The Ink Black Heart Epigraphs

By Lindsay

WARNING: this post contains MAJOR SPOILERS for The Ink Black Heart! We mean it! MAJOR! Do not keep scrolling if you haven’t finished reading The Ink Black Heart!

Note to readers: We tend to use some abbreviations for names when we’re doing our episode notes. Here’s a list of some. Let us know if there are any we missed.

VP: Vilepechora

LD: LordDrek

TATP: Tim Ashcroft, the pedophile

EBB: Elizabeth Barrett Browning

TH: The Halvening

BD: BorkledDrek

PW: Paperwhite

 

OPENING EPIGRAPH

Two forms of darkness are there. One is Night…

And one is Blindness.

“Doubt” – Mary Elizabeth Coleridge

Kenz:

Oh, man…reading this epigraph gave me shivers.

Lindsay:

I think this really sums up the whole book quite nicely. The way I read it is we have the darkness of night- something that’s outside of ourselves causing darkness (Anomie, online harassers, far-right terrorist groups, etc) and then the darkness that’s more personal and coming from ourselves. In particular here, in the form of blindness by not OPENING YOUR EYES! 

And the bit about blindness really ties in nicely with the coda, as well. 

Pools:

It took me a while, but I found this full poem, and I want to put it here because I think it’s interesting.

Two forms of darkness are there. One is Night,

When I have been an animal, and feared

I knew not what, and lost my soul, nor dared

Feel aught save hungry longing for the light.

And one is Blindness. Absolute and bright,

The Sun’s rays smote me till they masked the Sun;

The Light itself was by the light undone;

The day was filled with terrors and affright.

Then did I weep, compassionate of those

Who see no friend in God—in Satan’s host no foes.

I might be going way too English Major with this, but to me Robin is his sun – and all the rays she gives off, all the good she brings to his life as his partner and his friend – are what’s blinding him; because his eyes are full of that light, he’s so afraid of losing it, that he can’t see the core of his feelings for her and the truth of what they could be together. If that makes sense.

Lindsay:

Well, I’m always here for shippy things like that! But because this is more like the entire book’s epigraph, I’m looking at how it can apply to the whole book. And I think it’s also significant what she chose to take out here, because this is edited and, to me, it reads really differently when you add all that back in. I think we have to consider not only what she’s trying to say, but what she’s trying not to say. 

I think you’ve found some really interesting things when looking at the whole text but I’m not always sure that it’s relevant. I think the one that I’m always going to be the most sold on- that all the extra text WAS relevant was chapter 37 from TB- which is the one that included the word whirlpools! 

Pools:

Definitely agree that it isn’t always going to be relevant! I just like to know the context of the quotes… just in cases! I always think about how Rosmersholm and Faerie Queene were both resonant with the actual plots of their respective Strike novels – like, the parallels went far deeper in the texts than just the bits chosen for the epigraphs. But I know that it’s going to be very different with poems, of course.

Lindsay:

Oh- you totally should always look and I like that you just said ‘just in cases’ because that movie is almost 20 years old and I still say that! 

 

PROLOGUE EPIGRAPH:

“Wounds of the heart are often fatal, but not necessarily so.” – Henry Gray FRS, “Gray’s Anatomy”

Lindsay:

Again, this fits so well with the end- and I think it actually uses those words, doesn’t it? Strike suffered a wound to the heart? I went in looking for things in the opening that I could then expect to see mirrored at the end so I felt…sort of warned ahead of time having read this one.

Pools:

It does indeed say he’s suffered a wound to the heart at the end! I find it comforting that this suggests it won’t be fatal, though.

Lindsay:

Absolutely! But it also fits with the prologue because Robin’s apparent rejection really does wound him- so much so that he reverts back to making really stupid decisions! 

Is there anything that either of you noticed about these Gray’s Anatomy epigraphs, in particular? 

Kenz:

I really liked the contrast between these clinical, unemotional epigraphs from GA written by a man that open each part with the much more emotional ones from women in each chapter. (Also, I have to say that Jo’s commentary on Twitter about Victorian poetry – the “lo, behold the bumblebee” part – had me cracking up.)

Pools:

Yes, I agree. The contrast is interesting, but it also invites us to read the clinical epigraphs with a more metaphorical eye, doesn’t it? Looking at the symbolic meaning that could be read into the clinical language?

Lindsay:

Yeah, I think that’s what I’m really excited about doing as we go along!

 

CHAPTER 1

Chapter Summary: We pick up right where Troubled Blood left off – with Strike and Robin at the Ritz on Robin’s 30th birthday.

Epigraph:

Why did you let your eyes so rest on me

And hold your breath between?

In all of the ages this can never be

As if it had not been.

“A Moment” – Mary Elizabeth Coleridge

Lindsay:

First of all, what an absolute tease Jo is with this giving us this epigraph early!! She knows exactly what she’s doing. 

Pools:

Revealing it ahead of time was SUCH a tease, because she knew it would make us absolutely lose our minds… I envisioned her absolutely CACKLING as she sent that tweet.

Lindsay:

Yes! I hope that she enjoys that kind of interaction as much as we do! But obviously, this is fairly straightforward. What happened at the Ritz can never be as if it had not been. And even the title of this “A Moment” is so perfect. 

Pools:

Yes! A moment happening that they cannot take back, that they can’t undo – and there’s a melancholy sense of regret in the poem too, so we knew it was going to be an oopsie daisy

Lindsay:

I wonder if she framed the almost kiss with this passage because letting your eyes rest on me and holding breath feels like that moment when she says his name and they look into each other’s eyes and everything else stops. 

Pools:

Oh most definitely. It’s so perfect.

 

CHAPTER 2

Chapter Summary: Strike and Robin both reflect on what happened at The Ritz. 

Epigraph:

Come let me talk with thee, allotted part

Of immortality – my own deep heart!

“To My Own Heart” – Maria Jane Jewsbury

Lindsay:

We see both Strike and Robin really agonizing over what happened in this chapter, right? So, having a bit of a talk with their own hearts. 

Again, the title of this one feels relevant too. “To My Own Heart” 

Pools:

Yes, I’d agree with this analysis. I think the lines of the poem that follow this bit are very interesting as well: “Yes, deep and hidden now, but soon unsealed, \ Must thou thy deepest thoughts and secrets yield:”  They’re each hiding the complete truth of what they feel from themselves… but not for much longer!

 

CHAPTER 3

Chapter Summary: Strike and Midge conduct surveillance on New Year’s Eve. 

Epigraph:

Eyes with the glow and hue of wine

Like yours, can daze a man outright…

“A Rhyme for the Time” – Emily Pfeiffer

Lindsay:

I suppose this is our introduction to Madeline and the way she dazes Strike? 

Pools:

Yes, I would say so.

 

CHAPTER 4: 

Chapter Summary:Robin reflects on her trip to Zermatt

Epigraph:

Sleep on content, as sleeps the patient rose,

Walk boldly on the white trodden snows,

The winter is the winter’s own release.

“January” – Helen Jackson

Lindsay:

Do either of you see more to this than just simply describing Robin’s trip? She gets extra sleep, she’s in the snow…it’s winter… 

Kenz:

Yeah. This is one of the most straightforward epigraphs in the book

Pools:

Actually, the poem as a whole does suggest a bit more to me. It’s really about life and love needed a period of dormancy to thrive, and that thinking winter=death is wrong. This line, immediately preceding, for example: “O Heart, when Love’s sun goes \ To northward, and the sounds of singing cease, \ Keep warm by inner fires, and rest in peace.” So I suppose, to me, this epigraph is sort of suggesting that Robin’s brooding about Strike, and how she’ll never be what he wants, is not true. Their love is smothered under snow now, but it’s still there and gaining strength. 

 

PART 1

Epigraph:

The heart is the central organ of the entire system

and consists of a hollow muscle;

by its contraction the blood is pumped to all parts of the body

through a complicated series of tubes…

Henry Gray FRS – “Gray’s Anatomy”

Lindsay:

We’re being introduced to the heart of the story here- particularly Edie and The Ink Black Heart. This cartoon is the thing that beats life into all these complicated threads that we’re going to explore in this book. This is where everything starts, this is where it all comes back to, you know? 

Pools:

I think you’re absolutely right about this. I’m wondering how & whether this epigraph applies to the more personal plot of the book as well – we’re introduced to Murphy in Part 1, though we don’t know what part he’ll play yet, and we’ve got a good chunk of Madeline story here, setting up Strike hiding her from Robin, etc. But I’m not sure how it applies, honestly

 

CHAPTER 5

Chapter Summary: We are introduced to Josh Blay and Edie Ledwell, co-creators of The Ink Black Heart, as well as Anomie and other moderators from Drek’s Game

Epigraph:

‘Tis a strange mystery, the power of words!

Life is in them, and death. A word can send

The crimson colour hurrying to the cheek,

Hurrying with many meanings, or can turn

The current cold and deadly to the heart.

• “The Power of Words” by Letitia Elizabeth Landon

Lindsay:

This epigraph is really fun for me because there’s so much to take from it. When you read it on its own, this idea that our words have power and can inflict a whole range of emotions- it’s an idea that we start thinking about as children when we say ‘sticks and stones may break my bones but words can never hurt me’ and how soon we learn that that isn’t true, right?

Kenz:

Totally! It’s also reminding me of that bit from Harry Potter– I think Dumbledore said it in one of the last movies – “Words are, in my not-so-humble opinion, our most inexhaustible source of magic. Capable of both inflicting injury, and remedying it.”

Lindsay:

But what’s really interesting to me is that even knowing that this is true- there’s a real sense of unfairness when applying it to this chapter. The words that Edie says that turn Anomie ‘cold and deadly’ was when she says that in the cartoon, Drek’s game was not really meant to be a game. That one comment is what ultimately led to her murder and it’s so unfair. And in that sense, it feels like this is more about the power we give to other people’s words.

And it feels very reflective of our society, especially with social media, how someone can say something we don’t like or we can misinterpret something and what the results of that can be- we see the most extreme example of that here with Edie but we can’t pretend that this doesn’t happen in the real world. We’re actually given a real world example of this in this chapter with the Charlie Hebdo shootings. 

If I’m being honest and doing a little self-reflection, this really reminds me of us in the last episode where we took one thing Jo said that we didn’t particularly like (re ‘happy relationships don’t make good fiction’), ignored a lot of other things and kind of freaked out- especially because in the book, it’s a fan thinking they know better, you know?

Kenz:

Yeah, the things she was talking about fandom and fan ownership really rang true in this book and really made me think.

Pools:

It’s a very appropriate epigraph for a chapter comprised entirely of transcripts and articles, isn’t it? I mean I know that every chapter in the book is technically just made up of words (because… it’s a book), but this chapter is made up only of in-universe texts, if that makes sense, and it charts the real-world development and impact of what just words can do.

It’s also interesting, the other effect of words in the poem – “can send the crimson colour hurrying to the cheek” – because I count two instances in these transcripts where we can see flirting through disembodied words; and in both instances, this flirting is a tactic and a deceit (LordDrek & Hartella, Paperwhite & Morehouse). Words are being used to induce romantic feelings, but they’re a lie to get what the deceiver wants, if that makes sense.

Lindsay:

I love that point! This is a really good epigraph! 

 

CHAPTER 6

Chapter Summary: Edie comes to the office and speaks with Robin

Epigraph:

Thou shalt have fame! – Oh, mockery! Give the reed

From storms a shelter – give the drooping vine

Something round which its tendrils may entwine-

Give the parch’d flower a rain-drop, and the meed

Of love’s kind kind words to woman! Worthless fame!

• “Properzia Rossi” by Felicia Hemans

Lindsay:

I think this is exploring Edie’s relationship to fame and to the “fans”. I looked up the story around this poem and I’m interested to hear what Pools has to say! 

Pools:

Yeah the poem is dedicated to the 15th century Italian sculptor of the same name; she was the first woman of the Renaissance to “break into” professional sculpture – in that she was actually paid (a ridiculously low wage) for her commissions. She’s famous for her intricate carvings on peach and cherry stones, and her personal life was apparently a bit of a mess. ANYWAY Hemans wrote this poem (which is actually an ekphrasis of a 19th century painting of Rossi presenting her work), but I think it was really a frame to explore her own feelings about the conflict between an artistic career and a woman’s expected role in the 19th century.

I think that this epigraph is really talking about how Edie’s fame, talent, and money have resulted in absolute misery and torment. She doesn’t have love in her life – at least, not someone who genuinely loves HER as opposed to her cartoon, or what she can do for them. Her fame and talent are nothing without the true joy (and comfort) that love brings.

Also I feel like this kind of echoes in the journey that Robin has had, where she’s finally successful in a career that she loves, she and Strike have made the agency famous – but she’s starting to feel lonely. She doesn’t have that solace of requited love. If that makes sense.

 

CHAPTER 7

Chapter Summary: Robin looks into the papers Edie left at the office

Epigraph:

Still she flees, and ever fiercer tear the hungry hounds behind,

Still she flees, and ever faster follow there the huntsmen on…

• “Run to Death” by Amy Levy

Lindsay:

How sad this epigraph is knowing what’s coming for Edie. She’s literally fleeing from the office but she’s hunted, as the epigraph says. This is also another epigraph where the title alone works to get the message across- she is running away from the office and towards her death.

Pools:

So true! We also get to see the actual persecution first hand for the first time, rather than just hearing about it. Anomie (and his sockpuppets!) is absolutely relentless in hounding her… and yeah. She’s about to cross the huntsman’s path… 

 

CHAPTER 8

Chapter Summary: Strike goes out on a date with Madeline.

Epigraph:

She was a careless, fearless girl…

Kindhearted in the main,

But somewhat heedless with her tongue,

And apt at causing pain.

• “Jessie Cameron” by Christina Rossetti

Paula:

Perfect description of Madeline!

Pools:

It definitely is! I find it interesting that in the actual poem, it is the girl – Jessie Cameron – who is rejecting a guy who won’t take no for an answer (and spoiler alert, they both die at the end – although how exactly is left a mystery). Just because it fits with that whole theme of men being unable to handle rejection.

Lindsay:

I do find the line “kindhearted in the main” to be interesting because it suggests to me that Madeline isn’t all bad. I think we see the absolute worst of her in this book (I mean I hope we do!) but there are some things I like about her and I think we see some of the good in this chapter. 

 

CHAPTER 9

Chapter Summary: The moderators in Drek’s Game discuss Josh’s plan to confront Edie about the dossier. 

Epigraph:

The pale queen’s honour!

A low laugh scathing and sereing

A mumbling as made by the dead in the tombs…

• “The Sleep of Sigismund I” by Jean Ingelow

Pools:

A “mumbling made by the dead in the tombs” could be a hint about where they’re meeting, which is a question in this chapter? The laugh is a sarcastic one (i.e. the pale queen doesn’t have honour) – a hint towards Paperwhite ( a pale queen?) being a liar in this chapter, planning to kill Edie?

Lindsay:

I LOVE what you’re saying about Paperwhite being the pale queen because that was stumping me but I really like that. I also read that last line ‘a mumbling as made by the dead in the tombs’ as a reference to the players in Drek’s Game mumbling over Edie and all the gossip they’re spreading. 

 

CHAPTER 10

Chapter Summary: The agency has a team meeting, and Robin finds out Edie and Josh have been stabbed at Highgate Cemetery.

Epigraph:

The ground is hollow in the path of mirth…

• “The Festal Hour” by Felicia Hemans

Pools:

Reading the poem: the festal hour (=the festival; celebration) – be cautious; it is at the most triumphant and happiest times that the worst things happen. Watch your step when you’re joyful, the ground will give way. Don’t party too hard and let your guard down I guess! So in terms of this chapter – the sudden shock of Robin discovering that Edie’s died (when the team and work are going well)

 

CHAPTER 11

Chapter Summary: The news of the stabbing and Edie’s death spreads in Drek’s Game.

Epigraph:

But should the play

Prove piercing earnest,

Should the glee glaze

In death’s stiff stare,

Would not the fun

Look too expensive?

Would not the jest

Have crawled too far?

• “LV” by Emily Dickinson

Pools:

“The joke has gone too far; suddenly it’s all too real” (That is, all of the online attacks suddenly turned into a real murder. (and now we get to see how everyone reacts differently…) –  what’s odd to me is that this poem is cited as 55, but as far as I can tell it’s actually 365 (CCCLXV in roman numerals)

Lindsay:

Yeah, and what also feels so real about this chapter is how all of these people who were fine with the hate, with the harassment are trying to reel it back now that it’s gone too far and talk about how awful it is. All of sudden, they want to remove themselves from it. 

 

CHAPTER 12

Chapter Summary: DCI Ryan Murphy and Angela Darwish visit the office to take a statement from Robin.

Epigraph:

I who should have known,

Forereckoned mischief!

• “Aurora Leigh” – Elizabeth Barrett Browning

Pools:

The literal meaning of this is pretty transparent – Robin is feeling guilty, and that she should have known or done something.

Kenz:

JKR’s tweet about the link from Aurora Leigh-

Nick Jeffery wrote in a tweet to Jo, “Is Barrett Browning’s Aurora Leigh the book within a book of the Ink Black Heart? There are 13 epigraphs from it and the poem’s story parallels Robin’s chrysalis with a partner who is blind to who she is and his feelings for her.” To which she responded, “Yes, yes, yes, well spotted! There is a definite Aurora Leigh connection, all the way to Zoe/Marian Erle.”

Lindsay:

I think this is Robin struggling with guilt. Of course, there’s no way she could have known what was going to happen, but she’s struggling with what she could have done differently. Saying that she should have seen this coming. 

We need to talk about Aurora Leigh here! JK Rowling confirmed on twitter that Aurora Leigh is paralleled in IBH. This was from the Barmy Q&A and it was a question that I believe was from John Granger at Hogwarts Professor that was asked through Nick Jeffery. Nick was the one who posted the question. He said: “There are 13 epigraphs from it and the poem’s story parallels Robin chrysalis with a partner blind to who she is and his feelings for her.” 

