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Earlier today Rowling tipped us off that she would be changing her header and, as she promised, it was worth the wait. There are orchids behind her new author photo and a picture of Freud’s desk as the new header. This desk, now housed at the Freud Museum in London, is a positive cornucopia of classical allusion and symbolism. Eros is there flanked by many more from Freud’s private collection of over 2000 Greek, Roman and – on the desk it seems mainly – Egyptian antiquities (For more see: Janine Burke’s – any relation? – The Sphinx on the Table: Sigmund Freud’s Art Collection And the Development of Psychoanalysis). The Freud Museum website writes of this table and its figurines:

Though these figures did not share their dreams and neuroses with their observer, they certainly contributed to his work. Many of these characters from antiquity appear in Freud’s theories: Athena, Oedipus, Eros, Venus. They inspired him in his exploration of psychoanalytic theories and in his writing process. Some objects on the desk relate to the act of writing itself: a jade scholar screen designed to inspire calm in the scholar; the baboon Thoth, lunar god and patron of all things intellectual, particularly writing; and Athena, goddess of wisdom and war, balancing sound intellect and decisive action.  

We already knew Rowling was interested by Freud as the photograph of her bookshelf behind her author picture on the adult version of Deathly Hallows shows a 1976 Pelican edition of Freud’s Jokes and their relation to the Unconscious and the dreamworlds of Harry Potter, in particular, are clearly influenced by his ideas. Freud, in his The Interpretation of Dreams (1899) (and its abridgement On Dreams (1911)) laid out his theory that the interpretation of dreams unlocks the door to the unconscious. Just as Harry’s psychological and literal imprisonment in the beginning of Chamber of Secrets plays out in dreams in which he is caged in a zoo to be gawped at, so does his residual guilt at impersonating Neville on the Knight Bus lead to him dreaming that it is Neville who has, in fact, displaced him: ‘he dreamed that he had overslept, and that Wood was yelling, “Where were you? We had to use Neville instead!”’ (Azkaban). Both the real event (in which Harry pretends to be Neville) and the dream event (in which Neville replaces Harry) are minor-key clues to the importance between the parallels between Harry and Neville, which will become central in Order of the Phoenix, a novel in which Harry’s labyrinthine dreams echo the self-involved solipsism of his Freudian teenage angst. 

Harry’s self-preoccupation becomes a literal examination of what is inside his head, in his dreams and during Occlumency training, where we find dreams of deep, black, windowless underground corridors leading to locked doors. These dark corridors are the objective correlative of his tortured self-involvement, but they are also a literal place which Harry has seen and remembered. 

Freud is the most important modern exponent of the long-accepted idea that the quotidian mystery of dreams is susceptible to, and indeed demands, interpretation. So I think we can be pretty certain that this header points not only to Robin’s new therapist (on whom so many of us are pinning our hopes) and provides further evidence of the continuing importance of classical myth to the series, but also that the dreams of Sleep Tight, Evangeline (as the name might suggest) will be the most significant of the series so far.

While in Harry Potter the students study dream interpretation (Oneiromancy) with Trelawney, it does not play any therapeutic role. Sleep itself, however, is therapeutic in Harry Potter and this creates a link between the flower-symbolism post I was writing when Rowling announced her header change, and that Freudian header. For Poppy Pomfrey’s Christian name in Harry Potter is a nod to both her healing powers and her prevailing obsession: ‘This boy needs rest… Out!’ The Latin name of the opium poppy (Papaver sominiferum) points to their sleep inducing qualities (think of what fields of them do to Dorothy in the Wizard of Oz) and the Roman Emperor Marcus Aurelius used to opium to help him sleep (as well, in large quantities of honey, to elevate his mood at the start of the day). While we think of opiates primarily as pain-relieving, Culpepper’s Herbal (a herbal Rowling uses in her writing and owns two copies of) stresses how good they are at procuring rest: 

The garden Poppy heads with seeds made into a syrup, is frequently, and to good effect used to procure rest, and sleep… the empty shells, or poppy heads, are usually boiled in water, and given to procure rest and sleep: so doth the leaves in the same manner… It is generally used in treacle and mithridate, and in all other medicines that are made to procure rest and sleep.

Poppy Pomfrey’s Christian name relates to the pain-relieving aspects of the latex of poppies, but I think it primarily references her belief in the healing power of sleep and rest: ‘Headmaster!’ spluttered Madam Pomfrey. ‘They need treatment, they need rest.’

Now there is a very tempting link between poppies – the flower of sleep – and the Demeter/Persephone myth we’re expecting to see in Sleep Tight, Evangeline (I wrote about Persephone and why we might be seeing her in Strike 9 here). In Ovid’s Metamorphoses, the reader is taken to Hypnos’s cave of sleep around which ‘lush poppies grow’ and ‘Around him everywhere in various guise lie empty Somnia [Oneiroi, Dreams], countless as ears of corn at harvest time or sands cast on the shore or leaves that fall upon the forest floor.’
— OVID, METAMORPHOSES 11. 585 (TRANS. MELVILLE)

Poppies are part of Hypnos’ domain but their healing power is also intimately connection with Demeter for, when she lost Persephone, the gods created the poppy to heal her pain. Its juice was made to heal her grief through sleep and dreams, and after she awoke from her poppy-induced sleep the flowers sprung where her feet touched the ground. The poppy became the sacred flower of Demeter – a sign that her dream-filled sleep had indeed helped her heal. 

And so poppies, a flower created for Demeter which brings the dreams that so fascinated Freud, is my link to the post I was planning to write about floral symbolism in Strike.

As those of you who follow me on Twitter will know, I love the natural world. It is a particular pleasure when my literary critical interests and love of green and growing things come to together – as in Strike’s unintentionally revealing gift of a philodendron, which has both heart-shaped leaves and a heart-shaped name. ‘Philo’ means love and Robin answers this silent declaration which she names the plant Phyllis – a pastoral name meaning not only, fittingly, green leaf but (also fittingly) ‘sweetheart.’ 

There is very early Irish poem, from the 8^th or 9^th century, which describes the particular pleasure nature has held for writers throughout time:

The woodland thicket overtops me, the blackbird sings me a lay, praise I will not conceal: above my lined little booklet the trilling of birds sings to me. The clear cuckoo sings to me, lovely discourse, in its grey cloak from the crest of the bushes; truly – may the Lord protect me! well do I write under the forest wood.¹

I love this image of someone sitting with his ‘lined little booklet’ writing under trees over a millennium ago, but I also love it because Rowling wrote one of the best moments of Philosopher’s Stone, the scene in which Harry’s holly wand chooses him, while sitting under a tree. Wand woods in Harry Potter are perhaps the most important role played by plants in the series, and I like to think that this outdoor writing seeped into the pages of Harry Potter. And although nature symbolism is less important to Strike, it remains a crucial part of the way Rowling writes. I have another post in the works about bird symbolism (specifically that raven/crow on the clue-bearing charm-bracelet header) but as it is June, and the countryside is awash with colour – and poppies! – this post will be about flowers.

The Flowers of Oxfordshire

When Strike and Robin come into my county of Oxfordshire, we get some particularly flowery descriptions of the countryside: ‘milk parsley and wood avens speckled the dark green with white and yellow. The long thorny branches of wild roses curled like barbed wire everywhere she trod’ (Lethal White). So, I thought I’d post for you some pictures of these flowers blooming in Oxfordshire – these are photos from my regular local walks:

Wood avens is a very common and once popular medical flower – its other name, ‘Herb Bennet,’ is a corruption of ‘herba benedicta‘ (the blessed herb).

Wild dog roses do indeed throw out long spikey stems and are the quintessential English rose (Queen Elizabeth I used them as an emblem).

Milk parsley, unlike the other two flowers, is a relatively rare and not particularly well-known flower (very few English people could correctly name or ID this flower). Choosing not to use the ubiquitous cow parsley, a more obvious choice, and choosing milk parsley instead suggests that Rowling is quite knowledgeable about wildflowers.

As Robin and Strike drive down into the Oxfordshire countryside, they park up by another flower: ‘a country road that wound down into the valley where the tiny village of Woolstone lay nestled. Robin parked beside a hedgerow full of Traveller’s joy’ (Lethal White). Traveller’s joy is one of my favourites, with a deeply honeyed, sherberty scent. It is not only a flower widely found in Oxfordshire, but it also has a meaning in the Language of Flowers which seems suitable for this road trip. Probably due to the strong twine once made by its stems, traveller’s joy represents ‘safety’ in the Language of Flowers. This is perfect for Robin at the wheel, as the only driver with whom Strike feels safe, and perfect also for Strike, who represents true safety to Robin (rather than the false safety she has found with Matthew).

In keeping with the well-known symbolic flower names of Harry Potter, such as Lily, Petunia and Poppy Pomfrey, one such name becomes vitally important in The Hallmarked Man. Tyler’s gift of violets to Chloe are a sign that he knows her true name and wants her to know that she is known. Jolanda means ‘violet,’ with its roots in the Greek io (violet) and anthos (flower). But there is also a brilliant little clue from the Language of Flowers at the very beginning of the series. In Cuckoo’s Calling, Strike needs to be able to read a witness called Tansy Bestigui. Tansy is an edible (but very unpleasant tasting) flower, and any consulter of Kate Greenaway’s Language of Flowers would know that Tansy is obstructing justice in this novel. Her flower-name means ‘I declare war against you.’

Say it with Flowers 

Flowers also form more literal clues in the Strike novels. In Career of Evil, the killer-clue slots into place for Strike at the sight of a bunch of daffodils. They fall from a mother’s bag onto the pavement, and she gives them to her son to carry, successfully deflecting him from running off. ‘The little boy walked meekly beside his mother now, proud to have a job to do, the stiff yellow flowers upright in his hand like a sceptre.’ But Strike is suddenly transfixed by these flowers in the cold air, thinking ‘Daffodils… lily of the valley… flowers out of season.’ 

The lily of the valley should have been in Robin’s wedding bouquet and now that the wedding date has shifted, they will no longer be in season. There is a literal clue here (about the sea holly blooms and the alibi they reveal to be fake), but there is also a subtle one in the mis-match of lily of the valley. Lily of the valley is a contender in the (hotly contested!) category of my favourite flower, and they have one of the purest perfumes to exist, but they are nonetheless symbolically odd as a marital flower, as they are named after the Virgin Mary. Edith Wharton used this symbolism in her Age of Innocence – the OG novel of romantic pining (which, as I have written here I thought might have left traces in The Hallmarked Man). In The Age of Innocence, the hero repeatedly buys lily of the valley for his virginal wife-to-be but when he sees some yellow roses, there is something too powerful in their fiery beauty for her, and he sends them to the woman with whom he is actually in love. 

In Career of Evil, the blooming of the sea holly is a flower-clue which is spelt out for the reader. But this is not the first time flowers have lead Strike to the killer-clue, although last time it happened subconsciously for him (and is not pointed out to us). Evan Duffield goes to visit Lula’s mother carrying a large bunch of white flowers in his hands. It is a gift, but it also a prop to screen him from press intrusion – a daytime version of his signature wolf’s head. It is a hint – for him and for us – about how the killer could have got in to see Lula by obscuring his face. And if, like Evan, he did so with a large bunch of white flowers, then it makes sense that he was hiding out in Deeby Mac’s flat all along. It could, in fact, have been a thought about what use those white roses might have been put, which set the explanation in motion in Strike’s head. These white roses are as important in their way for revealing the killer as the yellow daffodils were in Career of Evil.

Magnolia

I have written about the symbolism of magnolia before (here) for when Strike reaches Lucy’s house in The Running Grave we are met with a very odd sentence about the non-flowering of a tree: 

The large magnolia tree in Lucy and Greg’s front garden was, naturally, sporting no flowers on this cool March day. 

