in our own minds constantly leads us to think our thoughts and ideas can’t possibly be wrong. Stephen king is trying to prove a point here about people’s self-importance and how it leads to rationalizing facts that were proved wrong with just our human emotion. The lines

“You believed him,” Hines said at last. ‘Fool that I am, I did.”

“Maybe that says more about you than it does about him.””

are all reminiscent of what I imagine King is trying to tell the reader. Most of the story is making fun of the human species’ long-time conflict starter- pride, haughtiness, and self-importance. I rather enjoyed the way Stephen King subtly introduced the theme, and very quickly had the reader feeling sorry for the criminal of the story. I’d like to be able to develop complex character’s or at least quick attachment and intelligent storylines and underlying themes and concepts in my writing.

Two things I’d like to know about Stephen King’s thought and writing decisions/process (discussion questions)

  1. How did he come up with the idea/concept for the story and what spurred him to implant the theme of self-importance?
  2. Did King have the idea in his head that Trusdale was going to be guilty the entire time? Was there a point in the story that he realized that would make sense and wrote it, or did he plan it all out/have an idea of the ending he wanted to build up to?

Deceit, Purslanes, and Children: “In The Kindergarten” Write Up by Mariah Adeeko

“In the Kindergarten” by Ha Jin explores a mature approach of character development and his fictional kindergarten setting conditions through eyes of elementary protagonist Shoana. The story shows through Shoana that this atypical kindergarten contains deeper problems than blatantly presented: lies, forced labor, extreme forms of punishment, and more. While these might not be all the problems that the “boarding school” seems to face, they are the ones that Shoana realizes and attempts to comprehend.

Shoana is a lonely kindergartener who longs to be back home with her parents and new baby brother. Adjusting to kindergarten life has been hard, having to conform to iron beds, disgusting meals, and new authority. One day her teacher, recently going through divorce and abortion, has the kids pick purslanes: something they’ll get to eat for dinner if they work hard. While picking, one of Shoana’s classmates – Dabin – boasts about having more purslanes and ends up in a fight with another one of their classmates. The result of this fight has the teacher punishing him: banishing him to a cupboard where he may or may not be forgotten about. In the end, the children don’t get to eat the purslanes; only Shoana is the one who sees the teacher heading away keeping the purslanes to herself. Later that day, Shoana and Dabin make up. She gives him some peanuts – collateral collected when she saw her parents outside of the kindergarten. The next day, Shoana spends her time on the rainy field playing court with her classmates, getting muddy. The mud on all the children’s clothes causes the teacher to wash all their clothes, confiscating Shoana’s peanuts as she does, leaving the toddler devastated. The next day, the teacher sets the kids out to pick out more purslanes, saying that they will get to eat them for dinner tonight for sure. As they do so, a rabbit breaks out from the area and the teacher commands everyone to chase after it. As they chase for the animal, Shoana pees in the duffel bag where the purslanes have been being accumulated in. With new confidence, she joins the rabbit chase. That evening, Shoana happily eats the gruel given to her and even plays the boys “as if she had become a big girl”. Her new mindset hints that she’ll adjust to the kindergarten, exposing her to a new level of maturity.

Regarding chronic tension, it would be Shoana’s adversity adjusting to kindergarten. For acute tension, it would be Shoana noticing her teacher taking their harvest for herself (or, debatably, the beginning of the rabbit chase).

The first technique that I tracked was “descriptions and conditions of the kindergarten” because the reader easily gets enamored by the elementary setting. We must adjust, just like Shoana, as the setting forces our perspective to go through a distortion of understanding (from having gone through (a presumably) normal kindergarten experience ourselves).

Through the setting, we see that the students don’t have lots of freedom. They are trapped inside the kindergarten through cases of physical barriers set by authority.

The children were excited, because they were seldom allowed to go out of the stone wall.

The rules didn’t allow her to eat anything after she had brushed her teeth for bed.