Jo’s response was “Yes, yes, yes, well spotted! There’s a definite Aurora Leigh connection, all the way to Zoe/Marian Earl.” 

So in my very vague knowledge of this story Aurora turns down the love interest because he doesn’t see her value as a female poet, right? But the connection that Jo makes to Zoe and Marian Earl is heartbreaking because in the poem, Marian Earl is abused- she’s raped and then frowned upon for having a child as a result of that rape. And while Zoe wasn’t pregnant, the age she was when her relationship with Tim Ashcroft started, obviously, makes it rape.

One thing I wanted to point out with the parallels with Robin as Aurora Leigh that Nick pointed out and Zoe as Marian Earl, as Jo did, is from a podcast I listened to about Elizabeth Barrett Browning and this poem. It’s a BBC podcast called In Our Time and it’s from March of 2016. One of the guests talks about feminism in the poem and not just that it’s a voice for the woman poets but that it’s also about sisterhood. She said- It’s a feminism that’s also partly about the personal, it’s about alliances and allegiances between women and the strength that they can derive from that. And she specifically mentioned Aurora Leigh and Marian Earl

And I love looking at that through the lens of Robin and Zoe and that maybe we can hope that Zoe did take strength from Robin. 

I listened to one other podcast about Aurora Leigh and it was called Poetry Corner and the host is Dr. Timothy Bartell. If you want to take a listen, the episode was released November 19, 2019. 

The thing that I really liked about this is how he talks about Elizabeth Barrett Browning liking the autobiographical poem and he says it’s an idea that you could write about oneself in this way and gain clarity about yourself and your past. And he references the very opening of book 1 that says 

“OF writing many books there is no end;

And I who have written much in prose and verse

For others’ uses, will write now for mine,–

Will write my story for my better self,”

I believe that Dr. Bartell is saying that she wrote this to explore herself and her life and to better herself and I wonder if another one of these connections with the IBH is Strike’s journey to also do those things. To begin to examine his life and to seek his better self. 

 

CHAPTER 13

Chapter Summary: Strike visits Madeline at her flat.

Epigraph:

But when thy friends are in distress,

Thou’lt laugh and chuckle ne’er the less…

“A Mother to her Waking Infant” – Joanna Baillie

Lindsay:

This one was pretty easy, I think. It’s about Wally Cardew. Both videos that Strike watched- the old and the live stream he is laughing at Edie and saying bad things about her. They were once, well maybe not friends, but he knew her personally and he’s fueling the hate fire and making jokes about her murder. 

Pools:

A mother to her waking infant; even though babies are kind of useless assholes, a mother loves them anyway (the MOST). And one day they’ll grow up enough to love her too. Until then they’ll continue being little creatures. But in this context – Madeline’s son getting sucked into shitty internet sub-cultures, and a general lack of empathy because of it.

 

CHAPTER 14

Chapter Summary: Robin watches an interview of Edie and Josh.

Epigraph:

Low lies she in her grave,

Speak not to me of pleasure,

For her I could not save.

“ Despair” – Christina Rossetti

Lindsay:

This epigraph is sad! Robin is thinking about how she couldn’t save Edie. And the speak not to me of pleasure works because she felt momentarily happy when she sees the flat that we know she’ll eventually move to, but her feeling of happiness is short lived because the sadness over what happened creeps back up for her. 

Pools:

Obvs this is Robin feeling guilty. But what’s great about this is that the actual poem has a twist – the mourner in the poem, is grieving – but a mysterious light appears, and a form that he thinks is a spirit (the return of his loved one) – but in the final stanza it’s just a maid bringing in the light. A bit funny, a lot tragic. But in this chapter, Robin actually *does* encounter the “spirit” (or rather the memory of) Edie, as she was in life – but when she was happy, before everything fell apart. And it is tragic.

 

PART 2

Epigraph:

The arteries undergo enormous ramification in their course throughout the body, 

And end in many minute vessels, called arterioles, which in their turn open

Into a close-meshed network of microscopic vessels, termed capillaries.

• “Gray’s Anatomy” – Henry Gray FRS

Pools:

Everything getting a lot more complicated up in here! We start to explore all the people connected to Drek’s Game; our cast grows. Then there’s also growing complications of the HEART (Robin’s realization and talk with Ilsa, for one… Everything with Charlotte starting up).

 

CHAPTER 15

Chapter Summary: Strike does surveillance on Fingers and reads about The Halvening

Epigraph:

Who spoke of evil, when young feet were flying

In fairy rings around the echoing hall?

• “Pauline” – Felicia Hemans

Lindsay:

So for me, this epigraph is talking about being innocent or naive to evil and having your eyes opened to it.. Innocence is what I think about when I read “young feet were flying in fairy rings” like children playing. In the context of this chapter, I interpreted this as Strike getting his first real look at what The Halvening is. They’ve been told a little about it but now he’s reading all the gory details about what they’re actually doing and it’s horrible.

Pools:

This poem is actually based on a real person and event: the 1810 fire at the Austrian Embassy in Paris, during a ball thrown by the Austrian ambassador to celebrate the marriage of Napoleon and Marie Louise; a candle from one of the chandeliers set fire to a drapery. There was a panic, a crush of people to escape. Pauline, Princess of Schwartzenberg, ran back into the hall to find her daughter; her remains could only be recognized by the presence of her diamonds. She was the mother of eight, and pregnant with a ninth.The poem: a recounting of the event dedicated to the power of maternal love and sacrifice. 

Relevance? Eh… I suppose that I can see a thematic with the strategy of The Halvening, which is to turn the left against itself – sort of like the candles you’re dancing to suddenly becoming deadly.

 

CHAPTER 16

Chapter Summary: Robin does surveillance on Groomer and Legs and gets a debrief from Strike about the Halvening

Epigraph:

We must arise and go:

The world is cold and cruel without

And dark and hedged about

With mystery and enmity and doubt

But we must go…

• “The Call” – Charlotte Mew

Lindsay:

You guys, this gets me in my feels. It so perfectly speaks to the core of who Strike and Robin are. What they’re about to face with Anomie is cold and cruel, hedged with mystery and enmity …but we must go. 

And even the title “The Call”- they must go because it’s their calling, it’s what they’re called to do. It all goes back to this being more than just a job for them. I really, really like this epigraph. 

So much so that I even looked up the whole poem! The lines that end the poem are the ones right after this part and it says: But we must go Though yet we do not know

Who called, or what marks we shall leave upon the snow.

And I think that this is also fitting because they don’t know anything about the people they’re going to be meeting or what they want and they don’t know if they’re going to be able to do anything or what the results will be, but they have to try- they have to try for Edie and because it’s who they are.

The actual poem is kind of like a ghost story- which feels well suited to TIBH

Pools:

The poem; the imagery of fire in it is contrasted with the cold winter night – the poem opens with the narrator (& other – plural) staring dreamily into the banked, contained, glowing fire; quiet and glowing. But at the call: “A voice on the sharp air, \ And felt a breath stirring our hair, \ A flame within us”. We *must* go – it is that inner fire flaring up, uncontainable, that pushes them out and bolsters them against the cold, dark night (it’s the shared flame of JUSTICE. The pilot light, if you will.)

(Also I know it’s not really relevant but Charlotte Mews’ life is pretty depressing and tragic)

 

CHAPTER 17

Chapter Summary: Morehouse and Paperwhite discuss the Halvening and have an argument 

Epigraph:

Is this a stupid thing to say,

Not having spent with you one day?

No matter; I shall never touch your hair

Or hear the little tick behind your breast…

• “On the Road to the Sea” – Charlotte Mew

Lindsay:

Given that the only people in this chapter are Paperwhite and Morehouse, it’s clearly about their relationship and it’s perfect. The first two lines ‘Is this a stupid thing to say, not having spent with you one day?’ is, I think, them talking about their feelings for each other. Particularly when Morehouse says, “look it’s crazy to have such strong feelings for someone I’ve never met, but I do”

And then the last two lines, ‘No matter; I shall never touch your hair or hear the little tick behind your breast…’ I think this initially feels like Paperwhite talking to Morehouse because he’s the one who won’t agree to pictures or facetime, but in reality, we know that Morehouse will never have these things because Paperwhite isn’t real. 

Pools:

I find this poem very complex; a bit of autobiographical info here, apparently Charlotte Mew was romantically interested in women, and we know that she was rejected in her advances to women more than once – something that hurt her, obvs. 

I see this poem as working in two ways; describing Morehouse’s desire for Paperwhite is obvious – he says himself that he has strong feelings, that he thinks about her all the time; but he fears she would reject him, so won’t share himself.

“We passed each other, turned and stopped for half an hour, then went our way, I who make other women smile did not make you—”

There is no consummated love in this poem, only fantasy.

But then I also see a slightly more sinister reading, from Anomie’s perspective. It’s not a *romantic* reading, but there is this aspect of the poem that is about a very greedy, all consuming desire – “I want your life and you will not give it me”; the speaker wants the world “behind the strangeness of your eyes”, they want the object’s past and present and future – it is a desire to possess *entirely*. There is a darkness here too – the poem ends with darkness falling, and hints of death, both the speaker’s and their object’s.

Peace! Would you not rather die

Reeling,—with all the cannons at your ear?

So, at least, would I,

And I may not be here

To-night, to-morrow morning or next year.

Still I will let you keep your life a little while,

See dear?

I have made you smile.

 

CHAPTER 18

Chapter Summary: Strike and Robin meet up with Edie’s agent and next of kin

Epigraph:

Well of blackness, all defiling,

Full of flattery and reviling,

Ah, what mischief hast thou wrought

Out of what was airy thought,

What beginnings and what ends,

Making and dividing friends!

• “The Contents of an Ink Bottle” – Mary Elizabeth Coleridge

Lindsay:

Can I say what I like right away is the title? The Contents of an Ink Bottle. It makes me think, the contents of TIBH- we learn about a lot of people in this chapter and this epigraph speaks to what so many of these people did. All defiling, reviling, mischief, dividing friends. Does that make sense?

Pools:

Yes, absolutely – I think you’re spot on. The poem itself uses “ink” as a synecdoche for “writing”, or the written word, musing on all of the potential creations and consequences that are hidden in what seems a simple container, and which unfurl through the act of writing with that ink. I think this definitely speaks to everything that came from TIBH, a simple funny little cartoon – all of the relationships ruined, careers created and destroyed, lives lost, etc. 

I think we could also see the IBH fandom (the “inkhearts”!) as this bottle of ink, this “well of blackness” –   something that started from love of a creation, but became twisted and malicious.

Also, I can’t get over the cleverness of using this poem to refer to the cartoon that is literally titled “Ink Black Heart”, and then the larger implications of titling the book itself this…

Lindsay:

I like what you’re saying about potential creations and consequences because you never know what’s going to happen in anything you do- and there was so much potential for Edie but this mixture of bad people and circumstance resulted in so much sadness. 

 

CHAPTER 19

Chapter Summary: Strike and Robin have a debrief about the Anomie case.

Epigraph:

Yes; I was tired, but not at heart;

No– that beats full of sweet content,

For now I have my natural part

Of action with adventure blent;

Cast forth on the wide world with thee,

And all my once waste energy

To weighty purpose bent.

• “The Wood” – Charlotte Brontë

Lindsay:

Another one that I love! It’s talking about how their hearts are content now that they have this case and can finally help Edie and put their energy into this. But it’s not just that, it’s “cast forth on the wide world with thee” It’s doing this thing that they love, with each other.

Pools:

Yes, yes, a thousand times yes to all of this! Totally agree. There’s something else really amazing about this poem that I discovered – and I know that no one wants to hear me reading three stanzas of poetry, but… they’re just so GOOD and so relevant. I’m going to stick them in & summarize as well. But my basic point is – so this epigraph comes in the first chapter of Cormoran and Robin officially working on the case together. And your interpretation, Linds, is I think 100% right and also beautiful. The thing IS, that the next few stanzas apply really, really well to the *end* of this case, and the conflict between Strike and Robin.

So a bit of context – right before these stanzas, in the poem, two lovers have stopped in the woods to rest in their walk. The epigraph comes, and then the speaker takes a turn – talking about how her male companion fears treachery and danger; that they might be killed in the woods, or where they stay at night. The speaker says that she is not afraid, because she is next to him and her love for him is defense against fear (which… wow my heart!) but then she says THESE lines:

I am resolved that thou shalt learn

To trust my strength as I trust thine;

I am resolved our souls shall burn,

With equal, steady, mingling shine;

Part of the field is conquered now,

Our lives in the same channel flow,

Along the self—same line;

 

And while no groaning storm is heard,

Thou seem’st content it should be so,

But soon as comes a warning word

Of danger­ straight thine anxious brow

Bends over me a mournful shade,

As doubting if my powers are made

To ford the floods of woe.

 

Know, then it is my spirit swells,

And drinks, with eager joy, the air

Of freedom­ where at last it dwells,

Chartered, a common task to share

With thee, and then it stirs alert,

And pants to learn what menaced hurt

Demands for thee its care.

That’s literally the exact core of their conflict at the end of this novel! (and… in several other places in these books lol). That Strike is happy for Robin to be his partner until danger threatens; and Robin insists that she needs to be his partner in danger as well as safety (put it in their vows!), that he cannot set her aside when he feels her safety is threatened. I dunno I just feel like Robin could have written these lines, like this is a peek into her heart, and I love it. (And also it goes back to what we were discussing at the beginning, about Robin taking physical risks).

Lindsay:

Given our discussion earlier, I will say yes, I can see what you’re saying and Robin can absolutely say this in certain situations, but I don’t know if I would apply it to that exact circumstance at the end, but more in a general way. But what Jo chose for this chapter is so perfect. I love epigraphs that speak to the core of who they are like this…and that are a bit shippy, let’s be honest. 

 

CHAPTER 20

Chapter Summary: Moderators of Drek’s Game discuss the #ExhumeLedwell trending topic

Epigraph:

I have forged in me sevenfold heats

A shield from foes and lovers,

And no one knows the heart that beats

Beneath the shield that covers.

• “The Shield” – Mary Elizabeth Coleridge

Lindsay:

For some reason, I feel like the short chapter made this a little more difficult for me but I think this is talking about Anomie. Forging himself. Shielding his identify. ? 

Pools:

I think that’s the most reasonable and likely interpretation. As far as I can tell, this is the whole poem – so nothing else to dig into. 

Lindsay:

Yeah, I tried to look up the whole poem too and realized this was it and thought, “Pools is going to be disappointed!” 

Pools:

It might refer more generally to all of these anonymous online identities – I thought it fit Fiendy1 (Rachel) well here, since she’s genuinely upset (i.e. has a heart). Or perhaps it’s more literal – Anomie is talking about literally shielding the game from police by blocking new registrations.

Lindsay:

Oh yeah, I like that idea about Rachel. 

 

CHAPTER 21

Chapter Summary: Strike and Barclay do surveillance on a meeting between Seb Montgomery, Wally Cardew, Tim Ashcroft, and Nils de Jong

Epigraph:

From sleepless beds unquiet spirits rise,

And cunning wags put on their borrow’d guise…

And harmless plotters slyly take the road…

• “An Address to the Night – A Joyful Mind” – Joanna Baillie

Lindsay:

I think I was mostly struck by the final line of this epigraph because it suggests to me that the men Strike and Barclay are observing in this chapter are not the killers. ‘Harmless plotters slyly take the road…” I’m not implying that they themselves are harmless because with the exception of Seb Montgomery- we know these are not good men, but what they’re discussing is harmless plotting. They’re talking about being interviewed by the police and comparing notes but not because they’re guilty of Edie’s murder, but because they’re all probably a little freaked out by the idea of being suspected. 

And ‘slyly take the road’ paints the picture of them all walking to this agreed upon destination- the way they do. There’s a big sort of heist movie vibe I get from that image where a group of people that you wouldn’t normally connect are all making their way towards each other- it just feels like that inevitable heist movie montage where they introduce all the characters! 

Pools:

I actually don’t have much to say about this poem! It gave me serious Romantic vibes (Wordsworth flashbacks). This passage describes the night-dwellers, those for whom the night doesn’t hold fear or darkness; for whom the night means freedom (I think). Perhaps just a hint that we’re about to see a meeting of some shady dudes? Sleepless beds/unquiet spirits feels like Ashcroft and his anxiety; cunning wags feels very Cardew. And then there’s the harmless plotter – Seb? 

 

CHAPTER 22

Chapter Summary: Strike follows Zoe Haigh (Worm28) and speaks to Katya Upcott on the phone

Epigraph:

… a stunted child, 

Her sunk eyes sharpened with precocious care…

• “Behold, I Stand at the Door and Knock” – Christina Rossetti

Lindsay:

I read this whole poem and it made me feel really sad to connect this with Zoe because it’s about someone who repeatedly asks for help and is turned away and I feel like that’s probably very true for Zoe’s life- that no one has really let her in and taken care of her. 

But the phrase ‘a stunted child’ is particularly sad because I do think a lot of Zoe’s emotional growth will have been stunted by the abuse she suffered by Tim Ashcroft. I think that we see signs of that in her emotional maturity throughout the book- especially when compared to other characters her own age. 

Pools: 

Now this poem is a bit more interesting! It’s a biblical/devotional poem – specifically in the vein of Matthew 25: 31-46 https://www.biblegateway.com/passage/?search=Matthew%2025%3A31-46&version=NIV

I think it shows the abdication of responsibility for the vulnerable and suffering, of turning away from suffering and refusing to help because it’s someone else’s job – and it condemns that (in the poem, when you refuse to aid the needy, you are refusing God (not a good idea).

But I think that the point here is that Strike (and ESPECIALLY Robin) don’t turn away from Zoe’s vulnerability and suffering – they recognize it, and have empathy, and (eventually) try to help her.

Kenz:

Super appropriate for Zoe for sure.

