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Content Warning: This section of the guide discusses psychological abuse, murder, and suicide.
Tarisai is a young girl who lives in the land of Swana in the Arit empire. Swana is a large region filled with elephants, sprawling savannahs, and magic. Tarisai lives in Bhekina House and is raised by maids and tutors. She rarely sees her mother, whom everyone calls The Lady. One night, Tarisai decides to sneak out and search the savannah for her absent mother. She encounters a mythical being called an “alagbato” who has large blue wings. The alagbato, whose name is later revealed to be Melu, calls Tarisai by name, although she has never met him. He picks her up, but Tarisai resists because her mother does not allow anyone to touch her. (Tarisai has the magical ability to take the memories or “stories” of anyone or anything that comes into contact with her skin.) The alagbato is not fazed and offers to show Tarisai her mother. Tarisai warily accepts his offer, as she has spent most of her young life seeking her mother’s attention and praise. She has spent the majority of her time with her servants and tutors, who routinely coach her on languages, puzzle-solving, and history to please The Lady.
The alagbato explains that Tarisai will see her mother in a memory, which she must take from a clearing with a pool of water. Once there, Tarisai touches the ground to receive its story and sees her mother as a much younger woman. In the memory, The Lady lounges by the pool and calls out for “Melu,” the mythical guardian of the region of Swana. When he does not appear, she pulls out a vial of abiku blood and threatens to use it to poison the pool. Melu appears and commands her to stop. The Lady explains that she will not poison the pool if Melu wears an emerald bangle that will compel him to become her personal genie, or ehru. He obliges, and The Lady demands that he grant her three wishes. First, she wishes for a palace sanctuary, and he grants her the Bhekina House. Then she begins to wish for the death of the emperor, Olugbade, but he tells her that she cannot control death, so instead, she wishes for a child who will fulfill her every command. However, Melu says that this is also not possible, for she cannot own a child as she owns an ehru. The Lady realizes that she can evade this rule if her child is also an ehru, so she wishes for Melu to impregnate her.
Tarisai emerges from the vision and realizes that Melu is her father. He explains that he was able to choose her name, but that he has been bound to this grassland and has not been able to fulfill his duties as protector of Swana ever since his encounter with The Lady. For Melu to be set free, Tarisai must fulfill The Lady’s third and final wish.
Several years pass, and Tarisai continues to learn about the history of the Arit empire. She learns that the current emperor is Olugbade, the descendent of the first and most perfect emperor, Kunleo, who defeated the abiku, the demons of the Underworld, and ushered in an era of peace by uniting the various regions of Arit under one empire. One day, Tarisai observes a trade caravan passing by her window and overhears them singing a folk song about the 11 realms of Arit, each of which attends to the emperor. Tarisai is intrigued, but her tutors will not explain the song’s meaning.
On Tarisai’s 11th birthday, her mother, The Lady, returns to Bhekina House with two guests, whom she introduces as Tarisai’s new guardians. The first, Kathleen, is from the land of Mewe and is isoken, a word for someone who has a bicultural heritage. The second, Woo In, is from Songland. His body is covered in tattoos, marking him as a Redemptor. Tarisai recalls that Redemptors are children who must enter the Underworld as a sacrifice to the abiku. Their tattoos are a map that will allow them to make their way back to the surface, but few ever return. (The sacrifice of the Redemptors is part of the treaty agreement that Kunleo struck with the abiku to appease them and keep them at bay.) Redemptors used to be born throughout the lands of Arit, but now, they are only born in Songland, which is not officially a part of the empire. The Lady declares that Kathleen and Woo In will accompany Tarisai to Oluwan City, the capital of the empire. She shows Tarisai a portrait of a young boy and uses her final wish to command her daughter to kill the boy after he “anoints” Tarisai and after Tarisai grows to love him.
The journey to Oluwan City is difficult because they are using a magical means of transport called Lodestones. These way-stones allow users to move across the empire quickly via teleportation, and travelers sometimes become ill. Because Tarisai feels so sick, the group has switched to overland transportation for the final part of the journey. When they enter the city, Tarisai tries desperately to look out the window of their carriage, but Kathleen tells Woo In to make sure that Tarisai does not see the “Watching Wall.” Tarisai sneaks a peek at what she assumes is the Watching Wall and sees a portrait of the first emperor, Kunleo, with 11 people surrounding him.