However, their freedom is sometimes literally stripped from them too. When we see Dabin go through punishment, it is a jarring description that the reader can be glad is fictional.

The boy would be “jailed”, and he might get even with her after he was released. On the second floor of their building was a room, the kitchen is only for storage, in a corner of which that three bedside cupboards. Sometimes a troublesome boy will be locked in one of them for hours.

Lastly, the nutritional conditions in the kindergarten are questionable. The food is gross enough to challenge prison food, serving as one of the reasons the children are eager to pick purslanes. It’s because their regular food is bad enough that they’re willing to work for anything else. Later, as we see this food has a spandrel effect on Shoana’s attitude, it turns out the school’s horrible gruel serves to be tolerable after all.

For the first time in the kindergarten she ate a hearty meal – three sweet potatoes, two bowls of corn glue, and many spoonfuls of fried eggplant.

The conditions of the kindergarten make the story surreal but tangible. It helps ground the story to something that the reader can access, but still have somewhat of a distance from. Shoana is the overall connecting piece for the setting as her perception and preexisting knowledge of the place helps fill the reader in on details that would have normally slipped by.

Transitioning into the second technique I tracked, “character development and changes” was something I ended up expanding to a range of changes. I realized just how many changes there were in the story, minor and major, that added to the core of the plot. At first, it was “internal/external” changes. I then realized that the story’s kinetic called for “emotional” changes too. Finally, I gave into the and added in “physical” changes because the debate of whether character actions were as important as their emotions arose. Jin masters this technique through expanding development to every single character mentioned (mainly Shoana, of course, but most of hers is near the end). Ones that are more initial, like the teacher’s, required events that already happened (such as her divorce, abortion, accumulating debt, etc.). However, the ones that focused on the students would all have to take place later after an incident has already happened. For examples…

Shoana, at first hating the desolate kindergarten, changes the most when she gathers the courage to not conform into the rabbit chase and take on her own desired course of action.

Shoana was not with them because she wanted to pee. Looking around, she saw nobody nearby, so she squatted down over the duffel, making sure to conceal her little bottom with her skirt, and peed on the purslanes laying inside the bag. Then with a kicking heart, she ran away to join the chasers.

We also see this technique through character disputes that are flippant and can be solved, such as interactions Shoana has with minor characters, like Dabin. After she gives him the peanuts as a peace offering, he demands…

“You must be nice to me from now on. Remember to save lots of goodies for me, got it?”

Stemming off emotional changes, this extends to Shoana’s realizations throughout the story. Most likely the most heartbreaking example coming from Shoana being the sole witness to her teacher’s flight with the purslanes.

Now she understood, their teacher took their harvest home.

Lastly, there were physical changes too. As mentioned above with Shoana’s taste changing through her adrenaline, examples of physical changes would often lead to different perceptions and outlooks. For dinner, it was for the better. However, in less cheerful examples, we see how physical changes can lead to emotional changes too.

They elected her the queen…she had to sit on the wet ground all the time. She got up from the ground, shouting, “I quit!”


He went up to her, grabbed her shoulder, pushed her to the ground, and kicked her buttocks. She burst out crying.

Some crafts I would like to take from this story would be Jin’s descriptions and skillful use of dialogue. He, like Antonya Nelson, use dialogue to enhance the story instead of fuel it. It’s not excessive to the point where it’s filler, but where it’s a piece you must pay attention to in order to have a further familiarity with their story. Jin’s descriptions can be subtle revelations (i.e. Aunt Chef), while others are jarringly blatant (i.e. the iron beds the kids must sleep on). Both, when used to their full potential, will help escalate the reader’s attention the whole readthrough. If I were to come up with a writing exercise for this story, it would be to write a story where a character is presented with several dilemmas that seem insolvable. It will be up to the author or not as to whether these dilemmas are solved, unsolved, or like Shoana, solved through one decision that has a later domino effect.

Discussion Questions

  • How does the rabbit scene affect the chronic tension?
  • How does the teacher’s problems affect the kids? Physically? Emotionally?
  • How do you think, according to the snip-it descriptions, the kindergarten affects the adults?