 

CHAPTER 23

Chapter Summary: Conversation on Drek’s Game about Morehouse wanting Anomie to kick LordDrek and Vilepechora out of the game for being Neo-Nazis

Epigraph:

And there is neither false nor true;

But in a hideous masquerade

All things dance on…

• “Magdalene” – Amy Levy

Lindsay:

Before you tell me what this poem actually means, can I tell you the very silly thing it reminded me of? There’s a scene in one of my favorite movies, The Man in the Iron Mask, where they’re all dancing around and King Louie keeps seeing the iron mask and he doesn’t know what’s real and what’s not real but everyone just keeps dancing as he just starts losing it… I think if I stretched that A LOT, it could fit because this chapter feels like a really elaborate dance that Anomie is kind of conducting and what’s the truth, what’s a lie?? 

And it’s almost like the truth doesn’t really matter in this reality that Anomie’s created. Like, it doesn’t matter if LD and VP are with TH or it doesn’t matter if Paperwhite isn’t real or Hartella believes LD is a famous actor- because it’s all just a game to him. Literally. 

Pools:

Now THIS is my favourite poem of the batch! It’s an exploration of heartbreak and betrayal; I believe that the title refers to Magdalene laundries, and the speaker is a “fallen woman” – but the poem, from her perspective, turns the spotlight on the man who abandoned & betrayed her, and how the pain of that betrayal is far worse than just the physical and emotional suffering she undergoes from the conditions in the laundry. By the end of the poem, the speaker has reached a state of apathetic despair in which she can find no truth in life or death, and in which there is no distinction between good and evil.

Anyway, it’s clever in respect to this chapter, because it’s been flipped – Morehouse is the one being seduced and betrayed by someone he believes is a woman. We see him in conflict with Anomie, and losing his trust in him – and we see him falling deeper into Paperwhite’s snare. And we know what’s coming for him, and it hurts.

 

CHAPTER 24

Chapter Summary: Robin does online research into Anomie and Kea Niven

Epigraph:

A silent envy nursed within,

A selfish, souring discontent

Pride-born, the devil’s sin.

• “The Lowest Room” – Christina Rossetti

Pools:

I think that this is definitely referring to Kea, who is *very* much the bitter ex-girlfriend who envies Edie’s success – but also, to Anomie – who is also nursing discontent, bitterness, envy.

The poem itself is the narrative of a morning with two sisters – the elder is the POV speaker, who is dissatisfied with their small and empty life, who longs for the world of heroes, glory, and gods that she reads about in Homer; the younger sister points out the fallacies of this fantasy, the good things in their life and the nasty realities of Homer’s; this awakens the elder sister’s secret envy – which is of her sister, who seems so naturally to fit in this life, who embodies effortlessly all the conventional and expected notions of femininity; who, in the end of the poem, has lived a happy life as a wife – while the speaker sits alone and watches – for the most part, content with her inferior position (but occasionally looks towards the day of judgment, of revealing, of reversals (last shall be first).

The theme of living in a fantasy world, and of being envious of the more successful – very much relates to many of the characters in this poem (particularly Anomie!). But where the sister learns to accept her position, Anomie is poisoned by the envy until he becomes a twisted and hateful murderer

Lindsay:

That’s really interesting because- I obviously clung right to Kea for this, but the other person in the chapter (although briefly) that brings envy to mind…is Charlotte. We know that she’s never felt more envious than she does of that girl Robin. So, to me, the other person I was connecting this to was Charlotte, living in her fantasy world of continuing to get Strike to come back to her. But obviously, Anomie fits that very well, too. 

 

CHAPTER 25

Chapter Summary: Charlotte arrives at the office and speaks with Strike

Epigraph:

… in truth now have you seen

Ever anywhere such beauty, such a stature, such a mien?

She may be queen of devils, but she’s every inch a queen.

• “Look On This Picture and On This” – Christina Rossetti

Kenz:

What a picture perfect epigraph for Charlotte.

Pools:

Spot on picture of Charlotte, isn’t it?

This poem is complex, and interesting – the speaker torn between two women, the one he addresses directly, his “dove”, and the unnamed “she” – the temptress. The speaker wishes they were not so drawn to the she, but describes how the yearning for her eclipses the presence and love of Eva (the dove); hates themself, but continues anyway. In the turn, the dove rejects the speaker – tells him to go enjoy his choice, and to leave her to be free. The speaker goes through mourning and jealousy, then lashing out in hatred, denying that they love, then repenting and acknowledging their love only when it’s too late, and asking for forgiveness.

I just find it fascinating because this *could* have been incredibly applicable to early Strike, still drawn to Charlotte and believing that Robin could never hold a candle to her. But the thing is, by this point, Strike has already departed from the path of the speaker – yeah, he’s in a distractionship, yeah he still finds Charlotte desirable – but as we see in this chapter, it’s Robin who’s first in his thoughts. It’s not too late for him (although he might feel like it is at the end of the book!) – he’s going to get a second chance, where the speaker in the poem does not.

Lindsay:

Wow, that’s really great that the poem is about torn between two women. I just really like comparing Charlotte to the Queen of devils or an evil Queen. Literally like the one from Snow White who wants to be the fairest of them all. That’s Charlotte. She would want Robin’s heart in a box… and a fancy box at that. 

 

CHAPTER 26

Chapter Summary: Robin comes to an important realization and speaks with DCI Murphy

Epigraph:

And I walked as if apart

From myself, when I could stand,

And I pitied my own heart,

As if I held it in my hand…

• “Bertha in the Lane” – Elizabeth Barrett Browning

Kenz:

This epigraph really makes my heart hurt for Robin.

Pools:

In the poem, this stanza comes after a moment of shock (an elder sister hearing her fiance confess his love to her younger, prettier sister) – the feeling of betrayal, numbness, assessment – very appropriate for this moment – although the rest of this poem, maybe not so much.

But I feel like this poem serves as an interesting contrast with the one from chapter 24 – both poems are about sisters, where the speaker is the elder (who feels inferior to her younger sister, who “loses” in terms of marriage). In both, the speaker deals with envy – pushing it down, or (in my opinion) passive-aggressively framing herself as a selfless, gracious martyr (the speaker in this poem dies).

I suppose it’s just interesting because we see a lot of negative reactions to romantic rejection and envy in this book (mostly lashing out) – but in this chapter, Robin’s shock at being replaced by Madeline is interrupted by Murphy, and I think that’s a hint about the healthier way that she deals with this – by going out and living, experiencing. She refuses to sit there and pine to death, or lash out (much) like the other people in this book; Robin makes a conscious decision eventually to say fuck it, and go out into the world to keep living her best life.

(Also, Madeline and Robin aren’t sisters – but they are doppelgangers! And we see how Madeline’s jealousy poisons her and blows up the relationship…)

Lindsay:

Well…she tries. I don’t think I am with the popular opinion that Robin is living her best life. She has a lot going well for her, but just because things are going well and things are happening- I don’t think she’s living her best life because she’s heartbroken and in pain. And I think, on its own, that’s what this epigraph is portraying for me. Her pain at loving Strike because she feels, at least in this book, that it’s not possible and that he doesn’t love her and he doesn’t want with her what she wants with him. And the image of holding her heart in her own hand, like it says in this passage- it just makes me think that she’s looking at her heart for the first time and realizing that it’s betrayed her. Like, how could you do this to me? 

 

CHAPTER 27

Chapter Summary: Strike asks Dev to help with getting dirt on Jago

Epigraph:

He looks for war, his heart is ready,

His thoughts are bitter, he will not bow.

• “At One Again” – Jean Ingelow

Lindsay:

This is really straightforward for me. I think this is Strike preparing himself for this battle he’s going to have with Charlotte and Jago but while we see him prepare himself practically in this chapter by approaching Dev, I think the epigraph speaks more to how he’s also preparing himself emotionally. I also wonder if the last line “he will not bow” is a hint towards the fact that he isn’t going to fall into the trap Charlotte is trying to set by getting him back.

Pools:

Feels very straightforward to me! Strike is ready to do battle with Jago for trying to fuck with his business. The poem itself – about a petty fight between neighbours that’s resolved with some reflection about their old friendship and, more significantly, the love between their children. The poem itself might not really be relevant, but I feel like the solve being something to do with Jago’s daughters might be foreshadowed here (probably a reach).

 

CHAPTER 28

Chapter Summary: Robin has a heart-to-heart with Ilsa

Epigraph:

Away, away with loving then,

With hoping and believing;

For what should follow,

But grieving, grieving?

• “Outcry” – Anne Evans

Kenz:

This one made my heart hurt – poor Robin!

Lindsay:

Oh, man! So obviously, this is about Robin’s feelings for Strike, but it kind of follows her path with the rest of the night. I know it’s kind of cheating because I’m also jumping ahead into chapter 30, but she tells Ilsa her greatest fear about her feelings for Strike- that he won’t want commitment with her and that would be too painful. So away with hope for something and all that’s left is to grieve. 

You know, these moments are very painful to read, but just like with the LW prologue, for me they’re also exciting because I know it’s all part of the set up. This heartache is just going to make it all so much sweeter when it happens. The fact that she’s so afraid he won’t want something real with her…thinking about him telling her he does…oh god. 

Pools:

I think this epigraph speaks to Robin’s state of mind here – she thinks that there’s no real hope for her and Strike having a relationship. She does not think he’ll want or be able to change… her loving him is only going to bring her grief.

 

CHAPTER 29

Chapter Summary: Strike reads Robin’s notes on the Pen of Justice blog as well as Kea Niven

Epigraph:

I have been a witches’ prey,

Art mine enemy now by day,

Thou fell Fear? There comes an end

To the day; thou canst not wend

After me where I shall fare…

• “At One Again” – Jean Ingelow

Pools:

I think this poem is misattributed! I cannot find these lines in that poem, and the style isn’t the same. I haven’t been successful in figuring out where this actually is from.

Anyway. I think this (no matter which poem it’s from!) is suitable for a chapter exploring more of Edie’s enemies – Ashcroft Pedophile, Niven. They can’t go after her anymore.

Lindsay:

Yeah, after you told me you couldn’t find these lines in that poem, I also looked and it wasn’t there- but I googled the lines and found that it’s still Jean Ingelow, but the poem is The Sleep of Sigismund. So great catch, Pools. 

I’m not very confident in this interpretation but one thing I thought it could possibly be is – we get our first real look at The Pen of Justice in this chapter, right? It’s clear that he’s an enemy of Edie’s but only under this disguise. The talk in this passage that art mine enemy now by day, but that they can’t follow when the day ends…maybe suggests that the PoJ is an enemy out in the open daylight of twitter, but we can’t follow him to see his true identity. At least not yet. 

 

CHAPTER 30

Chapter Summary: Robin comes up with a way to get into Drek’s Game

Epigraph:

But if I can cheat my heart with the old comfort,

That love can be forgotten, 

Is it not better?

• “Myself” – Adah Isaacs Menken

Lindsay:

Aw, this entire epigraph feels like when JK Rowling said that Robin is trying to convince herself that she shouldn’t feel what she feels. She thinks it’s better if she can get over him and fall out of love, but what I like is that it doesn’t seem like it’s actually about forgetting love- it’s cheating your heart into thinking you can get over it. It implies to me that while Robin may try, she’s not going to fall out of love with Strike. 

Pools:

“Patience is bitter but the fruit is sweet” – the poem opens with that (in French) and it’s like the poem is giving Robin advice! Hang in there girl!

Anyway this poem is GORGEOUS. I think a lot of it resonates with Robin – especially the first stanza, which speaks to her life with Matthew (I won’t quote the whole thing, but READ IT!!). The poem speaks to hiding love and pain under laughter and finery – but under it is the longing for truth and love, the hopelessness that comes with this longing:

“Then I fold my cold hands, and look down at the restless rivers of a love that rushes through my life.

Unseen and unknown they tide on over black rocks and chasms of Death.

Oh, for one sweet word to bridge their terrible depths!”

But in the end of the poem there’s hope – 

“When God shall lift the frozen seal from struggling voices, then shall we speak!

When the purple-and-gold of our inner natures shall be lighted up in the Eternity of Truth, then will love be mine!

I can wait.”

For the speaker, truth and love can only exist where souls meet souls stripped of the mortal world (e.g. after death, judgement day). – which reminds me of that amazing line fromJane Eyre, by the by – but I think that for Robin and Strike, their inner natures recognizing each other will happen in this life.

Oh, and the actual epigraph – Robin trying to pretend she can fall out of love. Spoiler alert – she can’t.

Lindsay:

Aw, ok, you know at the beginning of this book when I was skeptical about the rest of the poems fitting- I’m sure that’s true, but I don’t want it to be. How can it be when some of these are so perfect? 

 

CHAPTER 31

Chapter Summary: Morehouse makes his displeasure regarding LD and Vilepechora staying on as mods known

Epigraph:

The rat is the concisest tenant.

He pays no rent, – 

Repudiates the obligation,

On scheme’s intent.

• “The Rat” – Emily Dickinson

Lindsay:

So my initial reaction was that this was about LD and VP because we see in this chapter that Morehouse wants them out- he says so out in the open and they are, in a sense, rats because they’re only there to spy for TH but… I think maybe it’s actually about Morehouse from Anomie’s perspective. He has become a rat, he’s now refusing the obligation to Anomie and not going along with his schemes. 

Pools:

Lots of schemers in here! Trying to find them, trying to ban them – ineffective! (Also, Emily Dickinson – an American poet! Most of the epigraphs in this book are from the UK)

 

CHAPTER 32

Chapter Summary: Robin and Strike head to the Upcotts’ place, and Strike reads Robin’s information about the Brotherhood of Ultima Thule

Epigraph:

And all our observations ran

On Art and Letters,

Life and Man. Proudly we sat, we two, on high,

Throned in our Objectivity;

Scarce friends, not lovers (each avers),

But sexless, safe Philosophers.

• “Philosophy” – Amy Levy

Lindsay:

I really love this epigraph because it’s so full of irony. We’re not lovers, we’re just friends, totally sexless, we’re just talking about our observations- there’s nothing to see here, folks! It’s one of the funnier epigraphs for me because of the irony.  

There’s an article that we’ll link to from The Guardian by Carol Rumens about this poem and there’s a part of the article that specifically mentions this passage- the scarce friends, not lovers- and says that it opposes the erotic nature of the friendship that two people in this poem are trying to hide. 

And then a little later in the article it references another part and says, coded by the abstract noun (meaning “love of wisdom”), is a relationship that’s the reverse of “sexless” and “safe”. This is the delicious secret at the core of the irony.

This is a sexy passage for Strike and Robin! 

Kenz:

The irony in this epigraph is *chef’s kiss*

Pools:

Strike and Robin – estranged personally, talking only about “the case” – but they are hardly safe, because of this undercurrent of feeling that they’re just not acknowledging! It was in this type of intellectual (detective) connection that their bond first formed, though, and it IS incredibly valuable to them. So it seems to me that this epigraph is both ironic and sincere (at the same time, lol) – just as the poem is, really! It’s very suiting.

 

CHAPTER 33

Chapter Summary: Strike and Robin interview the Upcotts

Epigraph:

By slow degrees it broke on her slow sense…

That she too in that Eden of delight

Was out of place, and, like the silly kid,

Still did most mischief where she meant most love.

A thought enough to make a woman mad.

• “Aurora Leigh” – Elizabeth Barrett Browning

Lindsay:

I think this epigraph is mostly about Katya. In that Eden of delight speaks to their really nice home with all of these accommodations, but still did most mischief where she meant most love- we know that she’s well intentioned, but not very effective as a manager or publicist and it seems like even at home, no matter how hard she tries, she cannot find peace. That final line- a thought enough to make a woman mad- fits very well because while I don’t know how I fully feel about Katya (because I have some reservations about her), this chapter makes me feel for her so deeply. I can’t imagine what she’s going through. The sense of being completely overwhelmed and unsupported- I feel like she’s drowning. And then there’s the line that she was out of place, like the silly kid- it makes me think that it’s also talking about Flavia- that she also doesn’t belong. 

I know that Katya will probably have a hard time accepting what her son did, but I also kind of feel like these two are getting a fresh start at the end and I hope that she finds some peace and moves on. 

I want to set Katya up on a date with someone. Someone nice, her own age, who isn’t terrible like her husband. 

Ok who from the series can we set her up with? Wilson? Is he married? The only other man around her age ish I can think of is Geoffrey Cunliffe but I don’t want that for her. Although, even a Cunliffe is a step up from Inigo. 

Pools:

Katya Upcott, clearly. Her well intentioned friendship with Josh and Edie… loving her son but not seeing what he was… staying with her abusive pos husband… at one point Inigo implies that it’s all her fault. I don’t think that’s true! But I can see how good intentions had disastrous consequences here…

(In the context of the poem this is Marian Earle speaking, expressing her feeling that though she loved Romney entirely, she wasn’t worthy of him, and marrying her would have ultimately caused him harm)

 

CHAPTER 34

Chapter Summary: Debrief on the interview with the Upcotts, update on getting into Drek’s Game from Midge

Epigraph:

Death sets a thing significant

The eye had hurried by…

• “London” – Joanna Baillie

*Note to listeners: If you want a more complete discussion and interpretation on this one, you’ll have to listen to episode … because we realized as we were recording that this was another misattribution. All of the lovely London talk by Pools kind of goes out the window once we realized. Sorry, Pools. 

Pools:

“It is a goodly sight through the clear air,

From Hampstead’s heathy height to see at once

England’s vast capital in fair expanse”

They’re on Hampstead Heath in this chapter!! What a clever poem to use as the epigraph. But also, I think that this poem’s musings about London really echo a lot of its depictions in these books – especially when Strike is in a poetic mood. The poem paints a picture of London in the clear air as “a goodly sight”; but it is in the mist, and storms, and clouds, and smoke, and night – when it is, in essence, half hidden, that the sight of London becomes sublime (the sublime is an important concept to the romantic poets – hard to define, but essentially a sight that inspires, through its power/strength/magnitude/obscurity feelings of awe and fear – it allows the mind to transcend, to glimpse the infinity of the universe. The romantics felt that nature was a gateway to the sublime.)