Even given the author’s understandable desire to use trees to remind us of the time of year, this explicit attention (‘sporting’) drawn to non-flowers is a little startling. But I think it is there for a reason. This magnolia tree is reminiscent of Little Whinging in Harry Potter where Magnolia Crescent runs near to Privet Drive and ‘Magnolia Road, like Privet Drive, was full of large, square houses with perfectly manicured lawns, all owned by large, square owners who drove very clean cars similar to Uncle Vernon’s.’ Throughout the Strike novels, likewise, this magnolia tree has functioned as a shorthand for our hero’s dislike of the suburban conformity of his sister’s homelife:

A large magnolia tree stood in the front garden of Lucy’s house in Bromley. Later in the spring it would cover the front lawn in what looked like crumpled tissues; now, in April, it was a frothy cloud of white, its petals waxy as coconut shavings. Strike had only visited this house a few times, because he preferred to meet Lucy away from her home.  (Cuckoo’s Calling)

Strike’s aversion to Lucy’s domesticity is symbolised by this tree, so beloved of London’s suburbs, and his mental rejection of Marguerite in Silkworm is his rejection of Lucy’s magnolia-conformity (‘this was the sort of woman she imagined him falling for, and living with for ever in a house with a magnolia tree in the front garden.’) The tree has become tainted, in part, by the ubiquity of the paint-colour known as ‘magnolia’ which likewise crops up in suburban homes – both Kathryn Kent’s flat & Robin’s unsatisfactory attempt at domesticity are painted magnolia (‘their magnolia sitting room was far too tiny to accommodate a couple in such a state of fury’ [Career of Evil]). But the name of this insipid paint has led Strike to overlook that far from being boringly suburban, magnolia trees are rock stars of the arboreal world! They are over 100 million years old and existed before bees. A flower that existed before bees is something quite difficult to get one’s head around. Something that looks conventional but is in fact extraordinary.

The flowerless magnolia tree is a hint that Strike is about to confront that he has been wronging his sister all this time. We discussed at The Three Broomsticks what Strike might discover via a revelation from Lucy about what has really happened at the Norfolk Commune. Sophia’s hunch was right on the money when she said that Lucy would reveal abuse she suffered there that would transform Strike’s understanding of her. Kathleen left a perspicacious comment about this in the podcast comments – noting the magnolia tree in Cuckoo’s Calling and its promise of ‘crumpled tissues’ later in the season as an ominous sign and that Lucy’s ‘past with Leda, which certainly may have included sexual abuse that Strike didn’t see (more of the “open your eyes” theme).’

Strike needs to recalibrate his relationship to the women in his life – this happened with Joan in Troubled Blood, with Charlotte in Ink Black Heart, and in Running Grave it finally happens with Leda, Lucy and Robin (though obviously we hope that the final and total recalibration there will come in Sleep Tight, Evangeline). This early chapter sets the tone for the transformations to follow: Strike is decisively honest with Lucy about Leda and Prudence, and comes to the realisation that Lucy’s response to her traumatic childhood is just as courageous as his own: ‘and for the very first time in their adult lives, it occurred to Strike that his sister’s determination to cling to stability and her notion of normality… was a form of extraordinary courage’ (102). I’ve written ‘FINALLY!’ in the margin. Strike has finally come to the realisation that he needs to resist the easy cliché of that magnolia tree. It was not, perhaps, his most important break-through in this book, but his realisation about Lucy’s courage and his honesty with her in this early chapter was a decisive step towards his honesty towards Robin in the closing pages of the novel.

Fugitive Scents

One of the places that flowers turn up in Strike is as scents – perfuming the air of the Denmark St office either as unloved stargazer lilies (‘lilies that fester smell far worse than weeds’ as Shakespeare reminds us in Sonnet 94) or as the heart notes of perfumes.

I have recently discovered The Cazalet Chronicles by Elizabeth Jane Howard (an author I met once although, sadly, prior to reading her novels) and I can highly recommend them if you’re looking for something to read in the wait Sleep Tight, Evangeline! (Hilary Mantel calls them ‘panoramic, expansive, intriguing as social history and generous in their storytelling.’ The Cazalet Chronicles include a comic character called Neville whose views about perfume are reminiscent of Strike’s struggles with ‘Shaggable You:’

‘If I had a scent, I’d choose one called Fried Bacon’…

‘Neville, you can’t choose scents like that. You can only choose from what there is.’

‘Not if I was a scent inventor, which might be a very good way of getting rich; they must have used up all the soppy flower smells by now. Also, sometimes people might like a scent that puts people off. Essence of Grass Snake would be good for that…’ 

‘Essence of Grass Snake,’ as we know, would hardly have put Strike off – indeed, a gift of this perfume might have been the perfect way to tell Robin how he felt about her (‘yet he was close to feeling about her as he had felt towards a grass snake that he had succeeded in trapping in Trevaylor Woods when he was eleven, and about which he had had a long, pleading argument with his Auntie Joan: ‘Please let me keep it… please…⁠’).

In 2001 Christopher Little, the agent who ‘discovered’ Rowling, had a lavish 60^th birthday party, with over two hundred guests, at the Chelsea Physic Garden.  His most important client would certainly have been invited, and, either then (or at a later date) she picked up a flower-brochure there called ‘Captivating scents: fresh floral fœtid.’

  

Chelsea Physic Garden makes a brief cameo in Lethal White when Strike does some surveillance there (all we hear is that ‘the long hike to and around Chelsea Physic Garden the previous day had not benefited Strike’s hamstring injury’) but I wonder if the reason that this pamphlet made it onto Rowling’s website is that her interest was caught by its emphasis on plants for perfume. The brochure (many thanks to Nick Jeffrey for getting me the unobscured text!) notes that ‘the people of Mesopotamia were the first to “capture” scent for their own means using plant oils in religious ceremonies or for perfume’ over 5,000 years ago and goes on to detail sections of the garden which concentrate on perfumery – in particular the ‘Perfumery Amphitheatre’ and ‘Scents of the Tropics.’ The brochure notes how you can read about the plant oils used in popular perfumes such as ‘Poison’ and ‘Eternity’ on boards in the garden, and perfumery’s use of tropical plants, such as Vanilla, Cardamom, Patchouli and evanescent but luscious scent of the Stanhopea orchid.  

Harry’s attraction to Ginny is signalled early in Half-Blood Prince by the fact that the smell of Amortentia – ‘one of the most seductive scents Harry had ever inhaled’ – includes her scent: ‘something flowery he thought he might have smelled at The Burrow’ (Half-Blood Prince). This fugitive, flowery scent is very close to the way Strike thinks about Robin – who, when he hugs her, smells ‘of roses and the faint perfume that he had missed when she was no longer in the office’ (Lethal White, prologue). Flower-based perfumes play a large role in Troubled Blood in which Robin is seduced by the ‘heady, luscious, oily tuberose’ of new perfume symbolising a sophisticated version of herself, who would be immune to the foolishness which fell for Matthew. In Kate Greenaway’s Language of Flowers, tuberose means ‘dangerous pleasures’ and its dangerous aspect returns in Running Grave when worn by Noli Seymour, who is certainly playing with fire. Here, it is the scent of someone whose apparent sophistication in no way stops her, wittingly or un, from being a front for a baby trafficking rape cult – no wonder Robin instinctively disliked it. 

Robin tended to rate perfumes according to how well they reproduced a familiar flower or foodstuff, but this wasn’t a smell from nature. There was a ghostly rose there, but also something strangely metallic. Robin, who was used to fragrances made friendly with fruit and candy, set down the strip with a smile and a shake of her head and walked on.

So that was how Margot Bamborough had smelled, she thought. It was a far more sophisticated scent than the one Matthew had loved on Robin, which was a natural-smelling concoction of figs, fresh, milky and green.

Wittgenstein famously describes the impossibility of describing the smell of coffee: ‘Describe the aroma of coffee. Why can’t it be done?’² Rowling has a brilliant stab at describing smells here – and I suspect I was wasn’t the only reader to remember with that ‘fragrances made friendly with fruit and candy’ a deep teenaged love of Body Shop Dewberry, knowing in my heart that its mouth-wateringly fruity smell wasn’t quite ‘the thing,’ and unabashedly loving it anyhow. This is clever writing because we are glimpsing Margot’s sophistication through Robin’s naivety – Margot’s fully assured sexuality presents itself through the prism of someone still negotiating her way to a fully chosen, self-actualised ownership of her own desire.

In the crucial final scene of Troubled Blood in which Strike buys Robin her birthday perfume the two of them reject one that smells of vanilla, a plant explored on the Chelsea Physic Garden leaflet, and fix on Narciso, with its ‘suggestion of bruised flowers’. The flowery perfume has come full circle in Rowling’s writing and the fugitive scent of Robin, the ‘faint perfume that he had missed when she was no longer in the office,’ will be flowery, just like the smell that reminds Harry of the Burrow. This new floral scent is also hopeful because, as we know, the scent of flowers evokes the romance of hope: ‘The dirt and heat of a London afternoon, with the smell of stocks in the air, seemed suddenly full of beauty. It was a glorious thing, to be given hope, when all had seemed lost’ (Lethal White). 

 ¹‘Dom-farcai fidbaide fál (‘the Writer in the Woods’), translated by Kenneth Hurlstone Jackson, cited in Della Hooke, Trees in Anglo-Saxon England: Literature, Lore and Landscape (Woodbridge: The Boydell Press, 2010), 87.

²Ludwig Wittgenstein, Philosophical Investigations, trans. G. E. M. Anscombe (Oxford: Blackwell, 2001), p.610.

By Louise M. Freeman

One of my favorite topics is the humor in both the Harry Potter and Cormoran Strike series. Although the realistic Strike series is not as equipped for regular laughs as is the Wizarding world (read more here, here, and here), there are certainly great laugh-out-loud moments, from farcical elements (death threats arriving in kitten-bedecked envelopes) to Barclay’s ever-ready wisecracks (“Sherlock Bigcock, I presume?”), to Strike’s tension-breaking jokes (“Maybe you should put that on your next employee satisfaction review. ’Not as bloody annoying as the woman who shagged by husband.’ I’ll have it framed,”)  we readers regularly get to laugh along with our fictional heroes and our fellow fans. Honestly, one of the disappointing aspects of The Hallmarked Man was the relative lack of humor, particularly between Strike and Robin, given that they were on the outs for so much of the book. Even the moments we got, like Lucy’s hilariously awful Christmas party, had a significant cringe factor. Previous books have had a lot of banter that made us wish we were there; in The Hallmarked Man we often laughed because we were relieved that we weren’t. 

Harry Potter, of course, became such a huge phenomenon that other creators started producing parody media, from videos like Potter’s Puppet Pals to full theatrical productions like Potted Potter and Puffs. While these creations clearly poke a bit of fun at the Potterverse, they are created by fans, for the enjoyment of fans, both between and after the books and movies. Genuinely clever humor requires genuine love for the original product. 

So far, Cormoran Strike has not achieved the fan base necessary for professionally produced parody media, but there are plenty of fans creating their own online content to share and enjoy between books. Take, for example, “Why the Sofa Farts,”  a hilarious bit of fan-fiction giving the late great Farting Sofa’s take on books 1-6.  There are also some parody Twitter accounts from a variety of Strike supporting characters, from Lucy to Ciara Porter to a Deadbeats account which is apparently maintained by the notorious Peter Gillespie. @SuperkingPatC’s is the most consistently active, though I have a special fondness for master potter @Mrs_Hook12. 

So, when the Harpy Eagles of the Strike and Ellacott Files were chatting about Strike’s “chickens coming home to roost” in last week’s podcast and issued a challenge for listeners to find pictures of chickens that looked like Cormoran Strike’s assorted girlfriends, I had to give it a try.  Thus, I present to you, Cormoran Strike’s Henhouse, featuring every bird he slept with during the series to date, and a couple with whom he hasn’t. 

Charlotte Campell (a.k.a. Milady Berzerko and ex-Viscountess of Croy) was dark, tall and monochromatically elegant, by far the most beautiful woman Strike has ever seen. She was also, per Dave Polworth, “f*cked to the core.”  This Black Sumatra chicken is runway-ready, with its long black tail feathers both turning heads and rendering it perpetually off-balance. Though Strike broke up with her shortly before The Cuckoo’s Calling opened, she’s a perpetual presence, with her shade lingering even after her suicide. 

Of course, it was a mistake for a Black Sumatra chicken to marry a dissolute arctic fox, even if he is a Viscount, right?