A World Apart, Part Two

The Obelisk Gate (2016), the second book of N.K. Jemisin’s Broken Earth trilogy, is the only book of the trilogy to follow two narrative threads instead of three–the first being Essun at Castrima where she was reunited with Alabaster at the end of Book 1, and the second circling back to what happened to Nassun when she left Tirimo with Jija right after he killed Uche. Essun’s thread is still relayed in the second person as it was in the first book, while Nassun’s is told in the third person. (Schaffa gets two point-of-view chapters, but not enough to qualify for a full-blown thread.) 

In Book 2 we learn that Jija figured out his daughter Nassun was an orogen because she had given a diamond she’d found via her orogeny to a lorist she wanted to learn from, and the lorist gave the diamond to Jija. When Uche knows Jija had it in his pocket, Jija figures out that Uche was an orogen too, and kills him. Nassun comes in shortly afterward and escapes a similar fate mainly by virtue of some inadvertent emotional manipulation (primarily calling him “Daddy”). Jija and Nassun travel north for a year trying to get to a place where Jija has heard there is a cure for orogeny, which he continues to be conflicted about even when Nassun uses it to save him. When they get close, they’re saved from a group of bandits by none other than Schaffa, who we’ve learned escaped his literally explosive confrontation with Syen at the end of Book 1 by virtue of calling on a power that ended up claiming a lot of his former self and memories, so he’s essentially a different person now. 

Schaffa runs a community of orogenes known as Found Moon within the comm of Jekity, where he teaches and bonds with Nassun, much to Jija’s consternation. Nassun learns she’s able to connect to a sapphire obelisk floating nearby, though the first time the connection is inadvertent and causes her to turn another orogene to stone. She then uses this power to help Schaffa and two other guardians at the nearby Antarctic Fulcrum (which she sessed while connected to the obelisk), where the orogenes have killed their guardians, turn everyone there to stone. She wants to use her abilities to remove the knot from Schaffa’s head she sesses is causing him pain, but he won’t let her, saying he won’t be able to protect her if he does; the thing in his head, and the other two Jekity guardians, want to kill her due to her obelisk-related abilities. She is visited by a stone eater she names Steel who says he can help her. When Jija confronts her about not being healed of her orogeny and she admits she likes doing it, he hits her and in response she ices his house. Later, he attacks her again, attempting to kill her, and she uses the sapphire obelisk to turn him to stone. 

Meanwhile, in Castrima, Essun learns she can connect to an obelisk at Alabaster’s behest. As his entire body slowly becomes stone, he teaches her to sess the silver threads inside the obelisk and living things that is the stuff of orogeny, known as magic, and explains that he was taken by the stone eater at the end of Book 1 to a city in the earth’s core, where he learned that the obelisks were created to harness the earth’s magic, but then something went wrong and caused the moon to fly out of orbit. He started the rift to create enough energy for an orogen to harness and use the networked obelisks (the Obelisk Gate) to get the moon back so the earth won’t induce future seasons. 

After barricading herself in and being evicted from Castrima’s control room where she was doing research, Tonkee grabs a mysterious piece of metal that then buries itself in her flesh, causing Essun to have to cut off her arm. Hoa disappears from Castrima for awhile then returns saying he was fighting stone eaters who want to stop him from achieving his vision. Eventually Castrima gets a message from the nearby bigger comm of Rennanis that Rennanis wants to requisition them; a stone eater shows up to say the comm can join them–except for orogenes, a condition that upsets the delicate balance Ykka the Castrima leader has brokered between stills and orogenes. This stone eater grievously injures Hoa, who re-hatches himself through a geode, revealing himself to be the stone eater that was trapped in the obelisk Syen raised from the harbor in Allia in Book 1. Hoa says the Gray Man stone eater’s agenda is to let humanity die, so he wants to stop Alabaster’s objective of using the Obelisk Gate to re-harness the moon, which would end Earth’s wrath and the seasons with it. As tensions between stills and orogenes in Castrima escalate, Essun kills a still who’s attacking a rogga child (triggering her because of what happened to her son Uche), and is going to kill more before Alabaster stops her, but the effort kills him in turn. 