It’s not the glittery surface of London that Strike and Robin are engaged with – it’s the shadowy side, all of its hidden secrets that they penetrate; the mysterious forces at work within the hearts of “the flood of human life”, to quote from the poem. Anyway, I’m going to do a read through of this book thinking about the sublime (Robin looking at the Matterhorn is probably a GREAT example) OH also: a clue that we should fucking PAY ATTENTION to the theory Strike is setting out, that Robin hurries by… Strike = Death, Robin = Eye. Open your eyes. Something something.

Lindsay:

I’ve been excited to talk to you both about this one because the fact that in this chapter, they’re going to be discussing what just happened at the Upcott’s and Strike is laying out his theory for why Gus could be the killer…the epigraph says ‘the eye had hurried by…’ and I don’t know if this is accurate or if I am completely overreaching here but it makes me think about Gus’s one eye being swollen and that this is another time where the cyclops has resurfaced.

And it’s kind of true of the last chapter. He had hurried by them a couple times. It could also mean the killer running away and escaping after the attacks because they discuss how that could have happened. 

I can’t really think of any other interpretation right now because my brain is so focused on Gus and his one good eye. I was trying to ask myself what is now significant because of Edie’s death, because of the line Death has set the thing significant but I don’t know if I have an answer. 

 

CHAPTER 35

Chapter Summary: Robin infiltrates Drek’s Game as Buffypaws

Epigraph:

By that gate I entered lone

A fair city of white stone…

Yet I heard no human sound;

All was still and silent round

As a city of the dead.

• “The Dead City” – Christina Rossetti

Lindsay: 

This is one that seems really straight forward. Robin is entering the game. I think the thing that mostly stands out to me is the imagery of this passage is really beautiful in a haunting sort of way and it really reflects the beauty of the game. Both Strike and Robin are struck by how beautiful the game was. 

It’s so sad that Gus turned out the way he did because he’s so talented. Oh god, he’s going to be one of those killers who draws or creates some sort of art in prison and then people buy it for thousands on the internet! 

Pools:

The poem – a dream sequence, a moral allegory warning of “How for luxury and pride / A great multitude have died” – the city is a monument built by “pride” and it is dead. The city in this epigraph is obviously paralleled with Drek’s Game – a monument to Anomie’s own pride (in the sense of arrogance) and greed. The moral is slightly different than the poem – Anomie’s own entitlement, hatred, etc.  aren’t quite the “sins” that Rossetti is painting a picture of, I think, but it’s close enough for the epigraph to work!

 

CHAPTER 36

Chapter Summary: Strike interviews Edie’s last boyfriend, Phillip Ormond

Epigraph:

And on his shield a bleeding heart he bore…

• “Psyche” – Mary Tighe

Lindsay:

I think it’s clear that this is about Philip Ormond. I think that this bleeding heart being on his shield is the protection, the front, the persona that he’s trying to shield his real self with. He’s not actually soft hearted because we know he was abusive, but that’s the persona he’s trying to perform for Strike. 

Pools:

Ormond is trying to paint himself as Edie’s rescuer and protector (as the Knight in the poem, whose shield is referenced in the epigraph) – he does not succeed! The image of the “bleeding heart” was, in its earlier uses, a suggestion of sincere emotional outpouring; also used to evoke heartache. Not used in a disparaging sense until the 20th century. Ormond’s “bleeding heart” is FALSE.

 

CHAPTER 37

Chapter Summary: Strike and Robin debrief on the Ormond interview, Robin speaks with Anomie in the game for the first time

Epigraph:

… the work was done; the new-made king

Had risen, and set his feet upon his realm,

And it acknowledged him.

• “A Story of Doom” – Jean Ingelow

Lindsay:

So the book says that this is A Story of Doom by Jean Ingelow, but I don’t think that it is. I believe this is another misattribution and weirdly enough, the last one was also Jean Ingelow, right? I discovered this because I was a little bit stumped by this epigraph and wanted to see if I could get a little more context but I couldn’t find this passage in A Story of Doom. I had a bit of trouble finding the actual poem, but I did find it- it is Gladys And Her Island by Jean Ingelow. 

I don’t know if finding this really helped me interpret how this epigraph applies to the chapter. I think it’s definitely about Robin meeting Anomie, but I’m not sure who is who… if that makes sense. Is there only one “he”? Is Anomie the new-made King stepping into his own realm or is Buffypaws stepping into Anomie’s realm and being acknowledged by Anomie? I think that is the one that makes the most sense to me because we do get a very open acknowledgement of Buffypaws by Anomie here. 

Pools:

The “king” being referenced here is Adam; the narrator is an interloper in the Garden of Eden. I have thoughts about Anomie seeing himself as creator, God – but he’s framed here as Adam, which would make… Morehouse actual god? That’s a bit of a weird metaphor. Perhaps, like Adam, Anomie seems himself as above literally everything/everyone else.

 

PART 3

Epigraph:

If the epicardium and the subjacent fat are removed from a heart

Which has been subjected to prolonged boiling…

The superficial fibres of the ventricles will be exposed.

• “Gray’s Anatomy” – Henry Gray FRS

Pools:

In terms of the case – I think it shows them really digging down and exposing the stuff going on beneath the surface – they conduct a lot of interviews in this part: Ashcroft, Kea, Yasmin. I might have forgotten some others. It ends with comic con, and Anomie pushing VP under the train – he’s exposed himself to do this, to LD and to Robin/Strike.

In terms of the personal – we get the whole conflict with Madeline’s jewelry launch in this part; the buildup and the fight. The pleasant surface of this relationship has been stripped away, the fundamental incompatibility exposed.

 

CHAPTER 38

Chapter Summary: Strike and Robin eat noodles together and debrief on Anomie

Epigraph:

I’ve scanned you with a scrutinizing gaze,

Resolved to fathom these your secret ways;

But, sift them as I will,

Your ways are secret still.

• “The Queen of Hearts” – Christina Rossetti

Lindsay:

I’m looking at this one a couple different ways. One, they go through a lot of suspects in this chapter and a lot of Anomie. They’ve scanned him and are trying to understand his secrets but no matter what they’ve investigated so far, his ways are still secret. I think that’s probably the stronger interpretation 

But I also feel like this could apply to how they’re relating to each other right now. We get this moment where Robin misinterprets his text from Prudence as being from Madeline and his ways are still secret from her and towards the end he gives her a scrutinizing gaze of admiration but they’re kind of personally on different pages right now. That one is a bit of a stretch, I’ll admit but this is kind of a cute chapter so I’m gonna stretch it because I can.

I also like that the title of this poem is The Queen of Hearts and the chapter opens up with Charlotte because the last epigraph with Charlotte in the chapter was the queen of devils one. So we have the Queen of Devils and the Queen of Hearts!

Pools:

This is great, because it definitely applies to Anomie; but in the poem itself, the speaker can’t understand how the other person *always* has the Queen of Hearts in their hand – they’ve tried in vain, but can’t figure it out. I think Strike has Robin’s heart – he literally holds it in his hand. He’ll always have her heart, even when she’s mad as hell at him.

 

CHAPTER 39

Chapter Summary: Robin visits the North Grove Art Collective as Jessica Robins

Epigraph:

I’ll have no traffic with the personal thought

In art’s pure temple.

• “Aurora Leigh” – Elizabeth Barrett Browning

Lindsay:

I’m not sure if I have a ton for this one other than the ‘in art’s pure temple’ reflects where Robin is, at North Grove. 

Pools:

Aurora Leigh! It’s an important epigraph – we get both another man interested in Robin, AND our first real meeting with Zoe (where she talks about her boyfriend, the abuser). Anyway. “Art’s pure temple” really seems to refer to North Grove here – a space set up for art, a commune with certain ideals. It’s a bit ironic because this is all about uncovering the “personal thought” in this place eh?

 

CHAPTER 40

Chapter Summary: Robin interviews Zoe as Jessica and talks to Strike about what she saw and heard at the collective

Epigraph:

But I, who am seventeen next year, 

Some nights, in bed, have grown cold to hear

That lonely passion of the rain

Which makes you think of being dead,

And of somewhere living to lay your head,

As if you were a child again,

Crying for one thing, known and near

Your empty heart, to still the hunger and the fear

That pelts and beats with it against the pane.

• “The Fête” – Charlotte Mew

Pools:

This is a long epigraph! It so perfectly encompasses Zoe’s loneliness and longing for real connection (can I kill Tim Ashcroft for exploiting her please?!?!)

 

CHAPTER 41

Chapter Summary: Robin conducts surveillance on Yasmin while Strike follows Wally and MJ and arranges an interview with Kea Niven

Epigraph:

But there comes an idealess lad,

With a strut, and a stare, and a smirk…

• “Natural Selection” – Constance Naden

Paula:

Applies across the board with pretty much every male character mentioned in this chapter: Nutley, Wally, MJ, Anomie, Inigo, Thurisaz…

Lindsay:

I know that Jo didn’t write these epigraphs but her ability to be snarky and funny with her choice of epigraph is something I love. I think this is mostly about Nutley. 

The second line fits him as well, with a strut and a stare and a smirk because it does say that he’s a bit full of himself when he really shouldn’t be. Yeah this one made me laugh. 

Pools:

This one does seem very literal! ESPECIALLY about Nutley. I don’t know that the context of the poem adds much – except that the speaker is a man of science and curiosity, who “seeks the How and the Way”, who seems to resent that natural selection is apparently favouring empty-headed men who are charming, who can dance, etc. (That is, natural selection = women choosing these men). I can’t see any real connection here, unless it’s that Strike is the smart man who WILL actually win out in the end…

Lindsay:

I was just thinking of the title, Natural Selection, as if it’s saying, don’t worry, Nutley sort himself out and be gone soon.

 

CHAPTER 42

Chapter Summary: Strike keeps an eye on Wally and gets into a fight with a Neo Nazi

Epigraph:

Well, he had some right

On his side probably; men always have,

Who go absurdly wrong.

• “Aurora Leigh” – Elizabeth Barrett Browning

Pools:

I just love how *resigned* this epigraph feels to me. You can *hear* the sigh of the speaker. Or is that just me? Strike is definitely doing the right thing here (although… I suppose technically he assaults someone but hey. We didn’t read it.), but it really does go horribly wrong. I can’t believe that this could apply to Wally or Thurisaz – they have NO right on their side, no matter how small – they’ve gone absurdly wrong without that. 

Also, another Aurora Leigh chapter – this one seems like a bit of an outlier in the pattern I’d noticed previously, doesn’t it? Thoughts?

Lindsay:

I did notice that this was an Aurora Leigh one that doesn’t fit your pattern, but I have no idea what it could mean or if there’s any meaning to be found. 

But I like what you’re saying about Strike having right on his side because that tells me that the way I’m reading this interaction isn’t totally off because I don’t think he’s really wrong for punching this guy- the man placed himself toe to toe with Strike and was clearly physically threatening him. Strike isn’t physically capable of escaping that situation without taking this guy down a bit so the epigraph saying that he had some right feels like a bit of validation for my opinion here. 

 

CHAPTER 43

Chapter Summary: Strike’s injury starts to impact the agency

Epigraph:

Then cease by stern reproof to load

Fresh sorrows on the opprest; 

Strew not with the thorns his rugged road

Who fainting pants for rest.

• To _______” – Mary Tighe

Pools:

Oh MAN this poem applies to both Robin AND Strike for the entire novel. Listen to this:

How hard, with anguish unrevealed,

Easy and gay to appear;

And teach the lip, by sorrow sealed,

An artful smile to wear!

 

The heart consumed by secret pains

Which must not, dare not speak;

Whose silent tongue to none complains,

Must sigh, — or swelling break. 

Honestly!! Just tell each other you’re in love already!!

But in regards to the specific epigraph here: I mean this is basically Pat lecturing the subcontractors about having some compassion for Strike. In poem form.

Lindsay:

I really love that interpretation that this is Pat’s voice and I totally agree! “Don’t add to his sorrows when he needs to rest!” It’s great! And like with the previous one, I feel like it’s validating my position on this a little because I think everyone is being really hard on him! 

I love thinking that maybe the epigraphs give us a little insight into how JK Rowling views the chapter- where her opinions would fall because I think they must. 

 

CHAPTER 44

Chapter Summary: Ilsa tells Nick that she’s pregnant, and Robin and Strike make plans to go to Comic Con

Epigraph:

… weary mummers, taking off the mask,

Discern that face themselves forgot anon

And, sitting in the lap of sheltering night,

Learn their own secrets from her…

• “Medea in Athens” – Augusta Webster

Pools:

Oh gosh, just on the surface this speaks *so much* to Cormoran and Robin having a late night phone call, and properly *connecting* with each other in the safety of that space – joking with each other, talking about godparenting. The masks they’ve been wearing have fallen and it’s just the two of them. Robin ends the call SMILING (and you know Strike did too lol). The poem is about Medea, a woman betrayed by her lover (who dropped her for another woman) – Medea loathes Jason, and refuses to forgive him (although… she’s mostly mad about the death of her sons, which she blames on him. Even though SHE KILLED THEM??). Robin has had a bit of that anger at Strike – and she returns to it at the end of this chapter to try and suppress her feelings. But it’s a losing game, Robin! It’s not gonna work!

https://www.theguardian.com/books/booksblog/2010/jan/04/medea-athens-augusta-webster

Lindsay:

Oh, I love that! I hate to bring this to Anomie because that interpretation is so perfect but we also see a bit of a mask slip from Anomie in this chapter where he gets drunk and says too much to Robin. But yours is so much more fun! 

 

CHAPTER 45

Chapter Summary: Robin interviews Tim Ashcroft as Venetia Hall

Epigraph:

To do good seemed so much his business,

That, having done it, she was fain to think,

Must fill up his capacity for joy.

• “Aurora Leigh” – Elizabeth Barrett Browning

Pools:

In the poem, this is Marian Earle’s reflections on Romney Leigh, a man obsessed with doing good and his charitable works. I think the context of this chapter – where it’s clearly referring to Tim Ashcroft – gives it a sort of sly double meaning. Where Marain used “seemed” to reflect her own naive perception, here Ashcroft’s “good work” is merely a *seeming* – that is, it’s all a front to hide his secret nastiness (or worse – a means of preying on victims). In this way his “good work” does fill up his “capacity for joy” – but it does it not by virtue of being good work, but by enabling his actual *evil* purpose. Robin’s perception of Tim in this chapter – she instantly perceives both that he is the Pen of Justice (and a snake), and that he’s anxious of what Pez will say about him – contrasts with Marian’s naivete in a really great way. Robin is probing much deeper into Ashcroft’s “capacity for joy” than poor sweet Marian!

Lindsay:

Yeah, I don’t really have anything different to add. I was also reading this as Robin understanding that he only “seems” to do good, but she knows something is else is lurking, she isn’t fooled by this cloak of goodness. 

 

CHAPTER 46

Chapter Summary: Strike does research on the Brotherhood of Ultima Thule members on Twitter

Epigraph:

I dreamed, and saw a modern Hell, more dread

Than Dante’s pageant; not with gloom and glare,

But all new forms of madness and despair

Filled it with complex tortures, some Earth-bred…

From thine own Earth and from its happiest lot

Thy lust for pain may draw full nourishment.

• “The Pessimist’s Vision” – Constance Naden

Lindsay:

I think that this is Strike diving into the incel world that he sees with the LepinesD account aka Gus aka Anomie and also the neo-nazi world with the Al Gizzard account aka Oliver Peach aka VP. Because I would definitely describe those two things as modern hells, right? But there’s also this as just Strike’s reaction to Twitter in general. He’s seeing the worst possible sides to it here. 

Pools:

Twitter is a modern Hell; and there is no better torture and misery than the shit that people dream up for each other and themselves. I mean that’s basically my interpretation of both the poem and the chapter lol. But seriously, Strike diving into MRA/Incel/Alt-Right Twitter is basically an expose of the absolute worst kind of hate and nastiness that proliferates like a virus on the internet. And it doesn’t just stay on the internet either (as if “the internet” is somehow separate from “real life”) – this rhetorical violence erupts into very real, very material violence (against Lépine’s victims, for e.g.; or Gus’s.) It’s hard to not have a “pessimist’s vision” when you’re scrolling through Twitter

 

CHAPTER 47

Chapter Summary: Moderators on Drek’s Game talk about their plans for Comic Con

Epigraph:

… these blotched souls are eager to infect,

And blow their bad breath in a sister’s face

As if they got some ease by it.

• “Aurora Leigh” – Elizabeth Barrett Browning

Pools:

Blotched souls here is talking about a moral infection or taint – in the poem, it’s referring to a “fallen woman” who is seen to be eager to drag others down to her level, to spread their “sin” so that they’re not alone in it (an urge stemming from pride, that is a hatred of someone being “better” than). In this section, VP and LD are manipulating two different women, to draw them in and to use them for their own (generally awful) purposes; of course, the irony is that one of those “women” is an even more botch soul who is breathing right back at them – Anomie as Paperwhite is the one “infecting” LD and VP with their manipulation, leading them to their downfall as it were. Or at least that’s what I’m getting from it lol.

Lindsay:

Yeah, I like that. I was thinking that this is about LD and VP- they are weaving their disgusting way through all of these chats like a poison that’s infecting everyone and enjoying the chaos it causes, but you are so right that it’s being done right back to them and they don’t see it coming! 

 

CHAPTER 48

Chapter Summary: Strike speaks with Kea Niven’s mother

Epigraph:

Sometimes, as young things will, she vexes me,

Wayward, or too unheeding, or too blind.

Like aimless birds that, flying on a wind,

Strike slant against their own familiar tree…

• “Mother and Daughter” – Augusta Webster

Pools:

The Mother in this poem looks at her daughter and sees perfection – innocence, beauty, sweetness; to her, there is no wrong that her daughter can do. Even her “vexing” as in the epigraph is not really the daughter’s fault (not any crimes of malice, that is) – and her penitence is believed to be sincere, forgiveness readily given. It seems to me that Kea’s mother has a very similar view of Kea… except Sara seems to have taken the maternal perspective to a wilfully blind place – she seems to believe everything her daughter says, bows to her every whim, takes her side on every issue… it’s the Mother/Daughter love taken too far, becoming destructive/enabling rather than truly loving. 