Ciara Porter, the alabaster-fair supermodel who got a literature degree from Cambridge in her spare time, was Strike’s one-night stand in The Cuckoo’s Calling. This white hen, sleek, perky and ornamental, seemed to fit her. While she seemed pretty cool in the first book and was nice enough to laugh in the faces of tabloid journalists in The Running Grave, she turned up again at God’s Own Junkyard in The Hallmarked Man, repeating Charlotte’s horrible “PP” nickname for Robin. 

Strike claimed not to fancy small women, but that didn’t stop him from shagging Roper Chard editor Nina Lascelles three times in The Silkworm, twice as thanks for insider information on Bombyx Mori and Owen Quine, and once as a distraction from Charlotte’s wedding to Jago Ross. This choice made trouble for him in The Hallmarked Man, when her cousin Dominic Culpepper decided to trash Strike’s reputation in the tabloid press. Like this little Bantam, the Honorable Ms. Lascelles favored strappy black evening wear and was quick to challenge any lower-class dude she thought might be trying to gate-crash her party. 

Elin Toft, former violinist, wealthy BBC presenter and Cormoran’s girlfriend during most of Career of Evil was also fair and beautiful like Ciara, but I pictured her with much bigger hair and fluffier plumage, making this fancy albino chicken the obvious choice. 

In Lethal White, disgruntled that Robin chose to go on her honeymoon with Matthew, Strike drinks nine cans of lager and has an ill-advised one-night stand with Coco, Wardle’s wife’s best friend and a burlesque dancer with tomato-red hair, who was difficult to shake off afterwards. This Rhode Island Red seemed persistent, and also like the type to dump a glass of wine over the next chicken in our flock if she tries to swipe the rooster on which she’s set her eyes.

In addition to delivering the best parting line of any of Strike’s girlfriends, Lorelei Bevins was known for her jewel-toned vintage wardrobe and for wearing her hair over her eyes. She was Strike’s longest post-Charlotte relationship, dating him for about a year in Lethal White, but, when she asked him if he wanted the relationship badly enough to “try another way,” the answer was “no.”

Jewelry designer Madeline Courson-Miles looked a lot like Robin with her red-gold hair, but was very thin, relatively flat-chested and a mean drunk. Convinced Robin was repulsed by him after the Ritz, Strike kissed Madeline at a club on a New Year’s Eve to console himself over Robin’s jetting off to Zermatt with Hugh Jacks. He dated her for a few months in The Ink Black Heart but ditched her after perpetual jealousy over Robin and a lot of sh*t- stirring by Charlotte. Her stiletto heels could deliver a very painful kick. 

Even though Strike never slept with Marguerite, it wasn’t for her lack of trying. After a failed attempt by Lucy to match-make them in The Silkworm, she re-appeared at the dreadful Christmas party in The Hallmarked Man, delighted to find Strike single again, so I had to include her. This bird’s outfit seems the closest to a silver caftan that a chicken can achieve and it absolutely seems to be trying too hard to make itself attractive. 

Finally, no collection of Strike’s women-as-chickens would be complete without Bijou Watkins, a.k.a. “Her with the Fake Tits” and “Man-hungry Pain-in-the-arse.”  She crashed Benjamin Herbert’s christening and had two quickies (one standing up against a wall) with Strike in The Running Grave, which led to an angst-producing paternity test in The Hallmarked Man. 

So, do I have a chicken representing Robin Ellacott?  Of course not. She and Cormoran Strike are the swans destined to swim alongside each other. 

I hope you enjoyed these little nuggets of humor. 

Louise M. Freeman is a retired psychology professor and a licensed behavior analyst. Her writings on Strike, Potter and other books can be found at The Farting Sofa Faculty Lounge, at www.fartingsofafaculty.substack.com. 

In my previous blog, I noted that on the charm bracelet Rowling designed to auction for Lumos – a ‘sister’ bracelet to her own Harry Potter charm bracelet and based on her own sketches – included a butterfly charm. Rowling wrote about this charm bracelet: 

It carries a collection of unique handmade charms that allude to stories and magic, including: a winged key, a tiny spell book and (for Harry) a bolt of lightning. The most precious charm of the lot is a little jewelled butterfly, which is the logo of Lumos – a symbol of transformation and liberation, of the beauty that can emerge from dark confinement. 

There is a butterfly, likewise, in our trail of clues for Strike 9 – a butterfly that we are all hoping will also symbolise transformation, liberation and the beauty that emerges once you leave your own ink-black confinement and finally open your eyes to whom it is you truly love. Knowing that butterflies will be important for Strike 9 seems a good moment to have a look at how this ‘symbol of transformation and liberation, of the beauty that can emerge from dark confinement’ have functioned in Strike, and some of the literature on which it draws.

Primarily, of course, lepidoptera form the underlying metaphor for The Silkworm. The novel-within-the-novel is called Bombyx Mori – which is the name Rowling wanted to give her own novel likewise (although this was not something Galbraith was able to swing with his publishers!). Silkworms are the caterpillar of the Bombyx mori moth and another name for a silkworm is the “imago” of its moth. ‘Bombyx’ is the image/imago of Quine – like the silkworm he is a spinner of stories – and (or so Quine claims) full of the ‘essential innocence and purity’ symbolized in the whiteness of both silkworm and moth. But there is also a butterfly in this dark, mothy novel and it not only belongs to one of its most innocent characters, Orlando, but also holds a clue:

A sheaf of crumpled pictures came out, on an assortment of different sized and coloured papers. Neither Strike nor Robin turned them over at first, but made admiring comments as Orlando spread them out across the table, Robin asking questions about the bright starfish and the dancing angels that Orlando had drawn in crayon and felt tip. Basking in their appreciation, Orlando dug deeper… [and] laid out a picture of a butterfly through which could be seen traces of untidy adult writing on the back…. There was a list of scribbled names on the back of the butterfly picture: Sam Breville. Eddie Boyne? Edward Baskinville? Stephen Brook?

This butterfly-clue (the names being such ordinary names show that another hand is present in Bombyx Mori) appears from the dark depths of Orlando’s bag and, just like a butterfly new-born, the pictures come out crumpled. Robin will smooth out the crumpled paper of the  butterfly’s wings to try and read those names just as a butterfly straightens out its wings as it emerges from its chrysalis. It is beautifully fitting that Rowling has placed a transformative clue on the back of this crumpled butterfly.

‘Chasing her own cheerfulness like a butterfly’

William Blake wrote a very short poem called ‘Eternity’ which I copied into my ‘learn-by-heart’ poetry-book as a child:

He who binds to himself a joy
Does the winged life destroy
He who kisses the joy as it flies
Lives in eternity’s sunrise.

It seemed to me then (as it seems to me now), a good attitude to cultivate towards joy and Blake’s insight is borne out by modern happiness research, which suggests that we are happiest not when trying to be happy but when fully engaged in something else of which happiness is a by-product. In Lethal White, this truth about the evanescence of joy is symbolised by a butterfly. It is a moment of reflection in a garden when Robin, gaining a free hour to think after chucking her therapist, chases her cheerfulness like a butterfly. I love this scene (and have written about a different aspect of it before), and Robin telling herself some home truths in this rose-scented churchyard prefigures the breakthrough Strike will achieve sitting alone in the St John the Baptist church in three novels’ time (I wrote about that, the greatest chapter of the series, here). 

Chasing her own cheerfulness like a butterfly, because she was afraid it might escape, she turned up a quieter street… Peering through the opening, Robing saw a church and mossy tombs lying amid an empty rose garden in full bloom. (Lethal White)

‘Chasing her own cheerfulness like a butterfly’ is reminiscent of Blake’s winged joy and suggests that Robin is going the wrong way about things. Refusing to acknowledge what it is really is that brings her joy, she reflects in this Deptford churchyard – the churchyard where the author of one of Silkworm’s epigraphs Christopher Marlowe is buried (I love that!) – about her choice to stay with Matthew. The reader knows she needs to sit a little longer with the discomfort of her own decisions. Robin plays at being her own therapist here – understandably, given the uselessness of her first therapist. But real therapy needs another person, not just the person who is ineluctably predisposed to agree to the half-truths we tell ourselves. We have reason to believe that the Prudence-chosen sweary therapist, Dr Broccoli^{TM TSEF} will lead to Robin truly spreading her wings in Strike 9. 

We know Rowling is a meticulous planner of imagery such as these two perfectly placed butterflies. Recently, we’ve had a nice bit of confirmation (thank you @IrisThinksMeh !) that this aspect of the books comes from Rowling’s Shed – her conscious writerly craft – not simply her Lake – her creative subconscious. When Iris asked Rowling on 3 December 2025, ‘Do you plan out the alchemy/symbolic layers like colors, imagery etc far ahead as well? Everything fits so freaking perfectly all the time. I’m always in awe at the depth and the layers in your books,’ Rowling replied ‘I can’t answer that without giving spoilers…’ So, has Rowling been planting clues leading to Strike 9 with her butterflies throughout the series? 

We know that Rowling uses cratylic names with intention so it is interesting that Vanessa – a character who has rather flitted out of the story of late – is named for a butterfly. It is a name with impeccable literary credentials having been invented by Jonathan Swift from the name of his friend Esther Vanhomrigh – combining the affectionate diminutive ‘Essa’ for her first name with the start of her surname and inverting it. The name gains further literary and lepidopteral links via a Vanessa in Nabokov (as discussed here) and has likewise been  given to a genus of butterflies.

 The Nabokov link is interesting for our purposes because he is not only linked with butterflies in general (he was even more passionate about entomology than writing) but with blue butterflies in particular. We can’t read too much into Rowling’s choosing a blue butterfly as her emoticon given that if you want to do a twitter butterfly emoji blue is the colour that you have … nonetheless, it is tempting! Partly, of course, because this is Cormoran Blue Strike’s colour, and likewise because he carries specific memories that Rowling has couched in lepidopteral terms: ‘He carried memories like this from his childhood, especially those parts of it that he had spent in Cornwall: the glitter of the sea as you first saw it on a morning as blue as a butterfly’s wing’ (Career of Evil). It is the morning, not the sea, which is as blue as a butterfly’s wing, but the simile circles back to the glittering ocean, for a butterfly’s wing is covered in tiny reflective scales, sparkling like the sea. And, as we know, the sea speaks to the depths of Cormoran’s soul: ‘it just adds something to his character because he’s drawn to the sea but that has such a strong association of childhood for him. So I always see it that way, when he heads for the coast we normally find out something character wise about Strike, that’s the significance for me.’

But another reason the blue of this emoticon butterfly feels resonant is because it is ‘Nabokov blues’ with which the novelist is most closely associated, and Nabokov is someone whom Rowling has placed along with Jane Austen, Colette and E. Nesbit as a writer whose style represents an ‘untouchable ideal’ to her. 

I know about this link between Nabokov and blue butterflies because in 1922 the novelist attended my own alma mater – Trinity College, Cambridge – and a recent Art’s Week at the college was beautifully advertised with Nabokov’s blues:

The most famous of the ‘Nabokov Blues’ is the Karner Blue – described thus in his novel Pnin (1957): ‘A score of small butterflies… revealing the celestial hue of their upper surface … fluttered around like blue snowflakes before settling again.’ Nabokov’s connection with the Karner Blue has been credited with ‘helping to motivate conservation efforts to prevent its demise.’ And, Nabokov’s research into the Polyommatus blues has also recently borne particular fruit: ‘In a speculative moment in 1945, Nabokov came up with a sweeping hypothesis for the evolution of the butterflies he studied, a group known as the Polyommatus blues. He envisioned them coming to the New World from Asia over millions of years in a series of waves… On Tuesday in the Proceedings of the Royal Society of London, they reported that Nabokov was absolutely right.’ Eric Overbey notes, which may likewise be relevant to Rowling’s butterfly emoticon: ‘Blue butterflies can have some of the shortest life spans of any species, and Nabokov seemed particularly fascinated by this quality of ephemeral metamorphosis.’

