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While Bronca drives to Staten Island, she confronts Brooklyn over some of her past incendiary rap lyrics. Brooklyn contends that that was her old self, and she’s atoned for it. Bronca’s phone suddenly alerts them to a stoppage on the FDR; the news reports a protest by the “Proud Men,” a right-wing extremist group. Hong suspects the march is a strategy by the Enemy to derail their plans. They detour down Second Avenue, swerving to avoid the furious tendrils that have sprouted up over every Starbucks. They reach the Lower East Side, and, driving past the now-collapsed Williamsburg Bridge, they see with horror that the East River is teeming with the tendrils. They cross the Verrazano-Narrows Bridge into Staten Island, trying to sense the location of its avatar, ultimately finding their way into a suburban enclave. They stop at the house with the translucent, white tower growing from the front yard. As they approach the house, the Woman in White steps out of the mass of tendrils accompanied by a host of spindly, shadowy things lurking in the bushes. The sight disturbs Hong, who is deeply unsettled by the Enemy’s new form, a speaking, human avatar. Suddenly, they are all pulled into “cityspace” where they see another city—an unfamiliar one—looming up before them, all curved white towers, tidy wooded parks, and immaculate streets. They are seeing the city of which the Woman in White is the avatar. She introduces herself as “R’lyeh” and informs them that she will not allow them access to Aislyn, the borough who “has chosen to do what is right” (391).
Madison drops Manny and Paulo at City Hall Station, and they pass a gauntlet of NYPD officers with almost no incident. The station is swarming with police and Con Edison engineers investigating a bomb threat in the station, but Manny and Paulo walk right past them. An empty #6 train sits on the tracks, so they board, and Manny uses his city energy to fire up the engines and drive the train to the next stop: old City Hall Station. They disembark and make their way through the darkened station, searching for the primary avatar. They navigate the unlit stairwells until they find him, sleeping on a bundle of newspapers just like in Manny’s vision. He tries to touch him, but an unseen obstruction prevents contact. While Paulo tells Manny about his own city birth, they suddenly hear a loud, metallic screeching. The #6 train has powered to life and is coming after them.
On Staten Island, Aislyn is awakened by shouts and rumblings in her front yard. Peering through her front door, she sees Hong, Bronca, Brooklyn, Padmini, and, floating in the air, the Woman in White. Fueled by years of suppressed anger and resentment, Aislyn summons her power and flings Hong and the other boroughs into the street. They try to convince Aislyn that the Woman in White is malevolent, bent on destroying the city, but Aislyn defends her, claiming “Maybe it should all go to hell” (405). Brooklyn approaches Aislyn threateningly but stops when the Woman shows them a vision of Veneza, injured and imprisoned in an interdimensional cavern. The Woman tries to strike a bargain: She will return Veneza in exchange for the avatars allowing her to occupy and destroy this universe, albeit quickly and peacefully. Belatedly, they realize that Veneza is not trapped in a cavern but in a living creature who means to swallow her alive.
Back in the subway tunnel, the tendril-covered ghost train moves toward Manny and Paulo. Summoning the vast power of Manhattan, Manny morphs into King Kong and charges forward to battle the serpentine train beast. Meanwhile, Aislyn cannot abide the utterly bizarre chaos that is happening in her city in her front yard; she summons a final burst of city energy and banishes everyone—the other boroughs, Hong, the spindly creatures, even the beast who holds Veneza—leaving only the Woman in White. Laying a hand on Aislyn’s shoulder, the Woman gives Aislyn a false sense of safety as her city, the city of White towers, begins to supplant Staten Island.
Bronca, Brooklyn, Padmini, and Veneza reappear in downtown Manhattan, but Hong is missing. Veneza is deeply shaken by her experience which she describes as “a halfway point, where things from both places could exist” (413). Gathering their wits and their strength, they decide to forge ahead without Staten Island, and they head for City Hall. As Bronca searches for parking, Veneza explains the Enemy’s strategy: to replace New York City with its own. They notice that, despite the sunny day, the city is eclipsed in shadow, as if something unseen is blocking the light.