Kathleen and Woo In take Tarisai to Ileyoba, the emperor’s neighborhood, and check her in with a guard. They then leave her to wait in a long line of other children who are from many different regions across the empire. Tarisai becomes friendly with a girl named Kirah, who comes from the Blessid Valley and wears a prayer shawl over her head. Kirah has a lovely voice that almost sings Tarisai to sleep. She explains that singing is her gift, or Hallow; all the children waiting here must have a gift to be considered “candidates.” Tarisai is still not sure what is happening or who she is waiting to see. Eventually, she ascends a staircase and enters a large room, in which 12 people are waiting.
Tarisai recognizes one of them as the emperor, Olugbade Kunleo, but she does not know who the other 11 are. However, they immediately recognize her as the daughter of The Lady. She doesn’t understand how they know The Lady or why they look so surprised to see her. She simply tells them that her mother promised to come for her “when the time is right” (31). Some of the courtiers are fearful of Tarisai. Olugbade gives her a dagger and tells her to try to kill him. Tarisai is shocked but obeys. The dagger cannot pierce the emperor, and he shows her that a mask shaped like the face of a lion is hanging around his neck. There are 12 stripes in the mane, and as Tarisai tries to stab him, one of the stripes glows. He tells Tarisai that this mask represents the power of the Ray. Because of this protection, only a member of the emperor’s Council of Eleven is capable of killing him.
Tarisai continues to express her confusion about who the “eleven” are and why she is here at all. The emperor thinks she is dissembling, but two of his council members—Thaddace and Mbali—believe that she really is ignorant of what is happening. Another council member, Nawusi, states that even if Tarisai is unaware of who her mother is and of the nature of the Council of Eleven, she must not be allowed to meet the emperor’s heir, Ekundayo (or Dayo for short). Mbali asks Tarisai if she was sent to kill Dayo, and she protests, saying that she didn’t even know who he was until today. The Council members appear to believe her but remain reluctant to let her meet Dayo if she doesn’t have a Hallow. Tarisai explains that her gift allows her to see the stories and memories of anything she touches. When she touches Mbali, she initially sees a memory of an intimate moment between Mbali and Thaddace, which flusters her. When she tries again, she sees Mbali beating a drum and singing a song in front of the emperor. The song is about a farmer’s son and a mango tree. The farmer’s son eventually cuts down the mango tree when it no longer needs him to care for it anymore. When Tarisai relays the song to the group, the emperor becomes angry.
The Council, especially Nawusi, is still reluctant to let Tarisai pass through to meet Dayo. Nawusi decides to test whether Tarisai has the same power as her mother and offers her a piece of poisoned fruit. Tarisai is overwhelmed and begins to cry. Finally, they determine that she means no harm to the prince and decide to let her attempt the trials. Mbali explains to Tarisai that Prince Ekundayo will select his own Council of Eleven from the children who have gathered; they will have to pass many tests to prove their worth. The most important test is that a child must truly love the prince to be chosen for his council.
Mbali takes Tarisai to the Children’s Palace. The children there are looking for Prince Ekundayo, who is hiding. Tarisai uses her intuition and observational skills to determine his location, leading Mbali to him. When Dayo steps out from his hiding place, Tarisai recognizes him as the boy in the portrait that her mother showed her, and she feels an intense urge to harm him.
Tarisai subdues her urge to kill Dayo by reminding herself that Dayo must anoint her before she can kill him. Dayo asks Tarisai if she loves him and is surprised when she answers in the negative, as the other children who are vying for a spot on his council all claim to love him. Tarisai attempts to scare Dayo by telling him that she is half-demon, but he finds her intriguing. She demonstrates her Hallow on him and views his memories of the other children fawning over him. He tells Tarisai that he wants to try a test on her so that she doesn’t have to return home. Suddenly, Tarisai’s head is filled with intense pain and light, and she is knocked to the ground. Dayo has attempted to connect with her mind via the power of the Ray. Mbali enters and chastises Dayo for testing a candidate’s connection with the Ray; she reminds the boy that the test can only be administered once. She starts to take Tarisai away, but Tarisai declares that she is only loyal to the prince. Pleased, Mbali lets Tarisai know that she has passed this particular test and will be allowed to stay with Dayo and the other children. Dayo is so happy that after Mbali leaves, he tries to anoint Tarisai. Because she knows that this is the necessary condition to fulfill her mother’s wish, Tarisai refuses. The effort she exerts to resist her mother’s demands causes her to faint.
