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Mona’s magic experiments work better with dough she can knead and mold with her own hands, though the figures are soft and sticky because she cannot bake them. She makes people and animals, though none of them are as smart and long-lasting as her gingerbread man. After a while, she realizes she can feel the dough creatures pulling on her magical power and her physical energy. She tries to make a dough bird, but when she pushes magic into it to make it fly it explodes, raining dough all over Mona.
Further experiments show Mona that bread and dough made in different batches do not work well together. The magic adheres better when the figure is all made from one thing. That evening, Spindle arrives with news and hands Mona a poster he stole off a lamppost.
Mona stares at the poster, which is printed with an illustration of her own face and the word “WANTED” (115) in big letters. Spindle, who cannot read, asks her what it says, and she explains that she is being accused of murder and treason. Spindle is unsurprised. Guards are posted everywhere, including Aunt Tabitha’s bakery.
Spindle pulls more posters out of his coat. One explains that a curfew has been put in place. Another warns of spies and “wizard traitors” in the city “giving comfort to the enemy” (119), tells people to be suspicious of their neighbors, and offers a reward for any tips that lead to an arrest. The poster is unclear who the enemy is, but Mona assumes it means the Carex. Both children realize that people will be turning on each other for the reward. Mona notices that every new decree comes by order of Inquisitor Oberon. The last poster announces that any citizen with magical talents must register with the government Loyalty Board.
Mona scoffs, believing that such a declaration will make the whole city angry. Spindle reluctantly admits that many people seem to agree with the statement because they never entirely liked or trusted those with magic anyway. Meanwhile, most of those with magic abilities have either disappeared, been killed, or left the city for their own safety. Mona is depressed and angry. She deduces that Oberon has ordered the registry so that he can find out where every wizard lives, making it easier for the Spring Green Man to kill them all.
Mona is restless in the belltower that night, worrying about Oberon and the Spring Green Man. She tries to distract herself while her gingerbread man stands sentry at the window. As she paces the room, she thinks through everything she has learned. Oberon is trying to get rid of every magical person in the city, by either chasing them out or killing them. She thinks briefly about leaving the city like others have but does not believe she could survive on the road by herself. Besides, many other city-states also hate wizards. Her next option is to try stopping Oberon and the Spring Green Man herself, but she cannot imagine how.
Finally, she cannot stay in the belltower any longer. She sneaks down the stairs to the chapel below, believing it will be empty late at night. To her surprise, the old priest is there. He invites her to sit with him and tell him about her troubles. He adds that he is very deaf, so anything she says will be safe anyway. Without understanding anything Mona says, the priest suggests that she should “appeal to a higher power” (130). Mona has the sudden thought to sneak into the palace to tell the Duchess about Oberon’s plot to kill wizards and her fears that it may be leading to a larger plot to overthrow the government.
The next day, Mona tells Spindle she wants to break into the palace. He is incredulous at first, then promises to think about it and see what he can do. Five nights later, Mona finds herself climbing up the Duchess’s toilet.
Wealthy people do not have chamber pots but something called a garderobe, which is a “closet with a hole in the floor that drops straight down a couple of stories into a cesspit” (134). It is someone’s job to clean out the cesspit once a week. Spindle sneaks into the palace walls disguised as an ash-sweeper, steals the key to the cesspit, copies it, and returns it before anyone notices. Spindle’s plan is that they will sneak into the palace in the evening. Mona will dress as a maid and work in the kitchens. Then, at night, they will use the copied key to get into the bottom of the garderobe and climb it into the Duchess’s bedchambers. The day before they enact their plan, Mona paces the belltower and practices her speech to the Duchess, fearing the Duchess will have her arrested. At last, they walk to the palace, hiding from constables along the way.
As planned, they sneak into the palace and Mona goes to the kitchens. She says she is new, and no one questions her. Eventually, the kitchen staff go home for the night and Mona sneaks away to meet Spindle, who is again disguised as an ash-sweeper.
They get into the bottom of the garderobe easily, where Spindle points out a series of evenly spaced spikes meant to keep adults from climbing up. They are small enough for children to get past if they are careful. Together, they climb the walls of the garderobe up three stories through disgusting slime, moss, and “stuff” (144). Finally, they reach the top, and Spindle climbs from the toilet seat. Unfortunately, Mona gets stuck right at the end of the climb.
As Spindle tries to pull her out, the Duchess opens the door and freezes. Thankfully, she does not scream. Frantically, Mona tries to explain why they are there. When she says that Oberon may be attempting to overthrow the government, the Duchess shocks Mona by saying she knows already and bursts into tears.
Spindle, remaining unfazed, asks the Duchess to help pull Mona out of the toilet. Together they get Mona loose. The Duchess gives Mona a towel to clean off with and then allows the children a moment to wash in her bathroom. That complete, they return to the topic at hand. The Duchess admits that she knows Oberon is a traitor though she did not know about the registry or the Spring Green Man killing wizards. She explains that, despite appearances, she has little power, particularly if those on her Council decide to go behind her back. She does not know which nobles on the council are still loyal to her and which are working for Oberon.