When the Rennanis army attacks Castrima, it turns out that Ykka knows how to network orogenes together, and uses their combined energy to incite deadly boil bugs to attack their attackers. Connected in this network to Ykka, Essun finally realizes how orogeny and magic can work together to be even more powerful. When stone eaters attack, Essun calls on the onyx obelisk, whose power almost kills her, but she manages to use it to call the other obelisks and traps the stone eaters inside them. Once Castrima is secure, she uses the Obelisk Gate to track Nassun (which Nassun sesses in turn). Using the Obelisk Gate turns one of her arms to stone. The End. 

In this second installment we get clues as to the larger function of the obelisks as conductors of this substance of life known as magic. We also get the explanation of why Hoa is so dedicated to Essun–she was the one who freed him from the obelisk he was trapped in. And a relationship forms between Schaffa and Nassun that is the antithesis t both the relationship Nassun has with her mother and that Essun, once Syen, had with the former Schaffa. There’s also the conflict between orogenes who are Fulcrum-trained and those who aren’t (Ykka); pros and cons are presented for each but it’s what Essun learns when she’s connected to Ykka, who hasn’t learned to suppress herself in the way Fulcrum-trained orogenes have, that leads her to be able to open the Obelisk Gate and achieve her goal of saving Castrima–saving it, at least, from its external conflict. 

Chapter Outline:

1 Nassun, who wanted to become a lorist, gives a diamond to a visiting one who this lorist then gives to her father, Jija, which is how he figures out she is an orogen; Uche asks about the diamond in his pocket when he shouldn’t know it’s there, which is when Jija kills him. Nassun walks in shortly thereafter and he leaves with her. 

2 Essun goes to see if she can connect with an obelisk and Ykka insists on coming along; Essun is successful. 

3 Schaffa survives the blast Essun induced with the obelisk on the ship at the end of Book 1 by calling on a power that costs a price to help him survive–a significant chunk of his identity and memories. A man finds him when he washes up on the beach and takes him to his fishing comm, where a boy, Eitz, realizes from his uniform he’s a guardian and who Schaffa takes with him after he kills his family. 

4 A hunter returns to Castrima infested with boil bugs that Essun is able to remove with her orogeny, but they’ve done enough damage the man has to be killed. 


5 The end-of-the-world rift occurs as Nassun and Jija are on the road and Nassun diverts it to prevent it from killing them. 

6 Essun talks to Tonki about how long humans and obelisks have existed, and then to Alabaster, who tells her she has to learn to manipulate the stuff of orogeny that the obelisks contain–silver threads once known as “magic.” 

7 After a year of traveling Nassun and Jija arrive in the Arctic, where Jija’s heard a rumor there’s a cure for orogeny, and when they’re accosted by bandits they’re saved–by Schaffa. 

8 Essun integrates into the routines of helping out Castrima. She joins a hunting party who sees another group crucified on trees as some kind of territorial message. She starts training the comm’s younger orogenes. She argues with Alabaster about why he caused the rifting and he agrees to tell her everything. 

9 Nassun and Jija are taken into the comm of Jekity, which has a community for its orogenes called Found Moon. Nassun bonds with Schaffa during her training, and can sess silver threads in him, and how his sessipina causes him pain. 

10 Alabaster tells Essun what happened to him after the stone eater took him at the end of book 1–he’s taken to a city at the earth’s core, where he learns how the obelisks were created to harness the earth’s magic, but then something went wrong and the moon was thrown out of orbit. He tells Essun why he caused the rift that started the season–it will provide enough energy for an orogen to harness and channel through all the obelisks networked together (the obelisk gate) to return the moon to its orbit, which will prevent the earth from causing future seasons.