Tarisai awakens in a large, empty chamber to find Kirah tending to her. Kirah has used the healing powers of her Hallow to revive Tarisai. The other children are currently completing another test. Kirah is envious that Tarisai already experienced Dayo’s Ray; she explains that once they are anointed as council members, the Ray will be the sustaining force that connects them all. Kirah tells Tarisai about a nearby candidate named Sanjeet, who is fiercely protective of Dayo. The other children call him the “Prince’s Bear.” In a play on the idea of “bear-baiting,” they have chained Sanjeet to a pillar in the room. Tarisai notes that this joke is not very humorous.
After Kirah leaves, Tarisai realizes she needs to relieve herself. Sanjeet points out the chamber pots, and Tarisai asks him where to find food. Tarisai uses her power to trace the location of the key to Sanjeet’s bonds, using the floor to trace its “story.” Sanjeet reveals that his power is to perceive others’ weaknesses. This talent led him to become a particularly strong cage fighter in his homeland of Dhyrma. Tarisai asks Sanjeet why he has refused to let Dayo anoint him, and he explains that if he were anointed, he would be required to stay in the capital forever and could not return to his mother, Amah, who lives alone with his abusive father.
Several years pass at the Children’s Palace, and Tarisai becomes a teenager. She and the other candidates spend most of their time practicing combat drills, solving puzzles, and learning Arit empire history. There are now only three spots remaining on Dayo’s Council, and it is understood that two of them should go to Tarisai and Sanjeet, who still refuse to be anointed. Kirah is now a member of the Council, and she and the other members have the privilege of sleeping close to Dayo and being served first at dinner, among other benefits. Sanjeet and Tarisai have become very close. Every evening Tarisai uses her power to view and take away Sanjeet’s memories of home, especially his most painful memories of his father forcing him to fight for money. She also transmits memories of her childhood, though she is careful to omit the details of her parentage and upbringing. One day, at the start of history lessons, Sanjeet is called away to receive a message from home. Tarisai listens to the origin myth of the Arit empire and the Kunleo dynasty, which she has heard countless times. She asks the priest what will happen when and if there is an empress, rather than an emperor, but he explains that this is not possible. He adds that the role of women on the council is to maintain the balance of power and to potentially bear the emperor’s children.
Tarisai’s questions are interrupted by an intense, burning pain in her chest. This has happened many times throughout her childhood but has increased in frequency after her move to the Children’s Palace. Kirah promises to sing in order to soothe her, as they have done nearly every night. Now, they both attend Dayo’s daily Prince’s Court, which mimics the regular court meetings of the emperor. During the Court session, a candidate from the realm of Nyong’o lodges a complaint about the Dhyrmish candidates, whom he claims are causing those from Nyong’o to do poorly on their puzzles whenever the two groups are paired together. Dayo attempts to placate everyone by continuing to group candidates from different realms together, but he will also require the Dhyrmish candidates to receive extra tutoring. Tarisai balks at Dayo’s decree, which she thinks will only cause tension between the groups to worsen.
She and Kirah later reflect on the issue of empresses and female representation on the council. Although there was historically an empress Raybearer named Aiyetoro, she has been written out of much of the official history, and the priests claim that her power was a fluke. That evening, after the council members have gone to bed, Tarisai talks with Dayo. He acknowledges that Tarisai would have been able to issue a better ruling in the Prince’s Court today. As Tarisai prepares for bed, Sanjeet finally returns and announces that his mother has died and that his father has been arrested.
Tarisai comforts Sanjeet, who admits that he spent most of the day contemplating how to leave the Children’s Palace and kill his father. He also reveals that he has always felt guilty for “abandoning” his mother and younger brother; Sanjeet regrets his failure to prevent his father from selling his brother to a group of mercenaries. Tarisai and Sanjeet are interrupted by a test-maker, who announces that a surprise trial is about to begin. They separate Tarisai from the other candidates, stating that Dayo wishes to see her. Tarisai recognizes the accent of one of the attendants and realizes that it is her mother’s companion, Kathleen, who is using her Hallow to disguise herself. She and Woo In reveal themselves and scold Tarisai for taking too long to fulfill her mission to become anointed and kill Dayo. They have decided to take matters into their own hands and set a fire in the Children’s Palace. Woo In has discovered that death by burning is one of the only remaining ways by which Dayo can die.
Tarisai runs off to search for the prince but is removed from the palace by another test-maker. They realize too late that Dayo is still inside the burning building, and without thinking, Tarisai runs in to rescue him. Dayo reaches out with the Ray to tell her his location. Remembering her childhood experiences of reaching into the fire and remaining unburned, Tarisai concludes that she cannot be harmed by fire. She runs through flames to rescue Dayo and safely brings him out of the palace, though he does suffer a burn on his face and neck. In the aftermath, Dayo pleads with Tarisai to let him anoint her, and she finally agrees, knowing that she wants to keep Dayo safe forever. However, before becoming a member of his council, she removes her own memories, in hopes that she will be able to forget the wish that her mother has ordered her to fulfill.