One of the things I’d really like to ask JK Rowling is if the titles ever impact her choice for epigraphs, because this one feels very appropriate for the chapter. “Mother and Daughter” and here we meet this mother and witness her very chaotic and unhealthy relationship with her daughter. And I think the epigraph also speaks to that, a lot! I totally agree with you, Pools, that Sara seems to be the type to never hold Kea accountable, which I think extends to her bird, as well. But also, that last line about ‘Strike slant against their own familiar tree’ feels to me to be implying that Sara Niven probably gets the worst of Kea’s behavior because she’s the closest person to her, she’s the safest one to lash out at and I think we see that happening. 

And I can’t ignore the mention of birds in here either because of course we see Strike get attacked by the bird, but what’s interesting is that the epigraph compares this ‘she’ to a bird…like aimless birds so I’m wondering if there are ways that we can look at Kea’s behavior to the bird in this chapter. I feel like the cockatoo is a ticking time bomb and Kea is very similar in the way she lashes out. 

 

CHAPTER 49

Chapter Summary: Strike interviews Kea Niven

Epigraph:

And in her lurid eyes there shone

The dying flame of life’s desire,

Made mad because its hope was gone,

And kindled at the leaping fire 

Of jealousy, and fierce revenge,

And strength that could not change nor tire.

• “The Other Side of a Mirror” – Mary Elizabeth Coleridge

Pools:

Interesting that the other occurrence of this specific poem in the novel is when Strike goes to visit Yasmin! Connecting the two? But this poem – the poem itself is speaking of course to the inner torment and suffering of a woman, hidden behind the performance of happiness and beauty. The speaker does not even recognize herself, because she’s pushed down her misery so much! But I think there’s a layer of irony when we apply this to Kea; she is very consciously CONJURING this image of herself as an object of pity, a victim – she’s conjured it so hard that she believes it herself. Whereas the speaker in the poem pushes the image away, Kea clings to it. But I don’t think that Kea is what we would call an objective observer of the mirror…

Lindsay:

I guess my initial read of this is partly sad and partly yikes because ‘the dying flame of life’s desire’ and ‘hope is gone’ feels very sad to me and maybe speaks to some of the mental health problems Kea is facing, but then you get to the second half of ‘leaping fire of jealousy and fierce revenge’ and that’s less sympathetic and I think it speaks to her feelings towards Edie. There was that one epigraph for the chapter with Wally, TA TP, Nils and Seb at the pub and I thought that that epigraph indicated that none of those men were the killer, but this one still leaves it very open to that possibility and the closing line ‘and strength that could not change nor tire’ tells me that even with Edie’s death, she might not be moving on from this. 

It’s making me think of Charlotte a bit because we’ve talked before about the similarities between Charlotte and Kea and one thing people really love to discuss is what it is going to take to get Charlotte to actually back off.

 

CHAPTER 50

Chapter Summary: Robin chats with Paperwhite as Buffypaws while keeping an eye on Gus Upcott

Epigraph:

Love, Love, that art more strong than Hate,

More lasting and more full of art; –

O blessèd Love, return, return,

Brighten the flame that needs must burn.

• “What Sappho Would Have Said Had Her Leap Cured Instead of Killing Her” – Christina Rossetti

Pools:

Ostensibly this would seem to apply to Paperwhite, and her wishing for Morehouse to forgive her and come back. The speaker in the poem (Sappho) wanders desolate for lost love, eventually deciding to lie down and wait. The tone of the poem is one of depression and exhaustion – a bit at odds with Paperwhite’s apparent active and persistent pursuit of Morehouse. Maybe that is what should clue us in that “she’s” not being completely honest? The contrast in tone? But that’s a bit of a reach tbh – I feel like this epigraph is a red herring, working to fool the reader!

I suppose the mention of love being stronger than hate, and more full of art, is proven very wrong in this particular case – it is hate which is driving Gus as Paperwhite, ultimately – and whatever love he might have had for Morehouse is nothing compared to the strength of that hatred and his need for control, his schemes to protect himself and punish other people.

Lindsay:

I’m so glad you had something for this because this one stumped me! But you saying that the epigraph is really a red herring is what makes the most sense because I couldn’t find any *real* love in this chapter- just so much hate. 

 

CHAPTER 51

Chapter Summary: Strike talks to Henry about Kosh + Madeline’s jewelry launch

Epigraph:

A wondrous thing

to be so separate having been so near —

near by hate last and once by so strong love.

• “Medea in Athens” – Augustus Webster

Pools:

We’ve had this poem before, right? Medea loathes Jason, and cannot forgive him.  It was in a chapter where Robin and Strike connected over the phone at night, having a lovely conversation. I suggested then that Robin, while having some anger towards Strike, can’t manage to use it to suppress her feelings, her happiness when she’s with him. She can’t stay mad! 

Here, this bit is clearly referring to Strike meeting Charlotte. Charlotte clearly has not let go of Strike, but it’s interesting to me that Strike appears to have moved on quite a bit from the intense feelings of love (and a bit of hate/anger) that he used to have for her. She spends the whole conversation trying to goad him, but he genuinely seems pretty apathetic to her. Compare this scene to LW, where he was suppressing his feelings about her during the whole conversation, until they exploded? Here, she only gets a reaction once she drops something truly outrageous – and I feel like he was really just jaw-dropped-disbelief at the audacity rather than really ANGRY, you know? Anyway it feels genuinely WONDROUS for us, the reader, that Strike genuinely does seem “so separate” from Charlotte here, when we’d experienced the strength of his emotions before. She’s pretty close to losing her power over him completely.

Lindsay:

I think you’re completely right! It must also be wondrous for him to have loved (or thought he loved her) so much and then to feel something close to hate. He genuinely seems to dislike her even though that bond isn’t broken completely yet. Good for him! 

 

CHAPTER 52

Chapter Summary: Strike and Madeline have their first big fight

Epigraph:

I deck myself with silks and jewelry,

I plume myself like any mated dove;

They praise my rustling show, and never see

My heart is breaking for a little love…

• “L.E.L.” – Christina Rossetti

Pools:

This poem is pretty clear and straightforward! The speaker is in misery because they are not loved, when everyone else is. It seems straightforwardly applicable here, too – Madeline wants Strike to love her. She’s been manipulated by Charlotte into thinking he’s a cheater, a user, etc, and she’s hurt by it – obviously Charlotte is full of shit, but perhaps on some level Madeline can sense that Strike’s heart just isn’t hers, that it’s never going to be, no matter how charming/beautiful/talented/rich/decked out in finery she is? Perhaps also a clue that while she looks incredibly successful and powerful on the outside, there is a deep insecurity there.

Lindsay:

I agree. I also thought that this epigraph was a little sympathetic towards her and I don’t feel much sympathy for her. If your heart is breaking for a little love, maybe don’t act like a jealous, abusive person? 

I guess the one place where I’ll find my sympathy is that I think this epigraph could also apply to Lorelei, so more what you were saying about his heart not being in it- we’ve seen this pattern from him before and it’s got to be hard to be on the other end of it, which is why I also feel bad for Ryan Murphy…but you know, I’ll get over it.

 

CHAPTER 53

Chapter Summary: Conflict within Drek’s Game escalates, Paperwhite and Morehouse confess feelings

Epigraph:

Sweet is the swamp with its secrets,

Until we meet a snake…

• “XIX: The Snake” – Emily Dickinson

Lindsay:

This was the epigraph that I picked for ones we liked when you did the epigraphs episode. So I’m kind of repeating myself here but Drek’s Game feels like a swamp full of secrets and we all know who the biggest snake is in this swamp and I really like the idea- well I don’t like it but it’s clever that Gus as Paperwhite calls Morehouse ‘Mouse’ because this chapter is about a snake setting a mouse up to be trapped. 

Pools:

Completely agree, I don’t think I have much to add to this at all! Except that the epigraph is continuing in the tradition of being a sneaky hint – ostensibly this could definitely apply to VP and LD finally being “bit” by Anomie – they were loving the swamp and using it for their own nasty purposes, but they did not know what they were getting into with Anomie. But really this is VERY MUCH about Paperwhite being a sneaky snakey snake.

 

CHAPTER 54

Chapter Summary: Strike and Robin go to Comic Con

Epigraph:

… masks in flocks and shoals;

Flesh-and-bloodless hazy masks surround there,

Ever wavering orbs and poles…

• “A Castle Builder’s World” – Christina Rossetti

Lindsay:

I think this is a clear reference to them being at Comic Con with lots of people in masks and costumes.

Pools:

It does seem like a pretty literal reference to their entrance into the “comic-con” world, where everyone (including Strike and Robin!) are masked/disguised, in huge crowds. The poem itself is interesting – it’s short but powerful. The “Castle Builder’s” world that the speaker presents is a grim one – the fruit of labour isn’t harvested, the people living there are soulless (honestly it would be easier to just read the whole poem to get across the sense of the world it’s describing lol). The Castle Builder’s here – are they the fans? Building imaginary castles in their fantasy world and neglecting the real one? Because that would be a pretty negative commentary for a book that *does* recognize some of the powerfully good elements of fandom! But we also get revelations about the way Ross treats his daughters in this chapter – I suppose if you’re going to describe anyone as a castle builder it’d be the wealthy upper class of Britain, right? And I think a soulless mask wearer would describe Jago Ross PRETTY WELL.

 

CHAPTER 55

Chapter Summary: Robin interviews Yasmin Weatherhead as Venetia Hall

Epigraph:

… no, dull heart, you were too small,

Thinking to hide the ugly doubt behind that hurried, puzzled little smile:

Only the shade, was it, you saw? But still the shade of something vile…

• “Ne Me Tangito” – Charlotte Mew

Lindsay:

The best part of this for me is the ‘ugly doubt’ line because it seems to me like this entire chapter is just Robin slowly bringing the doubt that Yasmin has buried deep down and she’s shining a light on it. This whole epigraph tells the story of Yasmin having a bit of a come to Jesus moment when Robin starts poking holes in this delusion she’s created. 

Pools:

I think you’re right with this one! Something buried deep down in Yasmin has questioned these things, but she’s hidden and buried it under what she WANTS to believe – I feel like Yasmin hides a lot of insecurity – i.e. doubt in herself – behind her “little smile”  (Rowling points out her creepy little cat teeth several times) and her performance of femininity – the same thing we saw Janice do last book.

 

CHAPTER 56

Chapter Summary: Vilepechora (or Oliver Peach) is pushed onto Tube train tracks

Epigraph:

Sense failed in the mortal strife:

Like the watch-tower of a town

Which an earthquake shatters down,

Like a lightning-stricken mast…

• “Goblin Market” – Christina Rossetti

Lindsay:

Is this comparing VP to the watch tower? Like one moment he’s fine and the next moment disaster hits and he’s shattered? 

Pools:

This was actually one of the poems I’d read before this novel was released! It’s a famous one. This verse does indeed refer to someone falling, in a state between life and death. I’m not sure if there’s a more profound interpretation beyond that… Oliver Peach was tricked into the path of the train just as Laura in Goblin Market was lured… the poem itself is about temptation and redemption – in the end, one sister saves another because of her moral strength (where her sister had fallen to temptation). In this case we’ve got two brothers, each of whom are (morally speaking) fucking assholes. I don’t think there’s any redemption/salvation coming for Oliver Peach here!

 

CHAPTER 57

Chapter Summary: Anomie bans LordDrek from Drek’s Game

Epigraph:

Slouch back to your haunts of crime.

Ye do not know me, neither do ye see me.

• “Judith” – Adah Isaacs Menken

Lindsay:

Anomie is taunting LordDrek and admitting guilt of this crime because LD does not know him and can’t see him. This really speaks to me of how Anomie feels untouchable. 

Pools:

This poem is GREAT. It is of course a telling of the story of Judith slaying Holofernes (also one of my favourite paintings, by Artemesia Gentilleschi) – Judith is a hero who saves her city from invasion; the version of Judith in this poem is bloodthirsty, vengeful, and absolutely drunk with power (I’m a fan). Anyway in this passage she is speaking to the invaders of her land as she moves among them unnoticed (because she’s a veiled woman). I suppose Anomie definitely sees himself as Judith here, bravely attacking the invaders of his land (Drek’s Game)… he sees himself as the hero, the avenger, oh man he is so unhinged.

 

PART 4

Epigraph:

Fibres of the Ventricles. –

These are arranged in an exceedingly complex manner,

And the accounts given by various anatomists differ considerably.

• “Gray’s Anatomy” – Henry Gray FRS

Lindsay:

My original thought for these Gray’s Anatomy epigraphs was that they were following the journey of Strike’s heart in this book- exposing, boiling, all leading up to the moment at the end where he finally acknowledges his heart and I definitely still think that’s happening, but the more we go through this, the more I’m seeing how it applies to both the personal and the case. 

Pools:

Definitely. I was flipping through to see which chapters fell in this part, because I never remember, and there is a LOT of really great stuff here – interviewing Josh, Robin interviewing Pez and Strike getting jealous, the bombing and its aftermath, Strike and Robin going to Whitstable and then interviewing Rachel, uncovering Morehouse’s identity and then finding Vikas murdered – a lot of plot points are hitting their sort of explosive (literally) climax here, both in regards to the case AND the heart.

Lindsay:

Obviously, the idea that the heart is exceedingly complex works for both Strike and Robin’s hearts, particularly Strike’s since he’s still trying to figure his out, but saying that the heart is complex also fits with the case as in, TIBH itself is complicated and all the characters which then extends to the fans which then extends to the crime itself. So I think that line fits very well with everything going on in this section. 

Pools:

It really does! We get some jealous Strike in this section, some lying-to-and-then-finally-breaking-up-with-Madeline Strike, a great deal of Strike being close with Robin – domestic scenes! Wanting to compliment her! Thinking that Hugh Jacks is proposing to her over text and actually SAYING something about it!

We also get some serious Robin love life development – she tells Hugh Jacks to fuck off, makes out with Pez Pierce, and accepts a date with Ryan Murphy. We get a really interesting insight from her about the different ways that men handle rejection, which I think really fits with the theme of the epigraph (and since the whole novel is kinda dealing with Strike feeling rejected… it’s a pretty important line lol)

Lindsay:

Oh, I love that point! I wonder if that’s something we can explore as we go through this section and compare this theme of rejection because it also extends to Gus as well and the whole incel thing too. 

But the second line of the epigraph is basically saying that matters of the heart will vary depending on who you’re talking to and that fits beautifully with both the personal and the case. 

With the personal, I’m focusing a lot on Strike’s heart and depending on who you ask you’re going to get very different responses about where his heart is at by all people involved so Strike himself, Robin, Madeline and even maybe Charlotte. They will all have very different perspectives when it comes to his heart. Does that make sense? 

Pools:

It makes sense! I think Madeline has sussed out where his heart really is by a few chapters into this part (“Sweet. It’s like you’re married, isn’t it?”) whereas Robin doesn’t realize she has is *heart*, and that he would actually want permanence with her… and Strike is, of course, still denying the “ventricles” of his own heart and refusing to give an account of it.

Lindsay:

And then of course it fits with the case where we’ve gotten so much negative information about Edie and TIBH, but this is the first time we’re getting to talk with someone who actually loved Edie and Josh’s view of her is one of love and sadness and regret and it’s a whole new perspective. 

Pools:

Yes, absolutely. We also talk to pretty much her only family in this part – Grant (who disliked her, and who rationalizes his actions so that he doesn’t feel guilty about his mistreatment of her) and Rachel (who never met her, but loved her work and is wracked with guilt over something she really shouldn’t be). It’s interesting that we get these two contrasting views from the people that are technically tied the closest to Edie in terms of DNA, yeah?

 

CHAPTER 58

Chapter Summary: Morehouse and Paperwhite discuss what happened to Vilepechora

Epigraph:

O shame!

To utter the thought into flame

Which burns at your heart.

• “A Curse for a Nation” – Elizabeth Barrett Browning

Lindsay:

As with a lot of the chat chapters where Paperwhite is involved, I think this epigraph reads differently once you know the twist. At first, it could seem like it’s such a shame that the thought burning in Morehouse’s heart is true- that his friend is a murderer, but now I’m reading it from Gus’s perspective where it’s feels more like ‘what a shame that Morehouse has put it all together because now I have to kill him.’ 

I guess it could also be speaking to Morehouse that it’s a shame he uttered his thoughts to the wrong person. 

Pools:

This poem is an interesting one. EBB originally wrote it as a condemnation of slavery in America – the writer is asked by an angel to write a curse against a nation across the sea – she objects, saying “I am bound by gratitude, \ by love and blood, \ To brothers of mine across the sea, \ Who stretch out kindly hands to me”; and “My heart is sore \ For my own land’s sins”; and “To curse, choose men. \ For I, a woman, have only known \ How the heart melts and the tears run down”.

For me, a lot of this echoes Morehouse’s reasons for reluctance to speak this “thought”, or take it to the police – he was brothers with Anomie, so can’t quite believe he did it; he himself feels guilty for being a part of this; he doesn’t think the police will listen because of his disability (obviously of course woman doesn’t equal disability; but in the 19th century women were firmly barred from politics and held to be weaker, inferior, etc – so her assertion that she’s the wrong one to write a curse would come from that context).

Anyway I just think it’s interesting because after all her objections, the speaker in the poem DOES write the curse – just like Vikas decides to, making a plan with Paperwhite; although the curse backfires on him. (INTERESTINGLY, this poem also backfired against EBB later, when the British press basically crucified her for being “anti-British” when she included it in a book of poems about some political situation with Italy)

 

CHAPTER 59

Chapter Summary: Strike spends the night with Madeline and takes calls from Dev, Katya, and Robin

Epigraph:

Presentiment is that long shadow on the lawn

Indicative that suns go down;

The notice to the startled grass

That darkness is about to pass.