11 Schaffa dreams of his past and resists the urge of his sessipina to compel Nassun into obedience.  

12 Nassun is able to sess the silver inside Schaffa and elsewhere. When she’s startled awake by another orogen boy, Eitz, she instinctively reaches for an obelisk and inadvertently turns him to stone. Schaffa tells Jija (and has to threaten him) that Nassun will be staying at Found Moon from now on. He tells Nassun she has a higher purpose in remedying an old mistake he had a part in.

13 Alabaster talks about using node maintainers to help him open the obelisk gate (i.e., connecting and channeling multiple obelisks). Tonkee has barricaded herself in Castrima’s control room to do research, and when Ykka kicks her out for this, Tonkee tries to take a mysterious piece of iron (which seems to possibly be what’s in Guardians’ heads that gives them their powers) and it burrows into her body and Essun sesses silver threads coming from it, then has to cut off Tonkee’s arm to stop it. 

interlude: Hoa says stone eaters are slowly devouring Castrima and that in his recent absence he’s been killing them. There is one stone eater in particular who has a vision opposite to his that he’s trying to fight. 

14 Six months pass and Castrima is running out of food. One day they get a message that the nearby comm of Rennanis wants to requisition them, and Essun sesses an army nearby. A stone eater shows up from there saying Castrima can join them, except for its orogenes, sowing discord. Essun discovers Hoa in her room almost destroyed by this other stone eater, and feeds him his stones. He rehatches through a geode as the stone eater she saw trapped in the obelisk in Allia. 

15 Nassun and Jekity’s three guardians (including Schaffa) visit the Antarctic Fulcrum that Nassun sessed through an obelisk. Learning these orogenes killed their guardians, the Jekity guardians attack, and Nassun helps by using an obelisk to turning everyone there into stone. The other guardians and the thing in Schaffa’s head want to kill her for this, but Schaffa protects her. A stone eater visits Nassun saying he can help her. 

16 Hoa tells Ykka and Essun that the gray stone eater (who’s behind the Rennanis threat) wants to wipe out humankind and make sure no one else opens the Obelisk Gate so the season will wear on and wipe everyone out. Ykka and Essun argue whether they can trust Castrima’s stills under threat of an attack.  

17 Nassun practices her orogeny to the point where she think she can heal the thing in Schaffa’s head that causes him pain, but he won’t let her because then he won’t be able to protect her from the other Guardians. She goes to see Jija, who hits her when she says she’s not trying to cure herself of orogeny, but get better at it, and she ices his house. 

18 Hoa says actually the Gray Man stone eater does want Essun to open the Obelisk Gate, but for his own purposes. As Ykka is having people vote on how to respond to Rennanis, there’s an altercation where a still accuses a rogga of attacking them, and to keep peace Ykka kills the rogga. Then Essun sesses a still attacking a rogga child and kills her using an obelisk, and Alabaster keeps her from killing more people, which kills him. Essun says the comm won’t vote, or she’ll kill them.

interlude: Hoa tries and fails to make a truce with Gray Man. 

19 Rennanis attacks after Essun tries to speak to their representative Danel and is stabbed. Ykka knows how to network orogenes to generate enough power to excite the boil bugs into swarming the attackers. When Essun’s connected to Ykka she sees how magic is connected to everything and the obelisks, and she finally understands how orogeny and magic can work together to amplify each other’s power. The stone eaters attack and then Essun calls the onyx obelisk which almost swallows her but then she’s able to use it to call the other obelisks and traps some stone eaters inside them. With Castrima safe she uses the Obelisk Gate to track Nassun. 

interlude: Hoa puts Essun to bed; one of her arms has turned to stone. Hoa talks to Lerna about the geode of Castrima being badly damaged in the fight, but now that Rennanis is empty/killed they can go there. 

20 Nassun sesses the Obelisk Gate and her mother, then Jija attacks her with a knife and she uses the sapphire obelisk to turn him to stone.