‘His Psyche true’

‘The poor grub… expands into a beautiful form with rainbow wings. The Greeks called it Psyche, a manifest emblem of the soul’ (R. W. Emerson, 1906)

The most famous of Nabokov’s blues was first described by Nabokov in his paper ‘The Nearctic Forms of Lycæides’ which was published in 1943 in the journal Psyche. And, of course, the name of that august entomological journal – established in 1874 by the Cambridge Entomological Club – creates a delightful connection with something else we know about Strike 9. The meanings of ‘psyche’ as both butterfly and soul are linked together in the person of the mythic Psyche, whose name has more recently has been taken by Jung and transformed into the modern meaning of the word (if Dr Broccoli is, like Prudence, a Jungian this meaning of the word will also be in play in Strike 9). The Oxford English Dictionary explains the etymology of ‘psyche’ thus:

Ancient Greek ψυχή breath, life (identified with or indicated by the breath), the animating principle in man and other living beings, the source of all vital activities, rational or irrational, the soul or spirit (as distinct from its material vehicle, the body, σῶμα), sometimes considered as capable of persisting in a disembodied state after separation from the body at death, (also) a butterfly or moth

Compare classical Latin Psȳchē, Psyche, the name of an allegorical personification of the soul, especially as occurring in the central episode of Apuleius Metamorphoses (2nd cent. a.d.). In classical literature, Psyche was personified as a beautiful mortal with whom Cupid fell in love: Venus was jealous of Psyche’s beauty and set her a series of superhuman tasks, after the last of which Psyche and Cupid were allowed to marry and Psyche was brought to heaven; she is represented in works of art as having butterfly wings, or as a butterfly. The name was extended by Plato and other philosophers to the anima mundi (see anima mundi n.), conceived as animating the general system of the universe, as the soul animates the individual organism. Developing a distinction between ancient Greek πνεῦμα breath or spirit (see pneuma n.; corresponding to Hebrew rūaḥ) and ancient Greek ψυχή soul (corresponding to Hebrew nepeš), terms often used interchangeably in Greek-speaking Judaism, St Paul used ψυχή for the lower or merely natural life of man, shared with other animals, in contrast with the πνεῦμα or spirit, used as an anthropological term in relation to the divine πνεῦμα conceived as a new eschatological gift.

As Bulfinch’s Mythology (1881) – a work of popular mythology – explains it, the meaning of soul and butterfly are beautifully intertwined.

The Greek name for a butterfly is Psyche, and the same word means the soul. There is no illustration of the immortality of the soul so striking and beautiful as the butterfly, bursting on brilliant wings from the tomb in which it has lain, after a dull, grovelling, caterpillar existence, to flutter in the blaze of day and feed on the most fragrant and delicate productions of the spring. Psyche, then, is the human soul, which is purified by sufferings and misfortunes, and is thus prepared for the enjoyment of true and pure happiness.

Bulfinch could be writing about our heroes. 

As Bulfinch likewise notes ‘in works of art Psyche is represented as a maiden with the wings of a butterfly’ and if you look closely at the painting Rowling has tweeted Psyche does indeed have a perfect pair of butterfly wings.

One of the reasons I am delighted by Rowling’s posting of this Psyche picture is that Keats wrote a famous poem called ‘Ode to Psyche’  and we now know that Rowling studied Keats for A-level and remains a fan. It is a poem I’ve long loved – like Rowling I studied Keats at school, and I learnt ‘Ode to Psyche’ by heart and was asked to perform it front of the class (the subject of one of the most perfect back-handed compliments I have ever received when a teacher later gushed, ‘I will never forget your recitation of ‘Ode to Autumn’). 

Keats’s knowledge of Psyche’s myth is drawn from Lempriere’s Classical Dictionary (1788): 

Psyche, a nymph whom Cupid married and carried into a place of bliss, where he long enjoyed her company. Venus put her to death because she had robbed the world of her son; but Jupiter, at the request of Cupid, granted immortality to Psyche. The word signifies the soul, and this personification of Psyche first mentioned by Apuleius is posterior to the Augustan age, though still it is connected with ancient mythology. Psyche is generally represented with the wings of a butterfly, to intimate the lightness of the soul, of which the butterfly is the symbol, and on that account, among the ancients, when a man had just expired, a butterfly appeared fluttering above, as if rising from the mouth of the deceased.

William-Adolphe Bouguereau – whose L’Amour et Psyché (1889) Rowling posted on 8 September 2025 – is one of those who depicts Psyche with butterfly wings, and Keats likewise stresses the winged-ness of Psyche – calling her ‘the winged Psyche,’ noting how her ‘pinions’ embraced those of her beloved ‘the winged boy’ and ending with a reference to her ‘lucent fans’ (shining wings). In both painting and poem the link between the two meanings of ‘psyche’ are made very clear.

Bulfinch’s Mythology notes that, in addition to Keats’s famous poem, ‘The allegory of the story of Cupid and Psyche is well presented in the beautiful lines of T. K. Harvey’:

    “They wove bright fables in the days of old,

       When reason borrowed fancy’s painted wings;

     When truth’s clear river flowed o’er sands of gold,

       And told in song its high and mystic things!

     And such the sweet and solemn tale of her

       The pilgrim heart, to whom a dream was given,

     That led her through the world,–Love’s worshipper,–

       To seek on earth for him whose home was heaven!”

‘The pilgrim heart’ is a lovely phrase for Strike 9 and Bulfinch sets out all the trials Psyche must undergo as she undertakes this pilgrimage. One of them – as discussed on TSEF – is to take a box of the beauty of Persephone to Venus and this, of course, bring us back to the charm bracelet where were began, as next to the Book of Psalms is an image of Persephone. I love the idea on the charm-bracelet TSEF episode that the hour-glass charm links, via a time-sensitive case, to Psyche’s trials which – fairytale-like – all have to be completed within the day. Lindsay, on the TSEF episode, has suggested that the Persephone charm links with the case and points to a kidnap victim, which would create a fittingly time-sensitive plot. 

In support of this idea is the fact that the first time that Rowling wrote about Persephone (in an essay which describes, with her trademark wry self-deprecation, her undergraduate studies in classical myth) she describes Persephone’s story as a ‘thrilling tale of kidnap’:

“What is the most obvious question we should ask about Theseus?” said Dr. Y, throwing the debate wide open. The question that popped instantly into my brain was, “Did he really exist?” Naturally, I did not utter it aloud. I knew that would reveal only too clearly my unsuitability to find out about Theseus. I sat in bitter silence, knowing that what he wanted was one of those not remotely obvious questions these classical types kept asking, which were always the cue for comprehensible stories to mutate suddenly into bizarre metaphors and symbols. Only the previous week a thrilling tale of kidnap starring one Persephone had turned out to be about crop storage.

A student we shall call Hugh, because that was his name, broke the silence.

“Did he really exit?” he suggested lazily.

“Exactly,” said Dr Y, with an approving smile.

A thousand curses. Just once, I could have earned an approving smile. I was sure my chance would never come again, and I was quite right.

Persephone is a beautiful goddess who is abducted by Pluto and taken down to Hades. Her mother Demeter (the goddess of Harvest) searches in vain for her and, in her mourning, forbids any plants from growing. Persephone comes back to the upper world, but Pluto has tricked her into eating six pomegranate seeds and, having tasted the food of the underworld, she is forced to return for six months every year. In ancient Greece, corn was kept cool and dark by being stored underground, and, at the time of sowing, Persephone’s return to the world was celebrated as a symbol of the corn ascending from its underground storage.

Rowling, however, rebelled against this literalist reading of the ‘thrilling tale’ of Persephone’s abduction as merely an explanation for the underground storage of corn and it is interesting to note – as Persephone’s myth looks to be playing a possibly important role in Strike 9 – that Harry Potter, likewise, rejects this rationalist reduction of myth. When Hermione argues with Professor Binns that there must be a kernel of truth in the legend of the Chamber of Secrets, she appears to be following the reasoning of Rowling’s classics tutors. Professor Binns (based on one of Rowling’s most boring lecturers) must accept Hermione’s point about the literal underpinning of myth because it is his own. But Rowling is here brilliantly turning the tables on dry tutors who evacuated myth of narrative excitement. In Harry Potter’s magical world, such academic interpretation retains, rather than undoes, the fundamental joy of the story, for the literal underpinning of the myth of the Chamber of Secrets is not an explanation of crop storage but the existence of a real Chamber of Secrets. Rowling puts the magic back into myth and doing so is her own, witty act of rebellion against the hyper-literalist interpretative school she felt had stripped Ovidian myth of its wonder. In the world of Harry Potter, apparently mythic places (such as the Chamber of Secrets) and apparently mythic objects (such as the Hallows) turn out, in fact, to be fact.

The Persephone medal is joined on the same loop as the psalm charm which (as I wrote in my previous post) probably contains Psalm 23. The underworld connects these two texts – Persephone as unwilling goddess of Hades and the Psalmist walking through the valley of the shadow of death in Psalm 23. If this connection is realised in a literal way in Strike 9, we may yet have a kidnap victim kept underground (maybe this will be the moment for J.E. Connor’s London’s Disused Underground Stations (2001) – a book hidden on Rowling’s homepage – to shine! ). The classical underworld likewise resonates throughout Harry Potter in the repeated formula of Harry’s yearly struggle with the forces of darkness in an underground space. In the first novel of the series, the connection of these spaces with the classical underworld is made explicit through its guardianship by a three-headed dog who is charmed by music (Fluffy is Hogwarts’s Cerberus) but there is also a more subtle parallel. In Philosopher’s Stone, the trio enter this underground chamber in a chapter which begins with Snape asking them to make a Forgetfulness Potion. Like figures from classical myth, they cannot enter the underworld until they have drunk from the waters Lethe: the river of Forgetfulness. The explicit connection with the Orpheus myth in Philosopher’s Stone, in the three-headed dog who is charmed with music, links the underground spaces of Hogwarts with the classical underworld. It opens up the possibility of reading the similar underground chamber of the following novel as containing a more subtle Orpheus allusion. In Chamber, in an optimistic rewriting of Ovid’s story, Harry goes down to the underworld and succeeds in rescuing the woman who will become his beloved from death. Hogwarts’s hidden chambers resonate with the stories of the classical underworld – of the loss of Eurydice and the abduction of Persephone – and respond to the exhilaration with which Rowling first responded to such stories. In a comic touch, when Hermione, Ron and Gabrielle are ‘taken hostage’ in the uncanny, underwater world of the lake in Goblet of Fire, Rowling reused a phrase she had earlier employed about the myth of Persephone being taken down to the underworld. Rowling wrote in the 1998 essay (quoted above) of this abduction of Persephone as ‘a thrilling tale of kidnap.’ When Ron tells tall tales about his underwater trials in the Triwizard tournament: ‘at first, he gave what seemed to be the truth… One week later, however, Ron was telling a thrilling tale of kidnap in which he struggled single-handedly against fifty heavily armed merpeople’ (Chap 27). Ron’s kidnap into the dark waters of the Great Lake is a comic version of Persephone myth; I suspect we’ll be getting a somewhat darker echo in Strike 9 (but here’s hoping that, like Persphone, Ron, Hermione and Gabrielle, the kidnap victim will be returned alive).

‘The beauty that can emerge from dark confinement’

The charm bracelet is full of charms such as the ring case, the Trojan Horse and the psalm book box that hide things inside other things. I loved learning on the TSEF podcast that the original Jack-in-the-box was used to trap the devil (and can’t help noticing this is another trickster story linked with the name Jack – as is Jack the Giant Killer who traps the original Cormoran). The coffin emoticon links with this idea of containment as, in a sense, does the butterfly emoticon – a ‘symbol of transformation and liberation, of the beauty that can emerge from dark confinement’ as Rowling wrote. The Psyche story likewise has a box – rather like Pandora’s box – in which Psyche cannot help but look. But although she, like Pandora, is punished for looking into the forbidden box (which contains Persephone’s beauty) it is only sleep that comes out of it, rather than all the ills of the world. Cupid saves her by gathering up the sleep from her and enclosing it once more within the box. Psyche’s opening of the box forms a circle within the narrative, as it is a repetition of her curiosity and breaking of the fiat not to look at her lover at the start of the story – the transgression that brings on all her trials. But it is noticeable how much softer and more forgiving this myth is than so many similar myths. Unlike Pandora, who brings on all the evils of the world by opening a box, or Orpheus, who breaks the fiat not to look at his beloved and so condemns her forever to the underworld, Psyche is forgiven her transgressions. If Persephone’s charms links with the case, and Psyche’s image links with Robin, we can look forward to perhaps a happier resolution of both than the ‘wall-to-wall star-crossed lovers’ of The Hallmarked Man.