• “XVI” – Emily Dickinson

Lindsay:

I really like this one. It’s speaking of the promise of bad things to come. The little signs of the inevitable. And it made me think of the relationship between Strike and Madeline. 

Kenz:

This epigraph feels especially eerie when you take into consideration that the office is going to be bombed in around 10 chapters.

Lindsay:

Oh! You’re totally right, Kenz. I didn’t even consider that this could be speaking to the anxiety that Strike is feeling over TH learning Robin’s name. Wow that’s probably a much better and more accurate interpretation than just Strike and Madeline. 

Pools:

I think that BOTH interpretations are really good! Strike is feeling that shadow all through the chapter – a “sense of foreboding” and “ominous feeling”. It is definitely related to the Halvening, but also when you “don’t think you can stand” to spend a Sunday with the person you’re dating… that’s a pretty ominous sign, my dude. (Also this epigraph is the WHOLE poem, bless Emily Dickinson for her brevity, which means I have no extra context to add lol) 

 

CHAPTER 60

Chapter Summary: Robin’s father is taken in to hospital and Strike helps Robin move into her new flat

Epigraph:

Oh, give me the friend from whose warm faithful breast

The sigh breathes responsive to mine…

• “A Faithful Friend is the Medicine of Life” – Mary Tighe

Kenz:

God, I love this epigraph. It makes me feel warm and fuzzy deep in my soul. 

Lindsay:

Yeah, I don’t really know what to say about this other than endless swooning. I guess I’ll say that I love the second line – the sigh breathes responsive to mine- because for me, it reflects Strike being responsive to Robin’s needs and being there for her and that doing that is as easy as breathing for them. 

The title is also fantastic! A Faithful Friend is the Medicine of Life- that’s exactly what this is. I have to tell you, it took me so long to do the notes for this chapter because I kept having to stop to just melt into a puddle of shipper goo. 

Pools:

I mean, big same. How does one even analyze this beyond just swooning? I guess what I love about this epigraph is that it emphasizes their friendship beyond anything else – they have that really strong foundation, they’re BEST FRIENDS and though we know they’re in love with each other… that friendship itself is so important. I’m tearing up thinking about them now.

 

CHAPTER 61

Chapter Summary: Gus as Paperwhite/Anomie discusses Robin saving Vilepechora on Drek’s Game with Hartella and Morehouse 

Epigraph:

Thus drive thou hence the phantoms; cleanse my soul!

Thou sweet enchantress, with the magic spells!

• “To Hope” – Mathilde Blind

Pools:

The poem is addressed to Hope – and it’s basically a lengthy ode to the power of hope, to step into the darkest and most despairing moments of our lives and give us a vision of possibility – which is, of course, exactly what’s happening here with Morehouse. He’s gotten a sense of hope from his plan with Paperwhite, he thinks he’ll be able to do something about this. The fact that Jo chose these specific lines from the poem – where hope is an “enchantress” with “magic spells” DOES seem to hint that Paperwhite is not as innocent as she seems – that she’s weaving a web of deception around Morehouse, snaring him in this hope.

Lindsay:

Well that reminds me of probably my all time favorite line of the series so far from LW: “It was a glorious thing, to be given hope, when all had seemed lost.” but in the worst way because it’s false hope. 

 

CHAPTER 62

Chapter Summary: Robin and Strike arrive at the hospital where Josh Blay is staying

Epigraph:

He left her, but she followed him—

She thought he could not bear,

When she had left her home for him,

To look on her despair.

• “She Sat Alone Beside Her Hearth” – Letitia Elizabeth Landon

Lindsay:

The first line immediately makes me think of Kea and Josh: He left her, but she followed him– so he left Kea for Edie and then Kea still pursued him and pursued hating Edie. But then the later lines make me think of Katya: When she had left her home for him, to look on her despair– This kind of reminds me of her leaving her home life to build this relationship with Josh, but it’s despair because she doesn’t have the kind of relationship she might wish she could. 

I guess I’m wondering if this epigraph is referring to both Kea and Katya. That would make sense since we get them basically fighting over him in the beginning  

Pools:

Interesting! The poem as a whole is about a young girl, who falls in love with a stranger and saves him from death before she marries him; he turns cruel and mean, and she despairs but loves him even more; when he leaves, she follows, and when he finally turns her away she kills herself by sending her boat over a waterfall. Which honestly, this poem is basically how Kea sees herself – sooo hard done by, so long suffering, sooo noble and pure in her love; she even threatens suicide in the letter she writes Josh. But of course, the way Kea sees herself does NOT align with everyone else’s reality lol. An ironic poem choice.

Lindsay:

I think you’re right that it’s probably mostly Kea, but I’m kind of interested in thinking about how it could also apply to Katya because both women kind of follow him and want more with him and both despair over what’s happened. 

 

CHAPTER 63

Chapter Summary: Strike and Robin interview Josh Blay

Epigraph:

Behold the agony

In that most hidden chamber of the heart,

Where darkly sits remorse…

• “Arabella Stuart” – Felicia Hemans 

• (Misattribution: This is actually Cathedral Hymn by Felicia Hemans)

Lindsay:

This one seems pretty straightforward to me that Josh is carrying around this intense remorse for everything that happened with Edie. Not just her murder, but his own behavior, his own inaction. He has a lot of flaws but you can really feel the agony he feels over them in this chapter and all of the things he wishes he had done differently. 

Also, every time I read this epigraph, I’m fooled by the first line because my mind instantly thinks ‘behold the agony’ is saying look at the agony he’s in because of his situation, but it’s almost more sad that that’s not what it means, that it’s the remorse he’s feeling that is his deepest pain right now. 

Pools:

Yes, such a good point about remorse being his greatest pain. This epigraph is lovely because the rest of the poem (after this bit) is really about divine forgiveness – the power of the confessional to restore the soul (there’s much more God in the poem than in this chapter, of course… but Josh is making a confession, and I think that it does help him)

Lindsay:

Oh, that’s got me a bit. I hope that Josh can forgive himself one day. 

 

CHAPTER 64

Chapter Summary: Strike interviews Grant Ledwell

Epigraph:

… he was glad to have an ear

That he could grumble to, and half in jest

Rail at entails, deplore the fate of heirs,

And the misfortune of a good estate…

• “Brothers, and a Sermon” – Jean Ingelow

Lindsay:

This seems to be the grumbling of Grant Ledwell. Like you suggested last time, Pools, the people at Maverick probably aren’t taking his calls so he’s glad to have Strike’s ear to complain to. 

The last line is also perfect for him ‘the misfortune of a good estate’ because he’s now inheriting all of this from Edie but he feels it’s bringing him misfortune, and I guess in some ways it is.

Pools:

Yes, this is very much Grant – in the poem, two brothers are conversing, and the elder is complaining about what anyone else would consider the good fortune of being born to inherit wealth, because he’ll have to sit around all day – it’ll make him lazy and useless, he’ll deteriorate, work is a man’s birthright, etc. etc. I feel like Grant is *trying* to put on this attitude that really, him getting Edie’s estate is a terrible tragedy and burden… but we all know he’s absolutely *salivating* for the cash.

Lindsay:

He definitely is, but there are other misfortunes like online harassment. It’s just easier to not feel as badly for these Ledwells!

 

CHAPTER 65

Chapter Summary: Anomie offers a moderator position to Robin, and Robin visits Highgate Cemetary as Jessica Robins

Epigraph:

Weeds triumphant ranged,

Strangers strolled and spelled

At the lone orthography

Of the elder dead.

• “XLI (41): The Forgotten Grave” – Emily Dickinson

Lindsay:

I feel like this is describing a walk through the cemetery and reading the tombstones and this is the only time we actually go to Highgate cemetery in this book. Which is kind of unexpected when it’s such a major setting. 

Pools:

Yes! It absolutely is. The poem describes the loss of history – the grave has passed out of memory, and only the wind can find the way to the long-ago tragedy. But nothing in this cemetery is forgotten – the tour guide remembers the story of each grave, the tourists listen avidly, the IBH fans know exactly where Edie was killed… it’s a contradiction of the poem in a way; the power of creative work has kept the memories of these people alive?

 

CHAPTER 66

Chapter Summary: Robin visits North Grove with Pez Pierce undercover

Epigraph:

One of the children hanging about

Pointed at the whole dreadful heap and smiled. . . .

There is something terrible about a child.

• “In Nunhead Cemetery” – Charlotte Mew

Kenz:

This is almost certainly about Bram, right?

Lindsay:

Most definitely. There is something terrible about a child, indeed! This child!

Pools:

The poem itself is so sad; it makes me think of Josh, and his pain at losing Edie. In the poem, the speaker is standing in the cemetery after the funeral of his fiancee, remembering his time with her and mourning what they’ll never have; he decides to sleep in the cemetery so that her soul, and all the other souls, can keep him company. 

But these lines – most definitely referring to Bram, the creepiest child; smiling at death.

 

CHAPTER 67

Chapter Summary: Robin interviews Pez as Jessica Robins

Epigraph:

Now he sets me down as vexed.

I think I’ve draped myself in woman’s pride

To a perfect purpose.

• “Aurora Leigh” – Elizabeth Barrett Browning

Pools:

More Aurora Leigh! I think this speaks to Robin’s clever manipulations of Pez Pierce very well – she’s embodied Jessica Robins completely – especially when she pulls back and acts “cold” to draw him in and get him to talk – she’s absolutely draped herself in “woman’s pride”!

Lindsay:

And the last line ‘to a perfect purpose’- her purpose was to get information out of him and she sure did that! 

 

CHAPTER 68

Chapter Summary: Robin visits Zoe and Strike listens to Robin’s interview with Pez Pierce

Epigraph:

The jealous doubt, the burning pain,

That rack the lover’s heart and brain;

The fear that will not own it fear,

The hope that cannot disappear. . . .

• “The Troubadour, Canto 2” – Letitia Elizabeth Landon

Kenz:

This one is most obviously about Strike’s jealousy about Robin kissing Pez and the other thoughts and feelings this stirs up

Lindsay:

Oh, definitely and it’s my favorite thing about this chapter. That last line ‘The hope that cannot disappear’ is so good when you apply it to Strike because that’s really been him throughout this book. He’s afraid to bring up The Ritz because he doesn’t want to be told a final no and diminish that hope he’s always had for something more! And I just…if this chapter with Strike being so jealous is as good as it is- and it’s amazing- TRG is going to be so good! 

But I think we have to also apply this to the other “couple” (although I hate using that word) because Robin overhears the argument between Zoe and TA TP and I could see this being applied to Zoe with her burning pain and her hope for her ‘relationship’

Pools:

Your interpretation is honestly spot on. I can’t add anything. Chef’s kiss.

 

CHAPTER 69

Chapter Summary: Drek’s Game gets a new moderator and Anomie blackmails Hartella

Epigraph:

She served him meekly, anxiously,

With love – half faith – half fear.

• “She Sat Alone Beside Her Hearth” – Letitia Elizabeth Landon

Lindsay:

I think this is about Hartella and Anomie. We see him tell her that she has to “do it” or take over as Anomie for him again and she’s doing it as this epigraph is describing- meekly, anxiously, half faith, half fear. 

Pools:

We’ve seen this poem before! It was also just used in chapter 62, with Kea and Katya and their feelings for Josh. But yeah I agree with you that this is about Hartella doing Anomie’s bidding. Her love of the game and fandom are being used by its creator, who has turned cruel (or at least, has turned his cruelty on *her*)

 

CHAPTER 70

Chapter Summary: The agency is sent a bomb

Epigraph:

While I was fearing it, it came…

• “XCVIII (98)” – Emily Dickinson

Lindsay:

I remember reading this and going: oh nooooo… I think I knew it was going to have to be something with TH because that’s been the biggest fear Strike and Robin have had in the recent chapters, but thankfully it doesn’t turn out bad!

Pools:

This poem is weird because there are two versions of it floating around on the internet – this one, and one where it says “While we were…”  and replaces “dear” with “fair” in line 4! I looked around and I couldn’t figure out why, but I found a biographical attribution for the “I” version in the complete poems 1924, and saw the handwritten version of it – but I couldn’t find anything for “we” so I assume it’s some later edition’s error or editing choice.

Going back to the actual relevance though, lol, yes! This is what they’ve been fearing, and it’s here. The poem itself says that the suspense of waiting for something bad to happen can be *so much worse* than the actual bad thing finally happening, and… yeah! That checks out with this poem. In the end, they weren’t hurt (and got some shiny new redecorating out of it lol). The suspense was worse than the bomb finally going off.

 

CHAPTER 71

Chapter Summary: Robin and Strike are interviewed by DCI Murphy and Neal Jameson

Epigraph:

These monsters, set out in the open sun,

Of course throw monstrous shadows: those who think

Awry, will scarce act straightly.

• “Aurora Leigh” – Elizabeth Barrett Browning

Lindsay:

I think this is referring to TH who attempted their attack in broad daylight and rightfully referring to them as monsters. 

Pools:

Yes, I think you’re right! Their monstrous shadow has fallen over the office, as it were. It’s interesting to me that this bit in the poem is from Lady Waldemar (the Charlotte) talking to Aurora about Romney Leigh – she’s saying that he’s a monster because his heroic, godlike image is connected to a mortal man, with mortal failings (i.e. he’s about to marry Marian, the poor girl who’s basically his charity case). I was trying to connect this to the Strike-as-Romney parallel, but couldn’t really think of much. But could this be a clue about Murphy somehow??

Lindsay:

I think this is one of those times where it’s probably just about TH. Monsters! 

 

CHAPTER 72

Chapter Summary: Robin and Murphy discuss Anomie

Epigraph:

You face, today… mark me, not

A woman who wants protection. As to a man,

Show manhood, speak out plainly, be precise

With facts and dates.

• “Aurora Leigh” – Elizabeth Barrett Browning  

Lindsay:

I think the first part of this speaks to Robin not wanting protection and wanting to stay at home- she tells Murphy that she’s fine at home when he suggests going to stay with friends. But the second half, I think is about Murphy and yes, he tells her facts of the arrest they’re about to make, but I think this is more about the personal and him telling her about his divorce and alcoholism. 

Pools:

I really interpret this as Robin’s desire to be treated with respect, as an equal… and also, yes, to maybe have ONE EXPERIENCE with a man who will just straight up express his interest and ask her out… in a respectful way of course…

Lindsay:

I don’t know if I see this as her desire…yet. She’s not seeking this out with Murphy here. I think it’s because he does those things that makes her agree and say ok, this is something I’m going to say yes to even though she’s still reluctant. 

 

CHAPTER 73

Chapter Summary: Morehouse and Paperwhite come up with a plan

Epigraph:

My rival his mischief devises–

What matter? his treachery’s void.

I scorn him: I know whose the prize is.

• “The Last Performance” – May Kendall

Lindsay:

Ohh I really like this one because I think it’s another one that fools you on the first read. Initially, I thought this was about Morehouse thinking about Anomie and how he’s become his rival and he’s making this plan to take him down, but really… it’s Gus thinking about how Morehouse has betrayed him and he’s going to be the one with the prize at the end. 

Pools:

Yes! And this poem is SO good for this situation, because the lover has won the affections of the woman he loves – but it is all a play, a comedy; he has her love until the curtain goes down: “And I, the poor fortunate lover, \ Am standing alone on the stage ; \ And all the performance is over.” I think this really is a clue that the relationship between P and M is a falsehood, a “play” for his benefit – and the ominous ending suggests that it’s coming to a close.

 

CHAPTER 74

Chapter Summary: Strike gets ready to stay with Robin

Epigraph:

Yet– sayest thou, spies around us roam. . .

That there is risk our mutual blood

May redden in some lonely wood

The knife of treachery?

• “The Wood” – Charlotte Brontë

Lindsay:

I think this is just talking about the threat of TH around them… 

Pools:

We’ve had this poem before, in Chapter 19! It was one of my absolute favourites, because I really felt it spoke to Strike and Robin… I went on at length but I won’t repeat myself, just go listen to the episode lol. But the poem itself fits what’s happening so well – it is a plea from the speaker to her beloved to face danger together, to trust in her strength and let her bolster his. So not only are these lines perfect for the threat that TH poses – the larger theme is speaking to Strike’s desire to stay with Robin, to be with her and to protect her, to make sure she isn’t alone… honestly though if I had to recommend one poem from these epigraphs, it’ll be this one.

 

CHAPTER 75

Chapter Summary: Strike stays the night with Robin 

Epigraph:

It gave your curses strength, it warmed

Your bones the coldest night,

To feel you were not all alone

Again the world to fight.

• “The Witch’s Last Ride” – Emily Pffeifer

Lindsay:

Just kill me with this one! Seriously! 

Pools:

Seriously! Swoon town!

The actual poem is *not* what I expected at all… it’s the story of a witch’s last imagined ride (full of all kinds of evil) before she dies. I think the Jo must have just thought these lines were PERFECT for Cormoran and Robin. And they are! They have each other, they’re not alone. What more can you say?

Lindsay:

That’s interesting? I guess this is evidence that it’s just the lines she chooses that are the important bits? 😉 I tease! 

 

CHAPTER 76

Chapter Summary: Strike and Robin drive to the Upcotts

Epigraph:

What inn is this

Where for the night

Peculiar traveller comes?

• “XXXIV (34)” – Emily Dickinson (This is actually 115 by Emily Dickinson)

Lindsay:

This is an epigraph that I remember reading and understanding that Strike and Robin were about to stay somewhere overnight before I read it. It made me excited. 

Pools:

It makes me laugh because the speaker in the poem is complaining about the inn as well. No fire in the hearth! No beer! No one to carry imaginary luggage and no lift to the attic!! But yes, our travelers (not sure how peculiar they are, bit rude of the poem!) are headed afield… soon to need an inn for the night.

Lindsay:

That’s funny. I wonder if Jo read the poem and thought, ‘that’s very Strike!’ And maybe it’s their circumstances that are peculiar? 

