95 pages 3 hours read

The Girl Who Drank the Moon

Fiction | Novel | Middle Grade | Published in 2016

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Chapters 16-20Chapter Summaries & Analyses

Chapter 16 Summary: “In Which There Is Ever So Much Paper”

The madwoman in the Tower has lost her memories. She cannot remember her name, or anyone’s name, including the name of her lost, beloved child. She knows that once she had a place in the world, that she was “loving and loved” (127), but now that is all gone. Now all she thinks and dreams about and remembers is paper. She draws maps obsessively. When she sees Antain staring up at her, she sees her map in the scars on his face. The madwoman wishes she could make Antain understand what she means when she writes “She is here” (129), but she feels like she has lost her power of rational speech.

The Sisters do not allow the madwoman to have paper. Every day they take away the maps she has drawn. Yet the madwoman always has the paper she needs. She gets it by magic, by “reaching through the gaps of the world, pulling out leaf after leaf” (130). The madwoman keeps folding paper birds, putting a map in each bird and letting them fly out of her Tower window. People who find her birds crumple them up. No one finds her maps or her writing. One day she folds a paper falcon, which falls in front of Antain. He opens the bird. Looking at her drawing, Antain understands that it is a map. The madwoman’s sorrow changes to hope. As her sorrow vanishes, she hears Sister Ignatia “cry out in pain” (131).

Chapter 17 Summary: “In Which There Is a Crack in the Nut”

Luna, now 11, is smart, clever, and skilled at creating and building things. She is also moody, “prickly,” and impatient. She finds everything and everyone “horrible” and frustrating, especially the fact that Xan won’t take her on all her journeys. Now, Xan is away and Luna is testy. Luna wishes Xan were back. Glerk recites a poem about patience and its slow, constant nature, but Luna doesn’t want to hear it. She walks up to the top of a ridge to see if she can spot Xan.

Fyrian accompanies her, and Luna feels that somehow Fyrian is getting younger than her, or maybe she is going forward in time. Luna looks at the world below her and knows that beyond the northern forest is the Bog. Glerk has told her that the world came from the Bog. Luna has a terrible headache, like a clock is ticking inside her head. She closes her eyes and sees the colors blue and silver, and observes a hard kernel in her mind. Luna also has a vision of a cheerful, comfortable home and a black-haired woman with a birthmark like hers. Luna hears a voice and the word “mama.” She doesn’t realize she is crying. Luna knows she has seen this house and family before but can’t remember where. Fyrian is upset at her distress, and Luna comforts him, saying she is thinking about her love for her family.

Chapter 18 Summary: “In Which a Witch Is Discovered”

Another Day of Sacrifice approaches, and Xan leaves to rescue another baby. She knows that her age is catching up to her and her magic is decreasing. Xan is not afraid to die, but pain and deterioration leading up to death worries her. Still, Xan is doing everything out of love for Luna. Xan also knows she must tell Luna the truth about her origin, someday.

Xan feels guilty for not aiding the people in the Protectorate as she does those in the Free Cities. She can’t explain her aversion to the place. Xan remembers her childhood in the castle of magicians, and how, while she cried at night from bad dreams, she heard a voice outside her room whispering, “more.”

The madwoman’s magical skills are increasing. The madwoman knows that Sister Ignatia is a Sorrow Eater who hungers for her sorrow. The madwoman watches the Elders take the sacrificial infant into the forest. She sends a paper falcon there.

Grand Elder Gherland misses Antain but is glad he left the Council before they had to execute him. Now, Antain is married to Ethyne, and they love each other deeply. Antain questions the stories about the Witch and the necessity of the sacrifices. Antain determines to change things so his child can come into a better world. He rushes to the clearing and finds the paper falcon.

Antain surprises Xan as she arrives to pick up the baby. He shouts for her to stop, but Xan’s fear and worry fuel her magic, and she tosses Antain aside. Transforming into a hawk, Xan picks up the child and flies away. Antain unfolds the paper falcon and read the words “Don’t forget” and “I mean it” (150-51). Watching Xan, the madwoman thinks of birds and feels a flock of them in her soul lift into the air.

Chapter 19 Summary: “In Which There Is a Journey to the Town of Agony”

Turning 12, Luna is deeply attached to her odd family. She is quick-tempered and quick to learn. She already has many skills, from caring for animals to inventing small machines, but the more Luna learns, the more irritated she becomes with all the things “she does not yet know” (152). Luna snaps at those she loves best, even Fyrian. Luna also knows there are books in Xan’s workshop that she hasn’t read and can’t read. When she looks at them, she cannot even see the words; her eyes simply slide away. Luna starts drawing everything from maps and towers to a black-haired woman.

