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As they head south, Sogolon is once again attacked by the spirits of her victims. Venin, having observed Sogolon tracing nsibidi, mimics her, tracing one in the dirt and warding off the attack. They continue until they come to the ruins of an ancient kingdom. The ground rumbles, and Mawana witches—giants with serpent bodies—erupt from the ground. A battle ensues—Venin, armed with lances, shows surprising skill—and the witches are driven away or killed. As they ride on, Sogolon questions Venin about her skill with weapons, but the voice that answers is not the young girl’s; it is Jakwu’s. He has possessed Venin, and Sogolon threatens to kill the girl to drive him out.
Along the road, they come upon the house of Ikede. They send a pigeon to Dolingo with a message to announce their arrival. Mossi enters and pulls Fumanguru’s writs from his bag, a series of treatises on reforming the kingdom and restoring the proper king. Sogolon revisits her history in the royal house: her service with Emini, the reign of Kwash Moki, and the beginning of the witch purges. The writs then instruct them to take the boy south until they reach the floating city of Go. Tracker and Mossi interpret the writs to mean that the boy will kill the king, an act of treason in their eyes, and they prepare to give up the quest. Sogolon corrects them: He is not prophesied to kill the king, he is the true, legitimate king, dethroned for generations by a line of usurpers.
Ikede recalls the history of the southern griots. They sang the song of the true king but took refuge in the Hall of Records when they feared persecution. They began to transcribe their knowledge so it would outlive them, marking a change from oral to written tradition. He then tells them what he heard from the talking drum. The Ishologu—accompanied by an Eloko (grass troll) and a swarm of blood-sucking insects—is using the boy to lure fresh victims for the vampire bird, who cuts out their hearts and drinks their blood. They are using the “ten and nine” portals to move quickly and cover great distances. Ikede has a map of the portals; using it, they hope to trace the Ishologu’s path and anticipate its next move. They finally deduce its ultimate destination: Dolingo.
While studying the map, Venin/Jakwu flees on a horse, but the binding spell prevents her from going too far. When they return to Ikede’s house, Tracker claims he heard the griot singing, something he hasn’t done in 30 years. The next morning, they find him dead (he jumped from the roof). They bury him and move on.
They reach Dolingo within two days. They are transported to the highest branches of the “first tree,” where the queen awaits them. She welcomes them as guests but forestalls any discussion of their mission until she decides it is time. Later that night, she summons Sogolon to court to discuss the matter. Sogolon fills her in—the boy’s captivity with the Ishologu, their use of a portal in Dolingo to travel through the land unnoticed. The queen, unaware of this system of portals, threatens her chancellors for their ignorance of this crucial development. When Sogolon asks for protection for the boy, the queen, again, claims never to have gotten Sogolon’s notes. Her carrier pigeons, it seems, were intercepted by the Aesi, who is on his way to Dolingo.
Later, Sogolon stands in the queen’s bedchamber. Mossi is led in and forced to disrobe for the queen’s pleasure, but Mossi prefers boys. Two boys are then brought in, and Sogolon is escorted out. As she leaves, the white scientist makes a cryptic claim about the queen conceiving a child without actually bearing it: “You want to see how we reproduce? How generation beget generation?” (583).
Sogolon tries to figure out who has informed the Aesi about their mission to Dolingo, and the only one that makes sense is Tracker. She suspects the Aesi invaded his dreams, although he claims he didn’t sleep on the night in question. This leads to a conversation about Sogolon’s true motives, and Tracker deduces that this is all about her blood feud with the Aesi. The talk then turns to Dolingan breeding methods. After generations of inbreeding, Dolingan women are barren, and the white scientists have devised a method of growing humans from a man’s seed. Men who are “drained” for such purposes are rewarded with a comfortable life.
That night, Sogolon perceives that the boy is in Dolingo. In the dark, two hooded figures enter Tracker’s cell, and Sogolon hears him scream. She sees the two figures—white scientists—leave his cell, followed by an amorphous blob that crawls onto one of the scientists and fuses into his flesh. Sogolon orders troops to “Mwaliganza, the fifth tree” (590). As they wait for a tram, they see below them a massive scattering of bodies—the enslaved Dolingans who operate the complex mechanisms that power the city have rebelled. Amid the chaos, Sogolon and the soldiers make their way to an apothecary, where she hears a child’s cry. Inside, they find two boys, one dead, floating in the air, his body infested with Adze (blood-sucking insects). The other is in a trance. Several “grass demons” and the Ishologu hover on the ceiling. Then, the room explodes in a chaos of lightning, heat, and swarming Adze. Soldiers are blown apart or infested by the vampire bugs. The Ishologu grabs Sogolon by the throat and tries to tear out her heart, but Jakwu, Tracker, Mossi, and the Ogo enter the fray. The Ishologu is wounded, and its demon minions are dead. A “Sasabonsam” (bat-winged ogre) crashes through the walls, snatches the Ishologu and the boy, and flies away.