Brooklyn gains access to the closed subway station, and, upon entering, they see “the scattered, twisted corpse of a biomechanoid monster” (420)— the ghost train that tried to kill Manny and Paulo. Paulo emerges from the wreckage; Manny lies, bloody and naked, slumped against a wall. Brooklyn explains that Staten Island has sided with the Woman in White, so they decide they must do the best they can without her. Stepping into the alcove where the primary avatar sleeps, they reach out to wake him, but an invisible barrier stops them. All is lost, it seems, until Veneza begins to change and to become a city herself, Jersey City, New Jersey, “a city that’s spitting distance of Manhattan, closer even than Staten Island” (426). With R’lyeh approaching fast, the five now gather around the primary avatar who, they notice, is glowing. He stirs and opens his eyes, gazing at the five avatars. Grinning, he says, “We’re New York. Aw, yeah” (427). The combined power of the six avatars blasts upward, shattering the invading city and cleansing New York and its inhabitants of the multidimensional infestation. R’lyeh, caught between universes, cannot survive unless she can find a foothold in this one. She anchors herself in Staten Island. She is no longer a mighty city; she is merely an entity but still alive.
July 9, the day New York declared independence from England, is also New York City’s commemoration of its birth. The six avatars—along with various family members—picnic on the beach at Coney Island. The primary avatar, Paulo at his side, watches from the boardwalk, basking in the sun and in the special bond he shares with Manny. From here, they can see Staten Island, still eclipsed in shadow. As Paulo prepares to depart, he tells the primary that The Summit, a gathering of all awakened cities, is meeting in Paris, and New York must attend. The primary eventually joins the others on the beach. They commune in their mutual love of the city of which they are all a part.
The final chapters charge forward with the momentum of an express train, the stakes no less than the future of the entire universe. The avatars must awaken the sixth who lies dormant in an abandoned subway station while trying to persuade the outlier borough, Staten Island, to join their cause. Jemisin refuses to provide a tidy ending, however, and Staten Island remains stubborn and xenophobic to the end, siding with the Enemy rather than accepting difference and diversity in her own back yard. New York, in many ways, has always been its own worst enemy, and its internecine conflict often threatens to tear it apart; but, as Jemisin suggests, the city’s resilience allows it to weather these storms whether they be gentrification or racial discord. The avatars’ constant bickering is the personification of that distinctive New York City dynamic, an abrasive exterior that comes from too many people in too small a space. This dynamic, however, is one New Yorkers shrug off without taking too personally. Bronca and Brooklyn trade angry words, steeped in a long history of inter-borough rivalry and feminist politics, but they put those differences aside for the welfare of the city that they both have a vested interest in saving.
Staten Island’s refusal to join the others implies a wider, more systemic problem that reaches beyond the borders of one city. Staten Island represents White flight, the social phenomenon of Whites leaving urban centers for the newly expanding suburbs. As Black Americans increasingly moved to northern cities, previously majority-White cities became more ethnically and culturally diverse, and many White Americans, fearing that diversity, moved away. In New York, those suburban enclaves were largely on Long Island and Staten Island. Jemisin holds that borough accountable for its stubborn holdout status. Staten Island is framed as the borough that wants to be like the all-White segregated Levittown but instead feels itself captive to its neighbors to the north. Rather than integrating, however, Jemisin’s version of Staten Island backs itself into a corner, fists raised against all interlopers. In the character of Aislyn, Jemisin tackles the fear, the anger, the feeling of condescension, and the tribalism that are the root causes of bigotry and xenophobia. These modern social plagues are by no means exclusive to Staten Island, but they provide the perfect narrative conflict in Jemisin’s ode to her beautiful, complicated city.
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