 

CHAPTER 77

Chapter Summary: Strike interviews Inigo Upcott

Epigraph:

You weep: ‘I had such lofty aims.

My soul had yearnings truly great.

Than broken altars, dying flames,

I had deserved a better fate. . .’

• “Failures” – May Kendall

Lindsay:

Do you think this is Inigo’s feelings about his own life? All the goals he had that he feels he missed out on because of his diagnosis? 

There’s a line later in the chapter where Inigo says: “I happen to know exactly how it feels to be cut off in one’s prime,’ Inigo continued, ‘to know that one could have excelled, only to watch others succeed while one’s own world shrinks around one and all one’s hopes for the future are dashed.”

Pools:

I think that’s exactly what these lines refer to. The poem itself really exemplifies Inigo’s attitude; the speaker accuses the Failure of thinking that their failures were so much more tragic than anyone else’s – because the Failure thought that he was the *most special* and deserved the greatest success. The speaker is really lecturing him to get some perspective (literally the “People are dying” meme)

Lindsay:

I was wondering what Strike’s thoughts would be about this and I’m going to jump ahead again into the chapter because the line I just read about Inigo causes him to get a little emotional and it says: 

“But if Inigo Upcott was expecting sympathy from Strike, he was disappointed. He who’d once lain on a dusty road in Afghanistan, his own leg blasted off, with the severed torso of a man who’d minutes previously been bantering about a drunken stag night in Newcastle lying beside him, had no pity to spare for Inigo Upcott’s crushed dreams. If Upcott’s work colleagues and bandmates hadn’t been inclined to generosity, Strike was ready to bet it had been due to the bullying, self-aggrandising nature of the man sitting opposite him, rather than any lack of compassion. The older Strike got, the more he’d come to believe that in a prosperous country, in peacetime – notwithstanding those heavy blows of fate to which nobody was immune, and those strokes of unearned luck of which Inigo, the inheritor of wealth, had clearly benefited – character was the most powerful determinant of life’s course.”

Paula:

I think your analysis is spot on. This is such a powerful passage.

Pools:

I agree! This works so well with the message of the poem, you’re spot on here.

 

CHAPTER 78

Chapter Summary: Strike and Robin debrief after their interview with Inigo, and Robin receives unpleasant news about TH

Epigraph:

Why should I praise thee, blissful Aphrodite?

Thou dost not guide,

Rather with conflict dire my mind divide…

• “Ψάπφoι, τί τ?ν πoλύoλβoν’ Aφρóδιταν” – Katherine Bradley & Edith Cooper

Kenz:

This was written under the pseudonym Michael Fields as part of something called ‘Long Ago, but I’m not sure if it’s a poem or something larger— Pools, were you able to get more information on this?

Pools:

Actually, the volume of poetry is called Long Ago; this poem in the volume is I BELIEVE in the table of contents as the first line, “Why should I praise thee…”; or as lyric XXIV.  The Greek title is (again, I *think*) a fragment of Sappho that translates to: Sappho, why [celebrate or worship] most happy Aphrodite? At least that’s what my googling came up with, and although I can’t read Greek the letters look the same to me as the fragment, comparing them]

https://pdfs.semanticscholar.org/b23c/123d693ddd775f37e10413c7b74d06433d56.pdf

Lindsay:

I do love that she used these authors since she too uses a male pseudonym. 

Kenz:

I’m thinking this might have to do with Strike avoiding Madeline and choosing Robin over her, what do you guys think?

Lindsay:

Yeah, I think you’re right. Venus is the Roman Aphrodite, right? It connects back to the Tannhauser reference for me where Tannhauser is trapped by Venus but escapes. Here, our Tannhauser is about to make his escape! Is it too much of a stretch to read this like: Why should I praise you when you’re just dividing my mind from the thing I should be focusing on? 

Kenz:

Not at all, I think you’re exactly right!

Lindsay:

I guess it’s what he does, right? In this chapter, both Madeline and Robin need care from him, in a way. Madeline wants to have a proper talk and we know from when they actually talk that she was hoping for a resolution and continuation of the relationship and Robin, not necessarily asking for it, needs his support from the shock of finding out there are members of TH outside her apartment. Strike makes a very clear choice and chooses Robin. 

Remember in our last episode, Pools, where you wondered what Strike’s ‘trying’ would be like with Robin? I was thinking about this afterwards and it hit me that…I think we’re kind of already seeing it. Look at her birthday. Look at him showing up when she moved or making practical plans in this chapter- he’s already putting in that effort to make her happy, right? He’s being open ish with her about needing to diet and his leg… The talking part needs more work, but he puts in more work in with his relationship with Robin than literally anyone else. 

Pools:

It’s so true, he is already putting in the effort with Robin that he isn’t with Madeline, and hasn’t with any of his other girlfriends. Once they finally start doing the talking thing… it’s going to be like a dam breaking. We’re going to drown in the emotions of him being exactly what Robin wants and needs.

 

CHAPTER 79

Chapter Summary: Strike breaks up with Madeline

Epigraph:

Love never comes but at love’s call,

And pity asks for him in vain;

Because I cannot give you all,

You give me nothing back again.

• “An Insincere Wish Addressed to a Beggar” – Mary Elizabeth Coleridge

Pools:

When I was making these notes I briefly read “Beggar” as “Badger” and… I want to read that poem. 

Kenz:

An Insincere Wish Addressed to a Badger sounds both amazing and hilarious, and it needs to exist.

Lindsay:

Do you think this is Madeline’s voice here? I can’t give you everything when you give me nothing back. It’s a bit more sympathetic than I’m willing to be… I mean, I get it. That part of it is painful that she went into it hoping for something that he can’t give, but her behavior ruins the sympathy.

Pools:

I think that this is definitely from her perspective – the rest of the poem makes it clear; consider these lines: “For wealth has lifted me above, \ And falsehood set you down below.”  and “You can’t forget that I am rich, \ Nor I that you are telling lies.” The money/fame thing has been a huge issue for Madeline, even though she doesn’t bring it up here (and even though it has zero basis in reality…); the lines about lies are pretty telling too. I think that the use of this poem emphasizes that Madeline really doesn’t understand where their fundamental incompatibility really is.

 

CHAPTER 80

Chapter Summary: Robin convinces Rachel Ledwell to speak with her

Epigraph:

I know not what can ease my pains,

Nor what it is I wish;

The passion at my heart-strings strains

Like a tiger in a leash.

• “Oh, Is It Love?” – Amy Levy

Lindsay:

If this is about Strike and Robin, I’m going to melt into a puddle like Alex Mac (please someone know that show) 

Pools:

Of COURSE I know that show! It was classic!

Lindsay:

Strike is *so* close to acknowledging his feelings for Robin in this chapter! And that fits perfectly with this passage. The first two lines “I know not what can ease my pains, nor what it is I wish” that’s the confusion/denial he’s still in about what it is he feels for her and the name he won’t give it. And the last two lines “The passion at my heart-strings strains like a tiger in a leash” that’s literally the love in his heart straining and pulling, trying to be let free from Strike holding back that leash!! 

It’s even in the title!  “Oh, Is It Love?” Yes, yes it is, you doofus! 

Pools:

Agree completely on all counts! It IS indeed love and this poem is ABSOLUTELY about their feelings for each other (particularly Strike, since he’s still not giving it a name)

Lindsay:

Yup, I’m Alex Mac! This is such a good chapter! 

 

CHAPTER 81

Chapter Summary: Morehouse and Paperwhite arrange to FaceTime, with dire consequences…

Epigraph:

… golden gates between us stretch,

Truth opens her forbidding eyes…

• “An Insincere Wish Addressed to a Beggar” – Mary Elizabeth Coleridge

Lindsay:

Very much unlike Strike’s eyes being opened at the end of the book, Morehouse’s eyes are going to be opened by the end of this chapter (ugh before permanently being shut), but as the passage suggests, it’s not good. This whole entire online relationship he’s had with Paperwhite was one giant Mousetrap and he’s about to learn the truth.

Pools:

Because he is the Mouse…and this is the trap, crying emoji.

Lindsay:

Do you remember the board game, Mousetrap? It’s like that, but Gus is playing alone. 

Pools:

Oh man the reappearance of this poem so quickly, and the flip from Madeline/Strike to Paperwhite(Gus)/Morehouse(Vikas) is fascinating. There is a gulf between Paperwhite and Morehouse, built from Gus’s lies, that Vikas doesn’t even see is there; he’s been taken in, made to believe that he’s about to have everything he wants… and Anomie/Gus is about to beggar him/reveal the truth, as in the final stanza: “May Heaven beggar me ere long, \ And Truth reveal herself to you!”. It was an “insincere wish” from the speaker of the poem, and now it becomes an all-too sincere action from Anomie; he brings Morehouse down, but in doing so he also makes *himself* a beggar – he’s just killed his only friend, his partner, the coding brains behind his empire. Paperwhite’s lies to Morehouse are exposed, and so are Morehouse’s lies/betrayal to Anomie (although they were always exposed). I’m not sure where I’m going with this, but I think that there’s a lot to play with in this poem with the perspectives of both of these characters.

 

CHAPTER 82

Chapter Summary: Robin interviews Rachel Ledwell

Epigraph:

Girls blush sometimes because they are alive,

Half wishing they were dead to save the shame…

They have drawn too near the fire of life, like gnats,

And flare up bodily, wings and all.

• “Aurora Leigh” – Elizabeth Barrett Browning

Lindsay:

My first thought was that this could be speaking to Rachel’s experience with being a young woman, but I’m not really sure. She’s bullied for not being ‘girly’ enough by some mean girls at school and she’s harassed and sexualized online by perverts and incels. 

Maybe I’m projecting because I think we can all (women and girls) relate to that- those first two lines really take me back to being 11 or 12, just about to hit puberty and feeling so embarrassed by it, simply because I’m a girl and the things that would happen or knowing people would be paying attention to changes.

Pools:

I mean you’re so right about being young and embarrassed by it all! This epigraph reminds me of Troubled Blood – remember the bit in the epigraph where the title came from? Where a blush betrays someone’s feelings? Rachel blushes at the end of this chapter, when she’s talking about finding Vikas’s picture…

Lindsay:

Yes! I looked it up and it’s chapter 64 of TB “…his hand did quake, and temple like a leafe of Aspin greene, And troubled blood through his pale face was seene to come, and goe with tidings from the heart, as it a ronning messenger had beene.” And that’s the chapter where they interview Steve Douthwait in Skegness and his face and emotions is what clues Strike in that he’s hiding something. 

Pools:

But the context of this stanza in the full poem makes me think that you’re onto something! Aurora’s aunt has just told her that it’s obvious she’s in love with Romney; she blushes, and her aunt takes it as confirmation, but internally she denies that she’s in love; she can’t control her blushes, they don’t signal her real feelings; she feels shame at this.

I think that sense of shame at how others see us for things we can’t control, even things that aren’t true – that’s key, as you said, for Rachel in this chapter. 

 

CHAPTER 83

Chapter Summary: Strike and Robin debrief after the interview with Rachel Ledwell, and Midge calls with evidence against Jago Ross

Epigraph:

They are all of them so faithless,

Their torment is your gain;

Would you keep your own heart scathless,

Be the one to give the pain.

• “Cottage Courtship” – Letitia Elizabeth Landon

Pools:

To me this is really speaking to the whole Kosh/PUA/incel mindset; viewing women as “faithless”, thinking that the best way to… I don’t want to say make a connection with a woman, because that’s not what they’re trying to do, is it? It’s simply about acquiring women like objects, collecting as many as possible to them. But the whole nasty, negging, pre-scripted, heartless approach to human relations is seen by them as a way to “win”, to avoid being “taken advantage of” by a woman. The poem as a whole is about the “strategy” of keeping a lover by not being *too* nice – keeping your lover on their toes, insecure, hoping for a smile; that’s how you keep them invested. 

Lindsay:

I also thought about the Kosh book for this one and now that you’ve just given more context for the whole poem, yeah I think that’s it. 

 

CHAPTER 84

Chapter Summary: Strike and Robin find Morehouse/Vikas dead

Epigraph:

What was my sin, to merit this?

• “Zara” – Christina Rossetti

Lindsay:

I feel like this is the last message we get to hear from Morehouse. What did he do to deserve this? 

Kenz:

Just for doing the right thing…god, this is so sad.

Pools:

Rossetti actually wrote THREE poems called Zara in the same period (which; could she not differentiate their titles even a little? The paper I read identified each by their first lines). They were a part of a collection of eight poems exploring characters and situations from the work of gothic novelist Maturin (the Zara poems are based on his novel Women). This particular epigraph is from the Zara which begins “The pale sad face of her I wronged…”. The poem itself is a journey through the speaker’s feelings about love betrayed; it travels through guilt because her love inadvertently wronged another woman, to anger and a desire for revenge at the man who betrayed her, to the sad fact that she still loves him, and the vain hope that one day he might come back to her. I think the parallels with Morehouse and Gus/Paperwhite are definitely there… 

 

PART 5

Epigraph:

At the apex the fibres turned suddenly inwards,

into the interior of the ventricle,

forming what is called the vortex.

• “Gray’s Anatomy” – Henry Gray FRS

Lindsay:

Where the last one was talking about how everything is complex and you’re getting different stories from different people, now we’re starting to turn inwards and get to the heart of the thing, if you can excuse the pun. 

It works for the case because, after this, it really kind of snowballs even though the path to Anomie becomes more complicated with Vikas being dead. 

And it also works for the personal- now that he’s ended things with Madeline and after he was SO close to realizing he was in love with Robin the night before, things are turning more inward for Strike- (is this part where he goes to the hospital?) not just with Robin, but with his health and leg. 

Pools:

Yes! Completely agree. Part Five is leading up to and contains the climax of the novel – all of the fibres turning inwards and coming together as a “vortex” is very appropriate imagery.

 

CHAPTER 85

Chapter Summary: Strike and Robin speak to the police after finding Vikas’s body

Epigraph:

I thought my spirit and my heart were tamed

To deadness; dead the pangs that agonise.

• “The Old House” – Amy Levy

Lindsay:

I think this is probably mostly about Robin’s feelings about finding the body. I’m sure it’s not fun for Strike, but we see her internal struggle a little more than we do his. This is Robin’s third body now? (Chiswell, Margot and now Vikas?) and I think the epigraph is saying that you might think you’re used to it, but the horror of it is still shocking. 

Pools:

Yes, I think you’re right about this interpretation. Robin says she’s fine, and it’s not true; she wants to get away from Cambridge, where this fresh horror has imprinted itself on her mind… I think the poem itself is about a woman confronting the ghost of her past self, and her own past innocence – thinking that she’s past feeling grief, but feeling it fresh again at the memory of who she used to be (sort of like Robin thinking about running down the beach towards the donkeys as a child in TB!). 

 

CHAPTER 86

Chapter Summary: The agency has a team meeting

Epigraph:

Oh weary impatient patience of my lot!–

Thus with myself; how fares it, Friends, with you?

• “Later Life: A Double Sonnet of Sonnets” – Christina Rossetti

Lindsay:

I think this is just showing how they have an agency meeting and everyone tells what’s going on with the cases they’re working on!

Pools:

“Weary impatient patience” is a pretty accurate summary of both Robin and Strike at this point lol! I think you’re definitely right about this.

 

CHAPTER 87

Chapter Summary: Strike visits the Rosses’ estate and breaks his connection with Charlotte for good

Epigraph:

Great loves, to the last, have pulses red; 

All great loves that have ever died dropped dead.

• “Dropped Dead” – Helen Hunt Jackson

Lindsay:

Oh, this is such a great epigraph! If there is anyone out there, who doesn’t believe that Strike is totally over Charlotte, please let me point your attention to this epigraph where it talks about love dropping DEAD!

Pools:

Yessss, it’s SO evocative of The Moment – that single second where whatever love Strike felt for Charlotte still is wiped out. It is completely over for him, and this chapter is when the fatal blow (to his love) is dealt. It’s FANTASTIC.

Lindsay:

It really is. It has to be one of the most exciting ones in the whole book for me. 

 

CHAPTER 88

Chapter Summary: Robin tells Strike about being banned from Drek’s Game

Epigraph:

Behold, how quickly melted from your sight

The promised objects you esteemed so bright…

• “Sonnet” – Mary Tighe

Kenz:

I think this is speaking to Robin being banned from the game, and the hope of experiencing a breakthrough in the case because the mod chat slipping away.

Lindsay:

I think you’re exactly right. Getting in with the mods has been something they’ve been putting a lot of hope in and we know from one of the last chapters that Strike tells the whole team that he thinks it’s the key to breaking the case. In this chapter, we see that hope just taken away so quickly, like the epigraph says. 

I want to also be shippy for a second! Becahttps://thesefilespod.com/wp-admin/admin.php?page=cptui_listingsuse this epigraph is how I felt at the end of this chapter where I was on the edge of my seat with the two of them sitting on a bed in a hotel room, drinking whiskey and Robin wearing…very little…and Strike all heart eyes for her and then he just gets up and leaves! Yeah, BEHOLD! How quickly it melted from my sight the promised shippiness I esteemed so bright! 

Pools:

I love both of these interpretations! (and yes BIG MOOD to that last bit Lindsay). I also think this might be reiterating Strike’s disillusionment with Charlotte – he once esteemed her, and saw a future with her, but now (quoting this poem): “Wearied, she seeks repose, and owns at last \ How sighs, and tears, and youth, were spent in vain, \ While languishing she mourned in folly’s sad control.” Obviously we need to switch the sex of the speaker here, but he’s seeking rest and comfort with Robin – and he’s realizing just how much he wasted on Charlotte (and properly feeling a bit foolish about it…).

Lindsay:

Aw, that’s great too. It really is my favorite thing when the epigraph works for both the case and the personal. I’m just always so impressed with her ability to choose such perfectly fitting epigraphs!