A thought to take away of the happy ending towards which we are all hastening – Psyche’s myth ends with her perfect union with Cupid and the birth of their daughter Pleasure. Or, as Keats – the most romantic of the Romantic Poets – puts it:

Their lips touch’d not, but had not bade adieu,

As if disjoined by soft-handed slumber,

And ready still past kisses to outnumber

At tender eye-dawn of aurorean love.

As most of us know, JK Rowling has long used her Twitter header as a way of giving readers clues about what she is currently writing. Strike fans, like myself, eagerly await the moment when a new header will arrive and head straight to Google to work out the clues. For Christmas this year, JK Rowling gave readers the perfect gift: a new header that contained not just one, but thirteen clues!

This gold charm bracelet features thirteen charms; thirteen clues for Strike 9. We’ll be going charm by charm (just like we did in Episode 10) to discuss what each charm could mean for Strike and Robin.

Two-stoned ring in a heart shaped box:

In addition to the Strike 9 emojis, this is the second diamond ring clue we’ve been given! The best thing about this ring is that, since there are two stones, we know this isn’t the sparkling shackle bought by Ryan Murphy. As Kenz said in Episode 10, this is called a “toi et moi” or “you and me” ring. Anyone else want to sing along to the Strike TV show theme song? “You and me. Me and you…: 

My current theory is that the case for Strike 9 is going to involve an engaged couple, which would allow for a wonderfully tension filled connection to Robin who has two men who want to marry her. This ring could belong to this hypothetical case-couple. However, I do think that Strike is going to make every effort to show Robin just how serious he is about wanting permanence with her. I’m guessing that Strike’s efforts are going to include two major purchases: a new place to live (coincidentally suited for two) and a ring. Could this be the ring that Strike buys for Robin?

Kenz suggested another possibility, equally as swoon-worthy. The “toi et moi” ring was still quite popular in the 1960’s which would have been around the time Ted and Joan got engaged (after seven years of courtship!). Maybe Lucy has another memento of Joan’s that can be passed along to Strike! 

Faberge Egg:

This one is a bit of a mystery as to how it could connect with Strike 9. Faberge Eggs are well known for elaborate designs that open up to reveal beautifully crafted surprises inside. In fact, there is a bit of a theme with a lot of these clues being things that open up to reveal something hidden. Maybe this will connect symbolically with Robin opening up her heart to find what’s really hidden inside (spoiler alert: she loves Strike!) or maybe we will see Easter celebrated as the most famous Faberge creations were made as Easter gifts.

We also know that Robin is still (sort of) contemplating what to do about her eggs. I suspect we will see her make a final decision in Strike 9.

Anchor:

This charm was impossible to find. There are way too many options and not enough of the charm is visible to narrow it down; however, it IS on the same link as the Faberge egg. If this was a deliberate move by JK Rowling, maybe these clues must be put together.

According to this, “In 1909 Faberge produced an egg with a replica of the yacht “Standard.” This Easter masterpiece immortalized the beloved yacht of the last Russian monarch, who referred to it as his “dear Standard.”

Another here. I’ve also learned that an anchor is a key part of the official Russian hallmarks used on authentic Faberge items. Are we looking at a connection to Russia? 

The first thing that came to mind when seeing this charm was a previous header of Tower Alley near Portsmouth and the connection to the Navy. Honestly, I want this to be true just to see Strike’s term of endearment for them!

Kenz reminds us that an anchor stands for stability, grounding, hope, and strength. We’re hoping for lots of settling down and anchoring in place for Strike and Robin!

Two Angels:

The angel in white was another charm that I wasn’t able to find and, unfortunately, the link for the angel in pink is no longer working. I honestly have no clue how this is going to connect to the book, but I can’t help but notice a slight resemblance to the creepy doll header!

It’s must be noted that this bracelet also includes a devil-in-a-box charm and the Book of Psalms. It seems possible that there will be some sort of spiritual element to Strike 9.

Trojan Horse:

We all know what a Trojan Horse is, but how it will come to play in Strike 9 is still a mystery. We kind of had a Trojan Horse situation in The Hallmarked Man, so we can’t wait to see how it shows up – maybe we’ll get to see Strike ride a horse after all!

Devil Jack-in-the-Box:

It was surprising to learn that the Jack-in-the-Box actually started out as devils instead of clowns. According to this, they were inspired by the story of a rector who trapped a demon inside his shoe. People later made intricate boxes with charming music with the intent of trapping demons. I’m really excited to see how this shows up in the book (especially since JKR said it was her favorite) and, again, I can’t help but wonder if there’s a connection with the angels and the Psalms. While we wait, I am reflecting on Robin’s need to face her own demons that she’s locked away for so long.

Hourglass:

The hourglass is exciting because it could indicate a time sensitive case! A race against time to save someone?

White Rose of York:

We already knew from JKR’s York Minster header that we’d be traveling to Yorkshire, but this might suggest that we’ll be spending more time there than we had originally thought! This is a very exciting possibility for me because I would love to see Strike interact more with Robin’s family, especially Linda.

Crocodile:

On its own, this one was a real mystery to me. However, because it’s on the same link as the white rose of York, I did some digging and think I’ve found an exciting possibility!

Crocodile Rock is a popular landmark in Northern Yorkshire and only about a thirty minute drive from Masham. Could there be a reason that Strike and Robin need to visit this rock during the course of their investigation?

Crow:

While I have no idea how this crow connects to the book, it’s not surprising to see a bird represented in charm form since we know JK Rowling has a thing about birds!

Book of Psalms:

This is yet another clue we have for Strike 9 where something opens up to reveal something hidden inside. This charm features Psalm 23.

It’s hard to say right now whether the important part of this clue is Psalm 23 or if the whole book of Psalms will be relevant. My current theory, until we hear otherwise, is that the Psalms could be one of (if not the only) epigraph sources!

Recently, I made a post expressing how much I love when J.K. Rowling gives us insights into her characters through the epigraphs. Strike has been compared to a noble soldier (The Silkworm), the champion of true justice (Troubled Blood), and the superior man (The Running Grave). My friend and fellow Strike enthusiast, @happyrachy, shared that in the Psalms, the Hebrew word geber means man, strong one, or warrior. A geber is upright, with true integrity. Just a thought!

Beatrice Groves wrote a fantastic piece that suggests we might see the Psalms used to hide clues!

Persephone:

The Persephone charm is one of my favorites because of the idea it has sparked for me. Persephone is seen in the Story of Psyche and Eros when Psyche goes down into the underworld to collect Persephone’s beauty cream, but Persephone has her own story to tell.

Daughter to a loving, but slightly overprotective mother named Linda- sorry, I mean Demeter – Persephone is kidnapped by Hades and brought to the underworld to marry him and rule as Queen. Demeter is heartbroken and eventually finds out what happened to her daughter and they are eventually reunited (forgive me for the very brief overview).

My current theory is that the case of this book is going to revolve around an engaged couple (ring emoji and charm) and the mother of the soon-to-be-bride comes to Strike and Robin to ask them for help in finding her missing daughter. The hourglass charm makes me think that we might have reason to believe this woman is still alive, but she might not have much time left.

JK Rowling has already told us that Cupid and Psyche are important to the story and we are all extremely excited about what that means for Strike and Robin, but if Persephone connects with the victim of this case, I think we might see Robin (as Psyche) go into the underworld to rescue Persephone.

Given that Robin has two men who want to marry her and Linda as a mother, I have to imagine that Robin would feel a strong connection to an engaged woman with a loving, but slightly overprotective mother!

Side note: Is it just me or does this version of Psyche look a lot like Holliday Grainger?

Let us know what you think about the charms and if you agree with any of our theories! I can’t wait to read Strike 9 and see how wrong I am about everything!

After Strike’s perfect gift to Robin for Christmas in 2016 and Rowling’s perfect gift to us for Christmas 2025, the Strike fandom – like its creator – now has two charm bracelets. 

 

The silver charm bracelet Strike gave to Robin in The Hallmarked Man has seven charms – not only because seven is the most powerfully magical number but also, tacitly, one for every year he has known and loved her. ‘It’s been seven years,’ as he says during his declaration and (unexpected) proposal and he had counted out those years in depression earlier in the novel also: ‘Seven years of missed opportunities with Robin; he’d be tallying them up for ever, as a miser counts his pennies.’ The Hallmarked Man was, as promised, a novel thick with metalwork but Strike’s disheartened metallic simile is transmuted into the seven silver charms – there is still hope. For we know, although Strike does not, what Robin thought when she first saw those charms: ‘oh God, I love him.’ Pools said years ago that Strike’s love-language is gift-giving, and I had wondered what kind of gift he’d give Robin now that he not only knows he is love with her but also wants her to know that. I was not disappointed. 

 

Strike’s creator, like her hero, is clearly also a bit of a love-language gifter – remember those six hand-drawn copies of Beedle the Bard she made for the friends those who had helped launch Harry Potter? And that gold-charm-bracelet header was a generous gift for those of us who ended 2025 hungry for more information about Strike 9. Charmingly this header is not just a picture, but a real gold bracelet Rowling has pieced together for us, just as Strike did for his beloved, and – as with that bracelet – the charms enact our shared story (even if we don’t yet know what they mean). Nick Jeffery has written an excellent post with a break-down of each charm and its possible interpretations. Is that crocodile a literal visit to Oxfordshire’s own Crocodile zoo or, as Lindsay has suggested, Yorkshire’s crocodile rock or does it rather point to the symbolism of rebirth or – as so often in Strike – both? One of the things Nick illustrates is that the egg charm is worth startlingly more than the others. This may point to its importance in the coming story but I suspect Rowling has also chosen it because it brings back a memory of her own, first, charm bracelet.

As mentioned above the two charm bracelets of the Strike fandom echo the fact that Rowling, likewise, has (or rather, had) two charm bracelets. She told us this when she wrote a piece about charm bracelets in 2013 because she was raising money for Lumos via auctioning a third charm bracelet (based on one of her own).

In this piece Rowling wrote that her first (much beloved) charm bracelet was given to her when she was five and included a donkey (Troubled Blood, anyone?) and a filigree egg that opened to reveal a tiny bird, which was her ‘favourite by far.’ Might this egg charm have influenced the egg on our golden clue-charm bracelet? 

I was a plain and freckly five-year-old when I received the first and I had never been given anything more beautiful in my life. A heavy silver chain with a heart-shaped clasp, it was crammed with clinking charms including a wishing-well charm, a fat Spanish donkey and, my favourite by far, a filigree egg that opened to reveal a tiny bird. What other piece of jewellery is so imbued with memory and sentiment? Why do we call those little masterpieces ‘charms’ if not in allusion to their talismanic properties? They have meaning beyond the mercenary. They are personal amulets. I owned my adored and beloved bracelet for 20 years until one day a burglar broke into the flat where I was living in Manchester, emptied my old wooden jewellery box and smashed it apart for good measure. I lost not just the bracelet, but the modest collection of jewellery I had inherited from my mother, who had died a mere three months previously. Compared to the loss of my mother, it was nothing, and yet I was devastated. Jewellery does not change, it cannot decay; it is a way of holding tight to the past. To this day, I glance through shop windows at old jewellery in the vague hope that among the tarnished silver I will catch sight of that filigree egg.

This silver charm bracelet was Rowling’s first – stolen just as she was beginning to write Philosopher’s Stone, and it was Harry Potter that brought her the second: 

On the day that the seventh Harry Potter book was to be released, my editor, Emma, and the head of Bloomsbury children’s books, Sarah, met me in London and gave me a small package to open. Inside was what would become (aside from my wedding ring) my most treasured piece of jewellery: a bracelet covered in gold and silver charms from the books. There was a tiny Golden Snitch, a silver Ford Anglia, a Pensieve and a stag Patronus. There was even a Philosopher’s Stone in the form of an uncut garnet.

I think we can feel confident that Robin’s charm bracelet, likewise, will become her most treasured piece of jewellery (aside from her wedding ring).