Luna also worries about Xan, who is getting weaker. Luna is protective of Xan. When the two travel to the Free City called Agony, Luna tells the townspeople in advance that Xan is ailing, and they come out en masse to care for her. In the city, the Star Children share memories from as far back as they can remember. This sparks one of Luna’s memories. She tells the other children about a man in dark robes who didn’t like her, a woman with long hair on the ceiling, and a boy “who smelled like sawdust” (160). Xan dismisses these images as dreams or simply other things Luna has experienced before. But Luna knows these are real memories—something she doesn’t have too many of. She realizes that Xan rarely talks about her own memories. Luna makes a list of things she knows for sure. When Luna helps Xan care for some pregnant ladies, Luna realizes she must have a mother of her own. Xan calls Luna “mine,” triggering Luna’s memory of a woman screaming “she’s mine” (163). On the way home, neither Luna nor Xan talk about their memories.

Chapter 20 Summary: “In Which Luna Tells a Story”

Luna becomes the first-person narrator in this chapter as she tells the story of her life—as she knows it so far—to Fyrian. Luna lets Fyrian cuddle with her and then begins a series of statements that begin with “Once upon a time” (165). Luna lists things she knows about herself and her family. She says (twice) that she has no memory and adds that she doesn’t know how she lost it. Luna amends that statement to say that she does have memories “that followed her like shadows” (166). Luna describes Fyrian as a dragon who “never grew up” and Glerk as a swamp monster who has trouble knowing the “right thing to say” (165). Luna shares the memories she talked about with the Star Children, of a “vulture-faced” man and the woman in the rafters screaming “she is mine” (166). Luna doesn’t know how her story ends but concludes that perhaps there is something evil in the woods and that the whole world is full of lies. Fyrian expresses disbelief, and Luna admits she doesn’t think the part about the evil and lies is true.

Chapters 16-20 Analysis

Luna’s quest for self-knowledge and her struggle to recover memories is central to these chapters. Like Antain at the same age, Luna is frustrated by what she doesn’t know. As she approaches 13, images of memories start to emerge, and Luna is convinced that these images mean something. She is now aware that she forgets things. The list Luna makes of what she does know is an active effort to establish self-knowledge. In it, Luna recognizes that “memories are slippery” (162). Xan voluntarily shies away from her own memories and dismisses Luna’s fledgling memories of her mother and Gherland. She discourages Luna from remembering because Xan does not yet want to tell Luna where she came from, preferring to continue the fiction that Luna is hers. She tells Luna that the image of the woman on the ceiling is “impossible” because Luna doesn’t know anyone that Xan hasn’t met first. Xan says, “I was there for your whole life” (160) and claims Luna as her own. Luna senses that these are lies between them—bullet points that she adds to her list—and their secrets and lack of communication begin to grow.

When Luna tells Fyrian the story of herself, she takes the role of the parent telling the child a story. Like a child, Fyrian snuggles up to her for the tale. Luna also briefly adopts the parent’s superstitious, pessimistic attitude when she bitterly speculates that the world is “poisoned with wickedness and lies and it’s best to learn that now” (166). Luna retains her faith in the world’s positivity when she admits to Fyrian that she doesn’t believe the last part of her story either.

The theme of sorrow and its anathema, hope, is prominent in these five chapters. We learn that Sister Ignatia is a “Sorrow Eater” who craves and devours sorrow. The madwoman knows that Sister Ignatia feeds on her sorrow, which she thinks of as a “black hole in her heart” (131). Sorrow is an absence of light expressed by fogginess and cloudiness. Xan avoids the Protectorate because she dislikes “the way its many sorrows lingered in the air as persistent as fog” (141). From Xan’s memory of her sad childhood in the castle of magicians, we can infer that Sister Ignatia was the dangerous “she” whom Zosimos warned Xan about and who fed on Xan’s sadness. When Antain looks at the madwoman’s paper bird and recognizes it as a map, the madwoman feels hope, which banishes her sorrow. She also sees hope in the look in Antain’s eye.

Love also dispenses sorrow. Having found true love with Ethyne, Antain is hopeful that things in the Protectorate can change. If he could find love, and if Ethyne could leave the Sisters (both things he had thought impossible), surely other things can change. Antain learns that “love made foggy questions clearer” (148).

As the madwoman watches Antain confront Xan, and the Witch transform into a hawk, she thinks about birds. A significant symbol in the novel, birds represent hope and freedom to the madwoman. When she feels hope for the first time, her soul soars like a flock of birds. Her paper birds give her access to the outside world. Luna’s memory of a voice saying “mama” is like the “cry of a faraway bird” (138): something out of reach.

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