 

CHAPTER 89

Chapter Summary: Murphy invites Robin and Strike to New Scotland Yard to discuss the case

Epigraph:

The mighty are brought low by many a thing

Too small to name…

• “Danger” – Helen Murphy Hunt

Lindsay:

I think this epigraph is about TH and their downfall. 

Pools:

I agree, that’s exactly what this is about! The poem describes how people will go to any lengths to feel that they’re safe; construct huge defenses and fortifications; but they can never know everything, and it can be the tiniest thing that brings them down. For TH, it’s getting to drunk and carelessly saying a name. For Anomie… using musicians as twitter sockpuppets and a fear of dogs.

 

CHAPTER 90

Chapter Summary: Robin and Strike discuss points of the case they didn’t discuss with Murphy

Epigraph:

We lack, yet cannot fix upon the lack:

Not this, nor that; yet somewhat, certainly.

We see the things we do not yearn to see

Around us; and what see we glancing back?

• “Later Life: A Double Sonnet of Sonnets” – Christina Rossetti

Pools:

This is another very close repeat! We just got this poem as the epigraph of 86, the chapter where they catch up and have a team meeting. I think this is pointing towards the fact that there’s a piece of information they can’t see, but that they don’t even KNOW they can’t see (all the sockpuppets, especially the LepinesDisciple connection, actually being Anomie). With that piece of info, everything would come together… but they don’t know they aren’t seeing it – even when Strike sees SO MUCH ELSE that’s right about the case.

Lindsay:

Yeah, I don’t have anything to add. I think you’re right. 

 

CHAPTER 91

Chapter Summary: Strike speaks with Yasmin Weatherhead

Epigraph:

Her hair stood back on either side

A face bereft of loveliness.

It had no envy now to hide

What once no man on earth could guess.

It formed the thorny aureole

Of hard unsanctified distress.

• “The Other Side of a Mirror” – Mary Elizabeth Coleridge

Pools:

Another repeat poem, from chapter 49, where Strike interviews Kea Niven. Last time, I argued that the woman in the mirror was Kea’s conjured-up image of herself – the suffering victim, an object of pity. Here I think it’s much more straightforward – all of Yasmin’s confidence and delusion has been stripped away from her, and she has nothing to hide behind; her distress and fear is completely visible.

Lindsay:

Yeah, I agree with you. I think that Yasmin’s delusion of her situation and her behavior is equal to Kea’s own delusions about herself and her behavior so I really like that you’ve pointed out that this same poem is used for both of them because I think they’re the two characters who are really living in that made up world. (Maybe Nils too but he’s less important) 

 

CHAPTER 92

Chapter Summary: Robin convinces Rachel Ledwell to send her the picture Paperwhite sent to Morehouse

Epigraph:

To-night again the moon’s white mat

Stretches across the dormitory floor

While outside, like an evil cat

The pion prowls down the dark corridor,

Planning, I know, to pounce on me, in spite

For getting leave to sleep in town last night.

• “The Fête” – Charlotte Mew

Pools:

Another repeat poem, this one from chapter 40! I think this pretty obviously speaks to Robin’s moments of fear, alone in her apartment. Both her general anxiety about TH, AND those specific moments where she hears a noise outside and even worse, when she gets a death threat over the phone. 

Lindsay:

Yes, 100% I agree. Anomie is the evil cat. 

 

CHAPTER 93

Chapter Summary: Strike is accosted by Madeline, and Robin tells Strike about the death threat she received

Epigraph:

My clothes are wet, and my teeth are set,

And the way was hard and long. . .

Oh, lift me over the threshold, and let me in at the door!

• “The Witch” – Mary Elizabeth Coleridge

Lindsay:

I think this is just about Strike trying desperately to make it home. 

Pools:

Totally! It definitely describes his journey. Another interpretation, though, could be related to the poem as a whole; the titular Witch is begging to be let into someone’s home: “Her voice was the voice that women have, \ Who plead for their heart’s desire.”; but when the person *does* hurry to let her in and lift her over the threshold, the *very spooky* ending implies that that was the *last* thing they ever did: 

“She came—she came—and the quivering flame

Sunk and died in the fire.

It never was lit again on my hearth

Since I hurried across the floor,

To lift her over the threshold, and let her in at the door.”

I feel like this is *very* Madeline, wanting Strike to want her (although at first she’s on the offensive her of course lol); but he lets her in at his own peril. As he is about to discover.

Lindsay:

So what you’re saying is that Madeline would have killed him if he’d let her in? LOL I do think that this passage is best suited to Strike in this chapter, but I do like that dark twist at the end of that poem!

 

CHAPTER 94

Chapter Summary: Madeline assaults Strike in the street

Epigraph:

And that was when I thrust you down,

And stabbed you twice and twice again,

Because you dared take off your crown,

And be a man like other men.

• “Mortal Combat” – Mary Elizabeth Coleridge

Lindsay:

When I first read this, I thought…oh no. It was the stabbing bit that worried me, you know? 

But I do like the last two lines about taking off your crown and being a man like other men. My first instinct was to say it wasn’t fair to Strike because he wasn’t pretending to wear a crown, but I don’t know, maybe you could say he was ‘pretending’ (even if he didn’t realize he was pretending) when he said that he was trying with her. 

Pools: 

Totally agree with all this! I think this epigraph is most definitely about Madeline (literally!) attacking Strike. And yeah I think that we could frame his “crown” as him telling himself he was really trying. Or perhaps the crown is more Madeline’s rose-coloured glasses making him look like someone he wasn’t.

 

CHAPTER 95

Chapter Summary: Anomie intimidates Worm28

Epigraph:

But this place is grey,

And much too quiet. No one here,

Why, this is awful, this is fear!

Nothing to see, no face.

Nothing to hear except your heart beating in space

As if the world was ended.

• “Madeleine in Church” – Charlotte Mew

Lindsay:

This epigraph is speaking to the state of Drek’s Game now that everyone is leaving, or at least the mods who know something is up. No one is there and that ‘s because of fear- the fear of Anomie. 

Pools:

I think you’re absolutely right! The world of Drek’s Game is definitely coming to an end…

 

CHAPTER 96

Chapter Summary: Strike visits the hospital for his leg

Epigraph:

Work man, work woman, since there’s work to do

In this beleaguered earth, for head and heart…

• “Aurora Leigh” – Elizabeth Barrett Browning

Lindsay:

I think this is just talking about Strike and Robin continuing to work even though they’re both kind of trapped and stuck in different ways. 

Pools:

It’s interesting because in this long passage, Romney is telling Aurora that men are the head and women the heart, both being complete and whole separate spheres, working together to make the world (or human life). I just like how in this chapter, both Robin and Strike are doing “head” work, stuck but still working in the intellectual realm; but they both have *heart* work to do too, inside themselves, sort of… (that is, working on their own emotional realms. If that makes ANY sense).

 

CHAPTER 97

Chapter Summary: Strike and Robin speak with Nicole Crystal

Epigraph:

Was she a wicked girl? What then?

She didn’t care a pin! 

She was not worse than all those men

Who looked so shocked in public, when

They made and shared her sin.

• “The Message” – Mathilde Blind

Pools:

I think this is speaking to Nicole’s complete lack of shame or regret in sending nudes – she literally does not care one bit. 

Lindsay:

Yeah, I completely agree. 

 

CHAPTER 98

Chapter Summary: Robin experiences a breakthrough in the case

Epigraph:

Leering at each other,

Brother with queer brother;

Signalling each other,

Brother with sly brother.

• “Goblin Market” – Christina Rossetti

Lindsay:

I think this is about all of Anomie’s sock puppet accounts because we see Robin telling Strike in this chapter how all of these accounts are circling around each other and signaling each other, as the poem says. 

Pools:

Yes, absolutely agree! This is another repeat poem – but the goblins in it are, I think, a very appropriate symbol for these trolls. In the poem, they are merchants selling deceit and death; in the poem, when Lizzie won’t eat their fruit, they attack her and try to force feed her – the passage in the poem evokes a strong sense of sexual violation. There could not be a better poem to sum up the behaviours of these “sly brothers” 

Lindsay:

As a side note, can we start calling online trolls, goblins? I kinda like that. ‘Oh that so and so, she’s such a goblin!’

I just have to say, it’s so funny to me that Robin was so upset about Strike wanting her to stay in and research the Lep D account and she argued that it was pointless and Strike thought so too, but look! She cracks the case with her discovery that these accounts are connected. It also happens to Strike earlier when he’s unable to walk but figures out who Thurisaz is by researching on twitter! 

Pools:

Wow I guess the takeaway here was that Twitter was useful and not a huge waste of time all along! I feel better about my scrolling habit now lol.

Lindsay:

I guess we’re not solving a murder, but you never know!!

 

CHAPTER 99

Chapter Summary: Robin gets a call from Zoe Haigh

Epigraph:

We never know how high we are

Till we are called to rise…

• “Aspiration” – Emily Dickinson

Lindsay:

Strike and Robin are literally called to action in this chapter when Zoe calls but up until then, the limitations that Strike is under right now haven’t been such an issue yet. So when it says ‘we never know how high we are’ I’m imagining this invisible line where Strike has almost reached the end and he can’t push himself any further and now it’s being tested with this call to rise to action. Does that make sense? 

Pools:

It does, yes! It’s a really interesting interpretation. I was kind of feeling it was related to the courage it took for Zoe to make this phone call, to take this step to betray Anomie. She’s been a sad, powerless figure for pretty much the entirety of this book – but she received a “call” in the form of her conscience and Anomie’s confession, and now she’s going to rise to it – to get Edie justice.

Or I just realized that “high” could be, like… close to the truth. And Zoe’s calling them to come find it. (Especially the truth about PW)

Lindsay:

Ok, interesting! I wasn’t even thinking of it connecting to Zoe because I was focused on Robin getting the call, literally, you know? But I like that we can find ways to apply it to both sides of the phone call!

 

CHAPTER 100

Chapter Summary: Robin and Strike argue about Strike taking risks in his condition

Epigraph:

But a wild courage sits triumphant there,

The stormy grandeur of a proud despair;

A daring spirit, in its woes elate,

Mightier than death, untameable by fate.

• “The Wife of Asdrubal” – Felicia Hemans

Lindsay:

Obviously, this is about their argument and we know that the wild courage the passage is referencing is Robin’s courage to confront Strike because the chapter tells us that she had to gather hers…and she’s triumphant in the argument she’s making. 

Pools:

Yes, absolutely! It’s interesting to me that this poem is (I believe) describing a moment during the Fall of Carthage – an ancient city being destroyed, razed to the ground after a lengthy siege. And isn’t that where Strike’s at now? He’s been absolutely demolished – Robin needs him to acknowledge that and rebuild.

Lindsay:

Is the second line Strike? It feels very Strike to me.

Pools:

Technically (aka grammatically) no, because the clause is modifying to the subject of the sentence, the courage. HOWEVER, I am perfectly happy to ignore grammar when it suits, and “the stormy grandeur of a proud despair” describes Strike in this chapter SO WELL that I think yes. That’s Strike, sentence structure can go fuck itself.  

Lindsay:

Well yeah, it’s just one of those where one line seems really suited to Robin and the other seems really suited to Strike. 

 

CHAPTER 101

Chapter Summary: Robin speaks to Zoe face-to-face

Epigraph:

My men and women of disordered lives…

Broke up those waxen masks I made them wear,

With fierce contortions of the natural face–

And cursed me for my tyrannous constraint…

• “Aurora Leigh” – Elizabeth Barrett Browning

Pools:

I think that this is definitely referring to Anomie, who has lost control of his little digital fiefdom – all his mods have deserted him, BD can’t do what he wants, and then “Worm” exposes his puppet – the fierce grip he had on these people is gone. 

I think it might also have a double meaning, with TATP and Zoe – in the poem, this is Romney complaining that people rebelled against his charity work, that he had rocks thrown through his windows because of it, etc. His tone is very much “these people just won’t understand what’s good for them” but given what we know of the Tim/Zoe Romney/Marian parallel, I think this is also referring to the tight grip he’s kept on Zoe, to try and hide his predatory behaviour and hypocrisy. The grip has slipped as well, and he’s about to lose control of her entirely.

 

CHAPTER 102

Chapter Summary: Strike confronts Tim Ashcroft

Epigraph:

… and since you’re proved so vile,

Ay, vile, I say–we’ll show it presently…

you tricked poor Marian Erle,

And set her own love digging its own grave

Within her green hope’s pretty garden-ground…

• “Aurora Leigh” – Elizabeth Barrett Browning

Lindsay:

You know what I’m kind of annoyed by? Why did it take me until Jo said on twitter that she paralleled Zoe with Marian Erle to see it when it’s literally right here? 

Pools:

Haha! YUP it is right here in front of us! Zoe has been exploited and abused; Tim has used her love of him to take advantage of her, to control her life and make her miserable. In the poem this passage is actually addressed to Lady Waldemar, but I don’t think that matters so much. The parallel is clear!

 

CHAPTER 103

Chapter Summary: Robin and Strike talk about her interview with Zoe

Epigraph:

Much is finished known or unknown:

Lives are finished; time diminished; 

Was the fallow field left unsown?

Will these buds be always unblown?

• “Amen” – Christina Rossetti

Lindsay:

I don’t know if I’m missing something big here, but this feels like almost the last chapter where they’re really still trying to put things together, but we see them getting closer and closer. Much IS finished- some things are known and some are still unknown. And maybe the final two questions are asking if they’ll ever get the full answer? 

Also, I know this probably isn’t right, but the second line that says ‘lives are finished; time diminished’ makes me immediately think of Inigo because at some point in the next few hours, his life is going to be finished. His time is very diminished. 

Pools:

I fully agree with you. Brilliant interpretation, I literally have nothing to add!

 

CHAPTER 104

Chapter Summary: Strike and Robin interview Grant and Heather Ledwell

Epigraph:

Death’s black dust, being blown,

Infiltrated through every secret fold

Of this sealed letter by puff of fate,

Dried up for ever the fresh-written ink…

• “Aurora Leigh” – Elizabeth Barrett Browning

Lindsay:

I like this epigraph on a reread because it’s so clear that this is about the letter that Grant has been secretly keeping and didn’t put in the coffin, but I didn’t put this together on the first read even though I really should have. 

I also really just like the image this creates of Death’s black dust being something that just pours from the letter and gets over everything it touches. It’s as if the letter was full of hateful glitter. 

 

CHAPTER 105

Chapter Summary: Robin realizes that Gus is Anomie

Epigraph:

When mysteries shall be revealed;

All secrets be unsealed;

When things of night, when things of shame,

Shall find at last a name…

• “Sooner or Later: Yet at Last” – Christina Rossetti

Lindsay:

This is a great epigraph, isn’t it?? It’s telling us that this is the chapter where we’ll finally learn who Anomie is! 

Pools:

It is really excellent! The mystery has been solved! It’s interesting to me that this poem is about Judgement Day; the poet pleads for mercy in the closing of the poem. I just feel like we get a call in this chapter that alerts us to a crisis – a cataclysmic event, if you will… and I feel like we’re about to see some characters receive their condemnation for their evil actions, and some other characters be spared/shown mercy by the universe (aka the author)… just an interesting allusion that might point us towards the text’s “judgement” of certain characters’ actions!

 

CHAPTER 106

Chapter Summary: confrontation between Robin and Anomie

Epigraph:

Bid me defend thee!

Thy danger over-human strength shall lend me,

A hand of iron and a heart of steel,

To strike, to wound, to slay, and not to feel.

• “Affection” – Mary Elizabeth Coleridge

Pools:

These epigraphs are getting more and more appropriate for the situation as we hit the climax! Robin is running to defend Flavia, in exactly the way the poem says.

 

CODA

Lindsay:

Let’s talk about why we think she called this a Coda instead of an Epilogue. This is a musical reference, right? Kenz, you’re the music person here! Haha

Kenz:

It is – in music, a coda is at the end and generally touches on any musical themes or ideas that were referenced in the piece and kind of wraps it all up together in a bow. I’ll admit that during my first read, seeing that this book had a coda after realizing there was a failed first kiss at the beginning had me excited that there might be a second, successful attempt at the end – but this makes more sense.

Lindsay:

You know what absolutely KILLS me about this? The very fact that she used the word coda, a musical reference, instead of the word epilogue is like a giant neon sign explaining that music is important. Right? 

Kenz:

I think so, yeah!

Lindsay:

The only two musical people in this book are Inigo and Gus.

Epigraph:

The heart continues increasing in weight,

And also in length, breadth, and thickness,

up to an advanced period of life:

this increase is more marked in men than in women.

• “Gray’s Anatomy” – Henry Gray, FRS

Lindsay:

I think that this final Gray’s Anatomy epigraph is the reason why I really focused on Strike’s heart for these epigraphs because I think it’s talking about the growth and realization his heart is going to have in this chapter. What do you all think? Can you see any other ways to apply it? 

Pools:

I agree with you that this is most definitely about Strike’s heart! Feelings for Robin been growing there, and he’s about to realize just how far advanced those feelings are, and how serious. 

 

CHAPTER 107

Chapter Summary: Robin visits Strike at the hospital

Epigraph:

Oh foolishest fond folly of a heart

Divided, neither here nor there at rest!

That hankers after Heaven, but clings to earth

That neither here nor there knows thorough mirth,

Half-choosing, wholly missing, the good part: –

Oh fool among the foolish, in thy quest.

• “Later Life: A Double Sonnet of Sonnets” – Christina Rossetti

Lindsay:

I’m still on Strike’s heart… he’s been a fool when it comes to the heart. 

Pools:

This poem is so perfect for Strike because he *is* torn in two like this – his heart hankers after Heaven (aka Robin) but is still clinging to earth (aka he’s not the kind of guy who commits, doesn’t want to risk  the business, blah blah blah). But because he’s been so divided, he’s missed his chance with Robin! (I mean, that’s what he thinks. We know he’ll get more chances lol.) “Half-choosing, wholly missing, the good part” – he’s refused to face his feelings, failed to do anything about them, and now he’s fUCKED (but not the fun kind).

By Lindsay