Sogolon, wounded by the Ishologu, drifts in and out of consciousness as they pursue the boy. By morning, she is fully awake but barely mobile. Still distrustful of each other, Tracker and Sogolon argue over whose allegiance lies with whom. Eventually, Tracker opens a portal, and they all step through.
Sogolon is interrogated by an Inquisitor who wants to know who is on her death list. She tells him she found Lissisolo and reported to her that her son is fully in thrall to the Ishologu and that he prefers drinking blood to mother’s milk. The queen is in denial, however, and still waits for her true son to appear and ascend the throne, restoring the legitimate line of heirs. She begs Sogolon to bring him back, but she refuses.
After passing through the portal with Tracker and the others, Sogolon’s body burns, and she lies abandoned and on the verge of death until she is found and brought to the Nnimnim woman. She nurses her back to health, but the burns have done permanent damage. Through her semi-conscious haze, she learns that the rebellion destroyed Dolingo, and the queen has been locked away for the rest of her life. Kwash Dara sent troops from Fasisi to restore order, but without enslaved people to work the gears and pulleys, the city barely functions.
The Nnimnim woman offers Sogolon an enchantment that will disguise her true appearance to the outside world. As nurses tend to her, Sogolon’s room fills with all the women she has saved over the years as the avenging Moon Witch. They have come to offer their gratitude, to tell her that she has empowered many other women to fight for themselves, many of them laying claim to the title: “Moon Witch, she is me” (609). After a year, Sogolon has healed enough to leave, but she still hasn’t found peace.
Sogolon discovers that Tracker, Mossi, and Leopard rescued the boy from the Ishologu. She tracks Tracker and Mossi to the village of Mitu, where they live in a massive baobab tree with their six children. She watches them from a distance, nursing her anger at being abandoned, waiting to kill Tracker. While she waits for him to return, the tree is attacked by a Sasabonsam. Mossi fights to defend his children, even helping some of them escape, but in the end, the creature kills and devours him. The boy, Lissisolo’s son, is not frightened by the attack and wanders out in the open toward Sogolon’s hiding place. He stares at his reflection in the river, and the creature seizes him in its talons and flies off. She watches as Tracker returns the following day, sees the carnage, and is destroyed by grief. She decides at that moment not to kill him, for death would be a mercy.
War breaks out, the south occupying Wakadishu and Kalindar, and the north striking back. Lissisolo declares war on her brother, Kwash Dara. In Omororo, Sogolon reflects on her long life and her many names, none of them truly hers.
When Tracker saddles his horse and rides west, Sogolon follows him to the Mweru, to Lissisolo, where he asks where her boy is. She doesn’t know, but her soldiers are searching. As she waits for him, Sogolon sees Tracker scribing a rune in the air, opening a portal, and passing through, the Aesi at his side. She tracks them to Malangika, the witch market, where they purchase an Ishologu to lure back the Sasabonsam (and with it, the boy). The Sasabonsam attacks the market and flies off, and the two men pursue it, running headlong into Lissisolo’s army. The Aesi manipulates the soldiers into attacking each other, and only one survives. Sogolon, in pursuit, reaches a hill ahead of them and waits. As the Aesi senses a mind he cannot manipulate, he dismounts and approaches the hill. They battle, first using their powers, then hand-to-hand. He opens the earth and it swallows her, and her only recourse is to use her wind as a protective bubble. Still, she can hear his words foretelling a great threat from the West that will bring “fire and disease and death and slavery” (620).
The next morning, she claws her way out of the ground and heads for the nearby Red Lake. There, she sees a dozen of Lissisolo’s troops, one of them holding her son. Across a small inlet stands the Tracker and the Ishologu. The boy struggles to reach the Ishologu, the only guardian he has ever known. He pulls free of the soldier, who reveals himself to be Leopard, and he chases after the boy. Two spears fly and pierce Leopard, whose body drifts into the lake. Tracker retrieves him, the big cat dying in his arms. The Aesi keeps the soldiers in a daze, and the boy rushes into the cradling arms of the Ishologu, who flies into the air. A bolt of lightning strikes, extinguishing them both in a burst of flames. The Aesi grabs Sogolon, but her wind fills his body, imploding him once again.