Oberon has left her alone so far because she is useful as a scapegoat for his bad behavior. The moment her use runs out, he will remove her. Without Lord Ethan there to back her up, she is unsure what she can do. She has allowed Oberon to do as he pleases for too long and must now do something. Spindle tells her to simply call Lord Ethan and his army back to the city, but doing so requires magic to send the message quickly enough. There are only three wizards in the palace capable of this magic: one has recently died under mysterious circumstances, one is loyal but old and may not have the strength, and the third is Elgar, the wizard the Duchess suspects to be the Spring Green Man.
Mona panics upon learning the Spring Green Man is in the palace. The Duchess assures her that her personal guards are loyal and will keep them safe. Still, they must speak to the old wizard, Master Gildaen, as he is the only one left who can send a message to Lord Ethan. To do so, the Duchess requests one of her guards bring page uniforms for the children to wear. The guard, Joshua, looks shocked but does as he is told. The second guard, Harold, remains at his post looking blank-faced. Joshua returns moments later, and the children change into the page uniforms. Then, the Duchess commands Joshua to escort them to Gildaen’s quarters.
Gildaen’s quarters are down a long hall where most of the magic work is done. They wake him and barge into his rooms, where the Duchess tells him what is happening. Though he is old, he promises to do whatever he can to help.
A short while later, Gildaen and Mona sit together in a tiny closet-sized room that Gildaen uses as a magic workroom. He explains that the room is too small for everyone to fit inside, so the others wait in his room while he works.
Gildaen’s magic works on water. He uses a special bowl of water to contact a wizard camped with Lord Ethan. Mona compares herself to him, saying she is weak and only works with bread, but Gildaen insists that wizards have worked with less. He says that this kind of magic is based on sympathy between two objects made at the same time: his bowl and the bowl at the other end were made at the same time, by the same hand, and with the same metal; the water also came from the same well. He says that Mona could possibly bake two things at once that could connect across distances in a similar way.
He finishes his magical lecture to send the message. He connects with a woman wizard on the other end and tells her that Elgar and Oberon are traitors, but before he can finish speaking, the Spring Green Man suddenly appears behind him and stabs him in the back.
Gildaen falls forward, dying. The Spring Green Man, Elgar, has a giant burn scar on his face, which he blames on Mona’s “damned acid-beast” (170), Bob. He reaches for her, and she screams. Then Gildaen, using the last of his strength, boils the water in his bowl and throws it at Elgar. At the same time, Spindle and Joshua arrive and hit Elgar over the head, knocking him unconscious. Mona turns to see that Gildaen is dead and realizes that she is the “last loyal wizard left in the palace” (172).
In this section of the novel, Mona’s personal dilemma takes on new, far-reaching concerns as she realizes that Oberon is plotting against not only all the wizards but also the Duchess and the city. Thus, the tension, adventure, and danger of the narrative increases, though Mona’s narration retains its wry, humorous tone. This danger comes from several important plot developments occurring in Chapters 15 through 22, including the revelation of the registry and Oberon’s larger plans, Spindle and Mona sneaking into the palace, the Duchess’s admission that she knows about Oberon but was too afraid to act, and Gildaen’s death. Each of these incidents provides a new piece of the plot while also contributing to the themes of the novel.
The wizard registry that Oberon enacts reveals part of his overarching schemes to take over the city, the logic being that he wishes to eliminate the threat of magic before he moves on to the Duchess and her guards. Moreover, the scene when Mona first learns about the registry from Spindle significantly contributes to the theme of Difference and Prejudice. Mona still insists that Riverbraid is different from other city-states and remains blind to the prejudice in her own city until Spindle confronts her with it, proving her wrong. She accepts this news with understandable hurt, anger, and sadness.
Following this revelation, Mona decides to plead her case to the Duchess, believing that the Duchess must not know what Oberon is scheming and will surely fix it once she does. This again highlights Mona’s faith that adults and others in power (such as the Duchess’s presumed authority as the city ruler) can and will do the right thing and help her. This is made explicit when she speaks with the priest, who suggests going to a “higher power” (130). He is referring to a god, but Mona’s mind leaps to the Duchess, who is the highest power she recognizes and respects. However, when the Duchess reveals that she has long known about Oberon’s schemes (if not the specifics) and has been too afraid to do anything about them, she highlights once again how adults often fail to fulfill The Obligations Associated With Power. Because of the Duchess’s cowardice and indecisiveness, children such as Mona and Spindle must step up and defend the city in future chapters. Thus, it is suggested that when those in power do not act, responsibility unjustly falls to those who are unprepared or vulnerable to harm. Self-preservation, therefore, should not be put above duty and only results in exponentially more individuals being affected by the threat.
Meanwhile, one of the few adults Mona encounters who tries to fulfill his obligations, Gildaen, is killed for his efforts, a sacrifice indicating the severity of the threat at hand and representing the selflessness required of those in power. Though Gildaen is a very minor character who appears for only a brief time, his conversation with Mona and his subsequent death have a far-reaching impact on Mona. Gildaen inspires Mona, as no one else yet has, to reconsider her magic and what she might truly be capable of. Furthermore, he contributes to the theme of Leveraging One’s Talents by arguing that the strength of her ability is far less important than how she uses it. He implies that those with magical abilities like Mona’s are rare enough that she, given the shortcomings of those in power in Riverbraid, has a responsibility to use them wisely and well. When the Spring Green Man (Elgar) then murders Gildaen, Mona is forced to accept this responsibility as “the last loyal wizard left in the palace” (172), and eventually the city.
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