Rowling points out in this 2013 piece the link between the name given to charm bracelets and the magical world: ‘Why do we call those little masterpieces “charms” if not in allusion to their talismanic properties?… they are personal amulets.’ To charm someone is also to slightly to bewitch them, something Rowling plays with when Riddle exerts his charm on Ginny and literally possesses her: ‘If I say it myself, Harry, I’ve always been able to charm the people I needed.’ Witch Weekly’s Most-Charming-Smile Award is given to a smile that is both literally, as well as metaphorically, bewitching.

The word ‘charm’ comes, through French, from the Latin ‘carmen’ which means ‘song, verse, oracular response, incantation.’ Its first meaning in English, therefore, was the magical one: ‘the chanting or recitation of a verse supposed to possess magic power or occult influence; incantation, enchantment; hence, any action, process, verse, sentence, word, or material thing, credited with such properties; a magic spell; a talisman, etc.’ (Oxford English Dictionary). From the sixteenth century onwards, ‘charm’ meant ‘anything worn about the person to avert evil or ensure prosperity’ because such amulets might contain the text of such a charm. And thinking about this made me aware for the first time of how in the most important charms in Harry Potter – the Fidelius Charm and the Patronus Charm – the word is not simply a synonym for spell but encodes this original, protective meaning. These magical ‘Charms’ like the charms on charm bracelets encode what Rowling calls ‘talismanic properties.’  

Psalm Charm

Charm first meant the incantation itself, and then the amulet that carried that incantation to protect the wearer and then – from the 19^th century – the small ornamental trinkets, fastened to girdles, watch-chains and bracelets, that resembled those original, talismanic charms. This means that Rowling’s clue-charm of a Psalm book (which can actually carry a sacred text) circles back beautifully to the original meaning of the word – in which a charm was an amulet carrying a holy text. These charms do not always hold texts but Rowling has confirmed that this one does: ‘The book is a psalm book and holds real, miniature psalms’   I think this protective hinterland of charms make it likely that the specific psalm that such a psalm-book charm would carry would be the most comforting and talismanic of psalms – Psalm 23. This psalm famously describes the Lord’s love as protective, even unto the valley of the shadow of death: 

 The Lord is my shepherd; I shall not want.

 He maketh me to lie down in green pastures: he leadeth me beside the still waters.

He restoreth my soul: he leadeth me in the paths of righteousness for his name’s sake.

Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.

Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.

Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever.

Nick Jeffery, brilliantly, has discovered a psalm-charm identical to that on Rowling’s bracelet (it has sold-out – did she buy it?!) which does indeed contain Psalm 23.

Psalm 23 is now, and has long been, the most famous and beloved psalm and has always been thought of as a particularly comforting and protective psalm. I am writing a book about sixteenth and seventeenth century psalm-readers and I have found an inscription, written in a 1587 Book of Psalms, which – highly unusually – records a betrothal. The bride-to-be has written out: ‘Elizabeth Proay and Daniel Peaf shall be joined together in matereymoney.’ The wildly unusual spelling of matrimony is one reason for thinking that it was Elizabeth rather than Daniel who inscribed this record, as early modern women (taught to read but rarely taught to write) had highly idiosyncratic spelling (one of my favourites is Mary Herrick’s rendering of “pomegranate” as “pounde garnyte”). I suspect that Elizabeth’s choice of where to inscribe her betrothal expresses her understanding of this scriptural text as a sacred and protective space. She chooses to record her future marriage in the margin of Psalm 23, just as one might wear it as a talisman: “Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me.”

Frankly the idea that psalms might be turning up in Strike 9 is exciting enough (the Venn diagram of things I am writing books about will then be a circle!) but I am particularly intrigued by the idea that this is piece of jewellery might hide a psalm-text clue within it because just such a thing turns up in one of the best children’s books of all time. And it’s a book I’m confident Rowling read and loved as a child: J. Meade Falkner’s Moonfleet (1898).

I spent lots of time in Dorset as a child (my grandparents lived near Corfe Castle) and so it was particularly exciting when Moonfleet’s hero, John Trenchard, reads about how the magnificent ruins of Corfe Castle have ‘a secret passage from the ruins to some of the old marble quarries, and perhaps to that very one that sheltered us.’ My favourite walk went down to these old quarries at Winspit – vast dark gouges in the cliffs roofed by great slabs of stone held up by pillars that looked frankly inadequate to the task. I used to walk into these in fearful excitement and imagine such secret passages and John Trenchard hiding there. I thought of them again when child-Strike longs to visit smugglers’ caves with Dave Polworth – and wondered, likewise, if the smugglers’ caves of Moonfleet might have been in Rowling’s mind as she wrote that line.

 Moonfleet is a deeply evocative coastal romance of pirate treasure, smuggler’s caves and vanished folklore. John is told old myths of the place such as ‘when St. Aldhelm first came to Purbeck, he bound the old Pagan gods under a ban deep in these passages, but that the worst of all the crew was a certain demon called the Mandrive, who watched over the best of the black marble. And that was why such marble might only be used in churches or for graves, for if it were not for this holy purpose, the Mandrive would have power to strangle the man that hewed it.’ To keep off such creatures, John learns what he calls a ‘spell’ (the talismanic saying Abite a me in ignem etenum qui paratus est diabolo at angelis ejus). The sexton who teaches him explains that in English this ‘spell’ means ‘“Depart from me into eternal fire prepared for the devil and his angels,” but hath at least double that power in Latin.’ It is a traditional magical belief on which, of course, Harry Potter draws.

Moonfleet tells the adventures of the fifteen year old John Trenchard, who has been brought up by his aunt after the loss of his parents – an aunt quite as unpleasant as Aunt Petunia – and when he leaves her to live with Elzevir Block, Elzevir is as happy as Sirius would have been had Azkaban ended differently: ‘he said that I must come now and live with him… I should be to him a son in David’s place.’ Elzevir Block runs a pub called the ‘Why Not?’ – a great name as it is an encouragement to a ‘let’s have another drink’ mentality among its patrons but it is also a visual pun.

The pub is properly the Mohune Arms, and the heraldic symbol of the Mohunes is a cross-pall, shaped like a ‘Y’ – hence the ‘Why not?’ (Rowling also loves the pictorial language of heraldry – something that I looked at in depth here). But this bit of punning also has a plot function, for it introduces the reader to the heraldic symbol of the Mohunes and explains how familiar it is to the villagers of Moonfleet. And hence what might have seemed a secret and personal symbol to Colonel Mohune (when he marked the hiding place of his diamond with his family crest) belonged – unbeknownst to him – to John Trenchard likewise: 

Now, however lightly a man may glance through a book, yet if his own name, or even only one like it, should be printed on the page, his eyes will instantly be stopped by it; so too, if his name be mentioned by others in their speech, though it should be whispered never so low, his ears will catch it. Thus it was with this mark, for though it was very slight, so that I think not one in a thousand would ever have noticed it at all, yet it stopped my eyes and brought up my thoughts suddenly, because I knew by instinct that it had something to do with me and what I sought… a letter of the alphabet, a plain ‘Y’, and would have passed for nothing more perhaps to any not born in Moonfleet; but to me it was the cross-pall, or black ‘Y’ of the Mohunes, under whose shadow we were all brought up.

There is lots in this novel that feels like it might have fed into Rowling’s own mental landscape and influenced Harry Potter: heraldic punning, riddles, solidly satisfying father substitutes with names like Elzevir Block, secret passages, rough pub landlords with hidden hearts of gold and evil aunts. But the links feel particularly close when (half a century before The Lord of the Rings) our hero wears a dangerous treasure in a locket round his neck and starts to get possessed by it. Harry’s secret hankering after the Hallows, as he is weakened by wearing the locket Horcrux, feels very close as John – unlike his lovingly stalwart companion – starts to be possessed by desire for the diamond:

But all the while a strange change was coming over us both… now it was he that seemed to set little store by it, and I to whom it was all in all. He seldom cared to look much at the jewel, and one night when I was praising it to him, spoke out: ‘Set not thy heart too much upon this stone.’… I did not know what made him speak like this, and was not willing, even in fancy, to agree to what he counselled…I never answered Elzevir, but took the diamond and slipped it back in the silver locket, which still hung round my neck.

The jewel is now hidden in the large silver locket which John found round the neck of Colonel Mohune – aka the pirate Blackbeard. When John first opens this locket he thinks it will contain the diamond, but finds instead five psalm verses: ‘look at it as I might, I could not see that these verses could ever lead to any diamond; and though I might otherwise have thought of ciphers or secret writing, yet, remembering what Mr. Glennie had said, that Blackbeard after his wicked life desired to make a good end, and sent for a parson to confess him, I guessed that such pious words had been hung round his neck as a charm…  the locket I kept, and hung about my neck under my shirt; both as being a curious thing in itself, and because I thought that if the good words inside it were strong enough to keep off bad spirits from Blackbeard, they would be also strong enough to keep Blackbeard from me.’ This psalm-filled locket is, as John says, ‘a sacred charm’ in the traditional sense, recalling the psalm ‘charm’ (in the modern sense) of Rowling’s clue. For, despite what John thinks, these psalms are a clue to where Blackbeard’s ill-gotten diamond may be found.

Psalms are a brilliant place to hide clues, as in Moonfleet, because they are ubiquitous, numerous and they combine words and numbers – hence the much-loved tradition that Shakespeare hid his name within the King James translation of Psalm 46 when he was 46 by putting one part of his name 46 letters from the start and the other half 46 letters from the end. This, as you may have guessed, is a myth – but it has a certain attractive plausibility because people really did hide ciphers of their names in early modern texts – and, in one case, the psalms. The alchemist Thomas Norton, for example, left a cipher of his name in his Ordinal of Alchemy (1618), deciphered by Elias Ashmole who writes: ‘From the first word of this Proeme, and the Initial letters of the six following Chapters’ spells out ‘Tomais Norton of Briseto, A parfet master ye maie him call trowe.’ Rowling has only used this type of clue sparingly – in Creed’s letter in Troubled Blood and on her old website in which an instruction about repairing a clock was phrased as a poem with the acrostic ‘Reparo.’ This clue launched the W.O.M.B.A.T tests – and these, like O.W.L.S and N.E.W.T.S are, in themselves, a form of acrostic. Acronyms (in this case for Wizarding Ordinary Magic and Basic Aptitude Tests) are a kind of backwards acrostic – you have to work out the words from the letters rather than vice versa.

Acrostics are also present in the Psalms: most famously in Psalm 119 which is an alphabetical acrostic, with each section beginning with the correctly ordered letters of the Hebrew alphabet. Sixteenth century translators responded to this aspect of the psalms – Mary Sidney, for example, includes ‘Praise the Lord’ as an acrostic in her translation of Psalm 117 while Matthew Parker included a preface to Psalm 119 which explained how its acrostic worked and included an acrostic of his own name. Startlingly, Parker has hidden an important clue in this acrostic: it is the only evidence we have that this translation is, in fact, Parker’s work. So, from sixteenth century translators to Moonfleet and beyond, writers have been inspired by the psalms to create verbal games and riddles. Here’s hoping that Rowling follows in their footsteps and that the psalm charm points to some satisfying psalm-based clues in Strike 9!

In my next blog post I’ll look at another charm in detail – it is a charm that is not present on either of the Strike bracelets, nor (as far we know) on either of Rowling’s own, But it was present on the charm bracelet Rowling designed for Lumos and it is a symbol which she has told us will be important to Strike 9: a butterfly. 

After we released our “TSEF is Cancelled” episode I felt I wanted to write something as a follow up that is honest, unfiltered and completely me. Since our episode came out, I’ve had many conversations with listeners clarifying and explaining my point of view. I’ve had many responses, some agreeing with me, some not, and I think the best final step would be to take a page from J.K. Rowling’s book (pun intended) and write about it. (Don’t expect the same caliber of writing, but that seems like it should be obvious!)

My 2020 Self

I wish I could say that I had been aware of this topic long before J.K. Rowling started talking about it, but the truth is that I had no idea. I was never really glued in online, as Pools and Kenz constantly point out when I don’t understand their internet references. I was mildly tuned into the Potter fandom in the 2000s before Deathly Hallows was published. I posted occasionally on the Leaky Lounge and was a regular PotterCast listener, attending two live shows when they were in Los Angeles or San Diego. I had a Twitter account, but the only thing I used it for was getting text message alerts from a 40404 number when J.K. Rowling tweeted.