Part 1 of Raybearer draws upon West African folklore to establish the mythos and history of the Arit empire, for Tarisai’s homeland of Swana evokes the African savannah’s wide grasslands and vibrant wildlife and celebrates African mythology by incorporating key elements into the text. For example, Tarisai’s magical father, Melu, is meant to resemble a god, also known as an Orisha. Similarly, the capital of the Arit empire, Oluwan, is named after a Yoruba deity who is known as the creator of the world. Thus, when Tarisai observes the city for the first time, the tone of her descriptions indicates the ascendant status of this sophisticated metropolis that stands at the very heart of the Arit empire. As she notes, “The skyline swelled with golden domes and ghostly white high rises. Mist shrouded the towering city walls, and the Olorun River curved around the city like a steaming blue serpent” (24). Oluwan’s appearance also evokes the vibrant coastal African cities of old, and its richness and decadence are meant to suggest that real-life African cities might also have gained this level of development if they had become the centers of imperial power rather than objects of conquest.
Ifueko’s world-building links the various other lands of Aritsar to actual geographic and cultural locations and delivers an implicit condemnation of the real-world effects of colonialism. For example, Sanjeet’s homeland of Dhyrma is a fictionalized version of the Indian subcontinent, and Kathleen’s rich green home of Mewe is comparable to the British Isles. The correlation between the fictional realms of Aritsar and their real-world counterparts is made clear through the given names of their inhabitants, as well as the descriptions of the lands themselves. Each region plays a crucial part in the unity and diversity of the Arit empire, as each one has a unique strength to contribute. In this way, Ifueko delivers a critique of the real-world issue of colonialism by creating a universe in which many of the world’s regions are subject to a unified and imperial version of Africa. Significantly, this version of world politics reflects a far more egalitarian reality, for the value and necessity of each region is recognized by the fact that all 11 realms beyond Oluwan must have a representative on both the emperor’s council and the prince’s council. Additionally, maintaining equal representation is also important for the maintenance of balance and order throughout the empire, although Tarisai soon learns The Consequences of Sacrificing Justice to Maintain Order.
This section of the novel also introduces The Relationship Between Destiny and Choice, and hints of this theme emerge from the very beginning as the narrative reveals that Tarisai was conceived as a means of fulfilling her mother’s greatest desire. As the offspring of a human and the mythical genie, or ehru, that is beholden to her, Tarisai is always told that her destiny has already been decided. However, the conventions of the Bildungsroman dictate that Tarisai will seek to challenge this premise and forge her own identity in opposition to the purpose that her mother has imposed upon her. After learning the truth of her parentage and of The Lady’s intentions, Tarisai bitterly reflects, “My mother was the devil, and I, her puppet demon” (10). Not only does Tarisai view her mother as a villain; she also views herself through the same lens because she believes that it is impossible to separate herself from her heritage or from her mother’s ill intent. Her physical resemblance to The Lady also reinforces this idea, as does her mother’s habit of referring to Tarisai as “Made-of-Me,” rather than calling her by her given name. This quirk implies that she thinks of Tarisai as an extension of her will.
However, despite the external forces that seek to guide and control Tarisai’s life, she begins to actively resist her own destiny, and in this endeavor, she undertakes a creative variation of the typical hero’s journey. Although she is technically a “chosen one” and encounters many magical helpers and sages along her journey, she also does her utmost to subvert her mother’s orders and forge her own path despite the pressures of destiny. This dynamic becomes particularly prominent when she realizes that she has no desire to kill Prince Dayo; instead, she wants to befriend and protect him. This decision introduces a fresh conflict into the existing plotlines, for her efforts to avoid fulfilling the supposedly destined task cause Kathleen and Woo-In to take matters into their own hands and to chastise Tarisai for her recalcitrance. As Woo-In declares, “And so you left us with no choice. I have fulfilled your destiny for you, Lady’s Daughter” (91). However, the contradiction in this moment illustrates the significance of the opposing forces that now impact Tarisai’s life. She is limited by the path that has been laid out for her, but she also realizes that she retains her own agency. Even more importantly, The Lady, Kathleen, and Woo-In recognize this tension within Tarisai and realize that they may have less control over Tarisai’s destiny than they wish.
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