Next, she tracks Jakwu, still in Venin’s body, to Juba, where he entices men into sex with her, killing them afterward. Sogolon finds him and kills him. She hears that Tracker is accused of killing Lissisolo’s son, a serious offense since Lissisolo’s alliance with the south would have assured her son a rightful place on the throne. Sogolon, meanwhile, boards a pirate vessel and sails down the river to Nigiki, a region in the southern part of the North kingdom. On the way, she dreams of Keme. At last, she turns herself over to the Inquisitor, claiming knowledge of the death of Lissisolo’s son. She is left in a cell, where she waits for the next incarnation of the Aesi.
The looping nature of history is on full display as James wraps up his epic narrative. After years of waiting, Sogolon confronts the Aesi at last, kills him once again, and waits for his rebirth, hoping to stop the cycle for good. James throws numerous obstacles in her path—white scientists, vampire birds, swarms of blood-sucking insects, not to mention the manipulations of Bunshi and the deceit of Tracker. Only at the very end does she understand that revenge does not equal solace, that killing the source of her grief will not fill the chasm left by it. Still, the killing must happen, and her resignation about death—much of it by her own hands—drives her, allowing her to plow her way through body after body, justifying her actions with her own emotional pain, as if to say, the world must suffer in equal measure as I have. James’s world is so rife with slaughter that Sogolon’s deeds weave seamlessly into the narrative fabric. The violence and sadism that run through Moon Witch suggest that this is the world’s natural state of affairs and that peace and tolerance are, in fact, the aberration. Sogolon’s killings, however, seem more justified than the arbitrary witch purges, which are part of a systemic policy of terror and death meant only to cement the king’s power. When Sogolon kills, it is in self-defense or the defense of the innocent. Violence, James implies, is both necessary and forgivable when battling oppression, often the only strategy that can secure freedom from the oppressors.
While the narrative has a definite feminist leaning—the troubles of the world are attributed almost exclusively to men, the protagonist is a woman, the queen of Dolingo thinks it folly to install Lissisolo’s son (yet another man) on the throne, and Sogolon insists that the task of righting the wrongs of the world is “woman work”—James also suggests that power corrupts regardless of gender. The city of Dolingo appears to be a technological marvel, so advanced it seems out of place in a world of castles and broadswords. Despite its apparent modernism, Dolingo is a city powered by the labor of the enslaved, and when the enslaved rebel, the result is a massacre of the ruling class. Emini, the King Sister of Fasisi, uses her position of power like a cudgel over anyone under her, including women. The white robes, sisters of the Divine Order, are no less repressive than any man, using their moral high ground as a platform for suppression. Even Sogolon, so consumed with rage, cannot resist the urge to use her power for vengeance. It seems that, in this world, there is no utopia looming on the horizon, regardless of who is in power. In fact, there can be no power—and in the case of the Kwash line of kings, the divine right of power—without an underclass to terrorize. With this, James expands the theme of Misogyny and the Oppression of Women into a Marxist feminist lens, asserting that liberation exists at the intersection of gender and class equality. Likewise, James emphasizes the importance of solidarity in the scenes in which Sogolon is injured and is tended to by other women. As she convalesces, she is visited by countless women she helped as the Moon Witch. They thank her for her help, but they also reveal that the Moon Witch inspired many women to take their liberation into their own hands. Here, James asserts that change isn’t achieved by single actors so much as a group working toward the same ends. The solution to oppression, therefore, is not individual violence but collective action.
As the narrative ends with Sogolon in a jail cell, James once again reinforces the power of storytelling and its connection to memory. As humans transitioned from oral to written methods of storytelling, some feared the effects that change would have on memory. With bards and other traveling storytellers no longer required to remember long passages of epic poetry, memory would falter. James touches on this idea as he juggles both the theme of the Connection Between Memory and Identity and the values of written and oral traditions. Indeed, when relying solely on memory—something easily erased by the Aesi’s magic—whole populations are left in a stupor, unable to remember their own pasts or the injustices perpetrated against them. Olu scrambles to make a textual record of his past before the Aesi renders him a blank slate, but even so, he eventually forgets everything, including his own wife. The reason the southern griots are so important—and so targeted—is because they understand the historical value of written records. The vast Hall of Records in Kongor is a testament to knowledge and its preservation. When it burns, the loss is immeasurable—not only the loss of information but of memory. James has asserted that he writes in a postcolonial tradition, and this theme speaks to real-life instances of oppressors erasing histories to maintain power over their subjects. With this, James’s project is not only an epic fantasy story but an assertion that recording and preserving histories is a method of resistance.
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By Marlon James