Around the end of 2019 I realized that I could connect with other Strike fans online to discuss these books that I was growing increasingly obsessed with. During the pandemic in 2020, it became a place of community and friendship that was so needed in that time, so I felt a little blind sided when the reactions to J.K. Rowling’s first 2019 tweet on this subject started coming in.

When I got that 40404 text message with a tweet that talked about dressing how you please, but women shouldn’t be fired for saying biological sex is real, I read it and thought, “Well, yeah, of course. This is completely logical. How could anyone disagree with this?” I had no idea what was coming. I had no clue about the Maya Forstater case or any of the growing concern around gender ideology. My position on any transgender issue was completely rooted in an unquestioning acceptance. If I supported my gay and lesbian friends and family, surely I had to accept this, because it’s the same thing, right? I had secret questions, of course. Ones that I never said out loud because you weren’t allowed to.

I began to feel so much anxiety over the hatred being shown to J.K. Rowling. Anxiety for her safety, anxiety that people might come to me and say, “Wow, that person you admire really turned out to be awful, didn’t she?”, anxiety that I wouldn’t know what to say because I was so ignorant on the issue. Sometimes I have a hard time recognizing the me of 2020 because I used to be afraid to “like” the wrong tweet, afraid to ask the questions we weren’t supposed to ask, and afraid to say J.K. Rowling’s name to the wrong person. At the time, I just wanted her to stop talking about it so the hatred towards her would stop and so my selfish anxiety could ease up.

I could no longer listen to PotterCast because all their episodes were now about how horrible and wrong J.K. Rowling was and how disappointed they were. I was nervous that some of my new Strike friends would want to talk about their disappointment, as well. I was worried that this thing that was bringing me a lot of happiness in a dark time would begin to feel ruined. And while there was certainly some of that, what I didn’t expect were the friendships that would eventually deepen by a shared sense of gratitude and admiration for J.K. Rowling. Seeing my new friends be able to say that they agreed with her, and watching J.K. Rowling continue to stand up to the relentless attacks, began to develop a sense of bravery in me that hadn’t been there before. I stopped being afraid to like the tweets, I stopped wanting to avoid the issue, and instead started enjoying J.K. Rowling’s tweets and wit. I decided to do what so many of J.K.R’s critics said should be done and began to educate myself. (As an aside, the irony of the ‘educate yourself’ comments never ceases to make me chuckle, because in my absolutely honest opinion, anyone who actually educates themselves will have no choice other than to agree with those terrible TERFs!)

As I said in our episode, I have mixed feelings about waiting this long to speak out on the podcast and express support for J.K. Rowling. On the one hand, it feels less important to do it now when so many others are doing so and when it sometimes feels like the tide is finally turning back to reality, but on the other hand, it would have been a very different kind of episode during which I would have had much less to say and much less confidence to say it. Ultimately, I’m very happy with our episode. I do not want to be one of those fan spaces that refuse to say her name, acknowledge her talent and give her the respect she deserves.

What it means to Stand With J.K. Rowling

One person sent me a DM asking me to clarify what it means to me when I say that I stand with J.K. Rowling, so if anyone else has that question, I want to be perfectly clear. Obviously, I’m a massive fan of her books – I think that goes without saying – but I’ve always admired her for other reasons as well. Her kindness by going on PotterCast (back before they decided she had the wrong opinion), was incredible. It remains, to this day, my favorite interview she’s ever done. For her to sit and talk with fans and to be just as excited as they were to discuss these characters was an absolute joy, and I don’t know of any other celebrity who has done something like that. I am blown away by the good she does in the world. She is the only person to have lost their billionaire status for giving away so much and founding charities. Charities that help research for MS (The Anne Rowling Foundation), that help children in orphanages (Lumos), fully funding a women’s rape crisis shelter (Beira’s Place), helping women escape the Taliban, funding legal cases for women fighting to retain their sex-based rights (The J.K. Rowling Legal Fund), and so much more. And now, her relentless bravery in standing up and doing the right things for the right reasons (wink wink my fellow Strike fans) no matter what it costs her.

I know she doesn’t like being put on a pedestal and she didn’t want fame, but I’m reminded of what Dumbledore said in Deathly Hallows:

“It is a curious thing, Harry, but perhaps those who are best suited to power are those who have never sought it. Those who, like you, have leadership thrust upon them, and take up the mantle because they must, and find to their own surprise that they wear it well.”

A couple people have said we only hold this belief because we’re copying what J.K. Rowling says. I find this to be just another misogynistic way to dismiss a woman’s opinion, as if we don’t know our own minds. As if I, an almost 40 year old mother of two, needs my favorite celebrity to tell me how to think and what to believe.

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Why I Agree with J.K.R and the TERFs

When it comes to exactly what I do think about this issue, I also want to be clear. One of the most common responses I’ve seen is that “Trans people just want to exist”, but this is an argument that I just don’t believe anymore. Anyone simply ‘wanting to exist’ doesn’t require complete and utter compliance from everyone else in order to do so. They don’t demand you ignore the reality of your own eyes, they don’t demand access to spaces they have no right to be in, they don’t push for the erasure of sex-based language, or for children to be permanently damaged by experimental drugs. They certainly don’t send rape and death threats to the women who refuse to comply.

I have seen people be hesitant to listen to gender-critical arguments because they believe they’re inherently anti LGBTQ+, far right, or hateful. You can be a left-leaning supporter of gay rights or homosexual yourself and also oppose gender ideology.

First of all, there is so much homophobia embedded into this ideology that I’m astounded that more people don’t see it. The majority of kids who experience gender dysphoria will grow up to be same-sex attracted and no longer feel dysphoric. Trans ideology is the new form of conversion therapy.

I’m eleven years older than my cousin Savannah and when she was a little girl, she was the biggest tom-boy I knew. She always wanted to be like one of the boys and constantly said that she either “was a boy” or “wanted to be a boy when she grew up.” Surprising very few, she came out as a lesbian in 2014 at the age of 18. It’s horrifying to me to think that if she was a child in today’s world, her school or other outside influences could have pushed her into a life she was never meant for.

Me and Savannah from God knows when

Studies have also shown that girls are experiencing gender dysphoria in increasingly high numbers over the years and it’s very concerning. Jamie Reed, the whistleblower in the US pediatric transgender center, has talked about how she was seeing girls come into clinics and repeating the same phrases – they were coaching each other on what to say in order to receive care. We’ve also learned that there are many co-morbidities associated with gender dysphoria such as autism, PTSD, sexual abuse, OCD, etc. The way to handle these cases is to NOT give them life-altering and permanent bodily changes, but to treat the reasons why they might feel dysphoric. Or for many people, just let them grow up.

One thing that has really changed within my own belief system is that despite trans culture being so intertwined with gay culture, it is not a sexuality, it’s a dysphoria and, given the evidence, I no longer believe it’s innate. Like any dysphoria, I understand that it is a real thing people experience and should be treated with empathy and understanding. But gender dysphoria is the only dysphoria that we are expected to unquestionably affirm or risk being labeled a bigot.

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We are supposed to disregard the fact that most young people experiencing gender dysphoria grow out of it and end up being same-sex attracted. We are not allowed to conclude that the increasing numbers of people identifying as trans implies a social contagion. We are meant to ignore the studies that show the young women now identifying as trans are very often autistic, or that autogynephilia is a thing (google at your own risk), or that a young woman might want to escape her female-ness due to sexual abuse. NONE of this is supposed to be talked about. We are not supposed to think, for one second, that there might be another option, other than physically and permanently altering one’s body.

We would never tell someone with anorexia that they’re right that they’re fat and then give them Ozempic. We would never tell someone with BIID that they’re right, that they were meant to be born a paraplegic, and then sever their spinal cord. In these cases, we treat the dysphoria.

If someone eventually decides that appearing as the opposite sex is what helps them live a happy, healthy life (and respects the boundaries and reality of biological sex) then I have no problem with that, but I don’t believe that anyone is born in the wrong body.

I saw something on Twitter today that said “What TERFs say in public about trans people, they say in private about gay people.” This is absurd. I’ve always supported my gay and lesbian friends and family. To me and many others, transgender ideology is the exact opposite because, while being gay doesn’t affect other people at all, this ideology is having a very negative impact on so many people.

In addition to Jamie Reed mentioned above, others who have worked in gender affirming care have come forward to talk about the things they’ve seen and the concerns they have, such as Dr. Riittakerttu Kaltiala, who was the head of one of the first clinics in the world treating kids with gender dysphoria.

The Cass Report that came out of England a couple years ago has shown the damage that puberty blockers are having on children. The cross sex hormones always cause permanent damage, often including the loss of all sexual function.

I’ve seen so many de-transitioners talk about their experiences and how they feel lied to because these things happened to them as young people when they had no idea what the consequences were. And for the people who say this isn’t happening to young people, here is a video of an employee of Kaiser talking about giving a 12 year old girl “top-surgery” aka a double mastectomy.

One thing talked about a lot is the suicide rates for trans people, in particular the youth. A Swedish study shows that suicide rates actually increase after receiving gender affirming care, not decrease. In fact, it says that suicide rates are nineteen times higher after receiving gender affirming care than before.

One group that this ideology is affecting very negatively is children, but of course, it also negatively affects women.

What influenced J.K. Rowling to speak out in the first place was Maya Forstater losing her job because of her gender-critical views. No one should lose their livelihood because of their beliefs, even if others disagree, and this is happening to women all over the world. Sandie Peggy is a nurse who didn’t want to have to share the locker room with a trans-woman. Some women might say they don’t care, but consent cannot be given for others. There’s also Sall Grover who started a women only app and has been drawn into years of legal battle because a biological man was denied access. Amy Hamm, another nurse, lost her job after expressing support for J.K.R. So many women who work in the medical profession or academia are terrified of speaking out because they might lose their jobs. And then, of course, there’s the hatred and threats of violence women are faced with when speaking out.

I’ve only experienced a small bit of it, but the verbal abuse, the names, the threats are all normal to me now. For example, I recently had someone tell me that I probably have my kids chained up like Ruby Franke.

One woman on Tik Tok spoke out against Jeffery Marsh. Marsh is a Tik Toker who posts pretty questionable content – he identifies as non-binary, but makes videos directed at teens/kids and encourages them to speak to him privately without their parents knowing. The woman who spoke out had no interest in the transgender arguments, but was simply worried about Marsh targeting children and how suspect that behavior was. Within days, she posted a video of herself extremely upset and apologizing because the trans rights activists had found out where her children go to school and were threatening them. That is just what happens. J.K. Rowling has had people post her address and show up to her house. There were recent trans rallies to protest the recent UK Supreme Court ruling where they were chanting for J.K. Rowling to “be afraid”. They walk around with signs that say things like “Decapitate TERFS” or “Punch a TERF in the face” without consequence.

The discourse against gay and lesbian people has also been disgusting. They are told that they are transphobic and hateful to have a sexual orientation or ‘a genital preference’. Unsurprisingly, lesbians are often targeted with hateful, misogynistic attacks and told “suck my girl dick” or “You just need this girl dick“.

When it comes to sharing women’s spaces, there is often a lot of talk about bathrooms. Trans activists say “we just want to pee”, but it is so much more than that. First of all, even if the dispute WAS just about bathrooms, the stats show that unisex spaces are more dangerous for women.

If anyone knows who made this collage, please tell me so I can credit them!

All over the world, women are being forced to share what should be single sex spaces with biological men and, in some cases, this has led to women being harmed. The argument that it ‘doesn’t happen that much’ is one of the common responses. But how many women need to be harmed before it matters? How are so many people comfortable saying out loud that women’s safety, fairness, privacy and dignity is less important to them than men’s feelings?

Also, there’s the issue of women’s sports. Over 900 medals and prizes were awarded to men competing in women’s categories in 2024 alone. There are a ton of extremely informative videos at the Paradox Institute, but this one about the physical differences between men and women is phenomenal. It shows that even after hormone therapy, men retain an innate advantage.

Of course there are things that matter much more than sports. Biological men who claim to be women are being allowed in prisons, in rape crisis centers and women’s shelters all over the world, simply because they say they’re women. The women in those situations are extremely vulnerable and overwhelmingly likely to have already experienced male violence.

Trans-Identified Male Inmate in Women’s Prison Charged with Assaulting Female Staff

“Dangerous” Trans-Identified Male Pedophile Under Investigation For Sexually Assaulting Female Inmates In Canadian Women’s Prison

CANADA: Trans-Identified Male Charged After Allegedly Sexually Assaulting Multiple Women While Staying At A Women’s Shelter

Unfortunately, there are so many more examples like this from all over the world. You can argue that most trans people are not dangerous, and I agree, but it’s the exact same argument we hear when we talk about any male violence: “Not all men!” We know it isn’t all men, but we have no way of knowing which men we need to watch out for. There is no evidence to show that men who identify as women pose less of a risk to women than any other male.

If anyone knows who made this collage, please tell me so I can credit them!

This isn’t about targeting trans people, it’s about protecting the vulnerable. Protecting vulnerable young people from life altering, negative medical procedures that will likely exacerbate their mental health problems and cause permanent physical damage. Protecting vulnerable women from being placed in situations with biological males and further traumatised. As Pools said in our recent episode – most of those who disagree about this matter want to protect vulnerable people: we’re just disagreeing on who the vulnerable people are.

Not that she’ll see this, but I want to end this post by thanking J.K. Rowling. Whether it’s counting down to her next novel, discussing them on our podcast, or laughing over her epic Twitter retorts, she has been an endless source of joy in my life and one of my biggest inspirations. I am proud to be able to say that #IStandWithJKRowling.

By: MozartGalbraith 

When JK Rowling said last December that she could write a lengthy dissertation on Strike’s sex appeal, I figured that we here at The Strike & Ellacott Files might be able to help her out with that! Anyone who has listened to our podcast knows that this is a subject that’s very near and dear to our hearts and one we take very seriously. (Yes, I’m mostly kidding, but also not really.) While it won’t be written nearly as nicely as it would if JK Rowling HAD actually written it, I like to think that we somewhat understand what she’s going for when it comes to why women (both fictional characters in the books and my fellow Strike readers) often find him so attractive. 

Let’s get one thing out of the way right off the bat: we all know that Cormoran Strike isn’t perfect. The truth is, I don’t think any readers would want him to be. I’ve always thought that one of the reasons JK Rowling’s characters resonate so well with many of us is because she understands and portrays human nature in a way that’s hard to find anywhere else. She once said that Strike is a flawed man, but a good man. His flaws make him human and highly relatable. In fact, I don’t think I’ve ever related to another fictional character more than I have to Strike and often, it’s because of those flaws. Watching him over the course of the seven books we currently have, growing and learning from his mistakes, is not only endearing (and adds to the appeal), but it’s also inspiring. He’s a character you want to root for. 

 

Robin’s Thoughts: 

To kick off this highly important list, I always like to start at one of my favorite chapters in Troubled Blood. (Yes, I’m aware that sentence makes it sound like I give this talk often and the truth is that…I kind of do.) When Robin goes to Leamington Spa by herself in an attempt to locate a witness, she finds herself contemplating her feelings in the Old Library pub. This chapter, which strongly reflects chapter 40 of Career of Evil (see blog here), has Robin thinking about all the things she loves likes about her partner. 

“She trusted him on the big things: to do the right thing for the right reasons. She admired his brains and appreciated his doggedness, not to mention the self-discipline all the more admirable because many whole-bodied men had never mastered it. She was often astonished by his almost total lack of self-pity. She loved the drive for justice that she shared, that unbreakable determination to settle and to solve.” (Troubled Blood, chapter 45)

In addition to the above, Robin also thinks about the highly unusual experience she’s had in that in the years she has known Strike he has never once made her feel uncomfortable. I once responded to a comment on Twitter (I’m sorry, I’m still being stubborn about the name) by saying that Robin’s thoughts in this chapter explain why so many of us love Strike. These are all the reasons that make him a good man…and being a good man is sexy. I will also add that JK Rowling liked a comment I made on May 24, 2023 about this very chapter, so I like to think that means she agrees. 

Justice: 

Strike’s sense of justice is one of my favorite things about him. The man has BDE: Big Detective Energy. If you don’t love him by chapter 4 of The Cuckoo’s Calling when it says that justice is the “…pilot light Strike shielded when everything else had been blown to ashes..” surely you did by the time he was being compared to Artegall, the champion of true justice, in Troubled Blood? You can tell that both Strike and Robin truly care about getting justice for the people they’re trying to help. You might think that that’s common for people who are detectives, but I can tell you from experience that it isn’t. I worked for a PI for three years and there were times when I saw decisions being made that were not about justice, but about what was easiest or would make more money. Strike as the modern day champion of true justice means a great deal to my Hufflepuff heart!

Care For the Vulnerable:

One thing that is deeply appealing about Strike is the glimpses we’re given into how much he cares for vulnerable people. Pools has pointed out that when Strike interviews a woman who lives alone, he always makes sure to show her his ID. In fact, in one instance, he tells Edna, Leonora Quine’s neighbor and only friend, that “you ought to ask to see ID before you let anyone into your house.” It’s such a small thing that you might not even notice, but it’s a huge deal for women’s safety and Strike takes the time to make sure they feel safe in his presence. 

You can pretty much use the entire book of The Silkworm as an example of this when it comes to his relationship with Leonora Quine. One part that I always find so touching, no matter how many times I read it, is when Strike asks Leonora about money. 

 

“And are you all right for money?”

“Yeah,” she said, blotting her eyes. “Owen had life insurance. I made him take it out, cos of Orlando. So we’ll be all right. Edna’s offered to lend me till it comes through.”

“Then I’ll be off,” said Strike, pushing himself back to his feet.” (The Silkworm, Chapter 21)

 

Strike doesn’t have a lot of money in The Silkworm. He’s struggling to afford all the lunches he’s attending interviewing all those book people and trying to save money by not taking taxis. And yet he asks, because Leonora and Orlando might have needed it. *swoon*

The more I think about it, the more I realize what a huge compliment it was when Robin told Strike that Leonora Quine was ‘his type’ of client. Robin saw a woman who really needed help and knew that Strike was going to take her case because he does the right things for the right reasons. 

There are also the times where he was going to give up his flat to Will and Qing [The Running Grave], defended the Athorns to the man downstairs [Troubled Blood], or was so upset when he couldn’t save Stephanie from Whittaker [Career of Evil] (although, that one does have more complications than the others!)

Big Dad Energy 

Strike has been clear, from the beginning, that he doesn’t want children, but that doesn’t mean he wouldn’t be a good father. In fact, I think what we’ve seen of him shows that he would be a really good dad. Pools has pointed out many times that Strike takes fatherhood very seriously. He knows what it’s like to not have a father, to have the man who is supposed to love and raise you, tell you you’re a mistake. He’s witnessed Rokeby beaming with Pride over Al and seen Lucy’s father be part of her life growing up, while he was “…the small boy who would once have sold his soul to receive a birthday card from his father.” (Troubled Blood, Chapter 19)

It’s true that Strike has a complicated relationship with some of the children in his life. He has little to no interest in his godson, Timothy Cormoran Anstis, and has referred to two of his nephews as a ‘whiny prick’ and an ‘arsehole’, but we’ve seen that he truly does care about his family. The only time we’ve seen him cry was at Jack’s hospital bed when he resolved to do better. His relationship with Jack is unique and endearing. Here are some of my favorite moments that just scream BDE to me (Big Dad Energy, obviously!):

“Jack was making his soldier fire around the back of the sofa and Strike was pretending to have taken a bullet to the stomach.” (The Cuckoo’s Calling, Part 3: Chapter 1)

 

“Can I try some of that beer?” he asked his uncle.

“Don’t push it,” said Strike. (Troubled Blood, Chapter 44)

 

‘Bloody hell,’ said Strike. ‘You’ve grown about eight inches since I last saw you.’

‘Be weird if I’d shrunk,’ said Jack, grinning. ‘You’re thinner.’

‘Yeah, well, I needed shrinking,’ said Strike, wiping his feet on the doormat. (The Running Grave, Chapter 11)

via GIPHY

Threatening Bad Men

Another thing we all really like and find very sexy is when Strike threatens bad men! While anyone with basic reading comprehension knows that Strike is a good man, there are some really awful men in these books, and it is so incredibly satisfying to read Strike threatening to cut their dicks off or burn their church to the ground! We love to see it! 

So much time of The Ink Black Heart is about a horrible pedophile grooming, manipulating, and ruining poor Zoe’s life, that I cheered out loud when Strike threatened to perform his own very special amputation. I like to imagine that Tim Ashcroft (the pedophile) lived in fear of Cormoran Strike for a good while after that. 

There’s also the chapter in The Running Grave in which he threatens Jonathan Wace and tells him that he’ll “burn his church to the fucking ground” if he comes near Robin or Rosie Fernsby. Kenz maintains this chapter is the sexiest Strike has ever been and, I have to say, she has a point! I was absolutely terrified reading this chapter.. Robin was really scared for Strike to go see Wace and, because we had experienced the cult with her,  I totally empathised with her fear. Strike being so unafraid and unmoved, and nonchalantly antagonizing the UHC members was incredibly attractive!

via GIPHY

Intelligence:

Robin thinks in chapter 45 of Troubled Blood that she “admires his brains…” and all I have to say is, “Girl, same.” There’s no questioning that Strike is extremely intelligent. This is a man who taught himself Latin as a teenager and has outsmarted the police numerous times. My all time favorite example of this is when he interviews Creed at the end of Troubled Blood. It has to be difficult to interview a serial killer in the first place, but to interview a smart serial killer who is hell bent on messing with you is a whole new level of difficulty. And yet Strike was calm, cool, and collected. If Dumbledore was alive today (and real in this world) he’d be giving Strike fifty points for the best played game of mental chess that prison had ever seen! 

“Strike turned back one last time, and now he stopped pretending to be angry, and grinned, too.

“I was here for Louise, you silly fucker. I know you never met Margot Bamborough. She was murdered by a far more skillful killer than you ever were. And just so you know,” Strike added, as the nurse’s keys jangled, and Creed’s slack, fat face registered dismay, “I think you’re a fucking lunatic, and if anyone asks me, I’ll say you should be in Broadmoor till you rot.” (Troubled Blood, Chapter 68)

via GIPHY

 

Romantic:

No matter how much Strike tells himself that he likes to be free “from demands to service Hallmark’s idea of romance…” the man is a romantic when his heart is in it. ‘When his heart is in it’ is an important condition because, of course, we don’t see his romantic side with any of the women we’ve seen him date, but I think we see it in some of his history with Charlotte (hello Catullus) and we definitely see it with Robin even though they’re not a couple…yet. For God’s sake, the man kissed the back of her hand after giving her the surveillance course she wanted and making her his partner! As Pools says, a hand kiss is peak romance! 

Troubled Blood has a lot of wonderful examples, including one of the most romantic endings of any of the books so far, but there are also the smaller and less grand gestures like building her bookcase in The Ink Black Heart, or sitting in her chair when he’s missing her in The Running Grave. 

Thinking about what romantic gestures might be awaiting us now that Strike knows he’s in love, has confessed that love, and wants something real, might just put me in an early grave. 

Relationship with Robin:

“If only she could come inside his head and see what was there, Strike thought, she’d understand that she occupied a unique place in his thoughts and in his affections.” (Troubled Blood, Chapter 58)

I’m not going to argue that Strike always treats Robin 100% correctly all the time, because of course he doesn’t. He acts like most of us do with the person we’re closest to and sometimes takes things out on her, or is unfair or grumpy. However, I will argue that Strike (especially in recent books) treats Robin with dignity and respect. 

I will go back to Robin’s thoughts in Leamington Spa where she thinks that he’s never made her feel uncomfortable. Every woman reading these books knows exactly what Robin is talking about, and we’ve all experienced the men who don’t act like Strike. It’s deeply endearing that Strike is #notallbeards. 

After Robin escapes the UHC and she and Strike are in the hotel room, I find Strike’s unnecessary tidying up and rearranging of his possessions to distract himself from thoughts of  Robin naked in the shower incredibly adorable;. as are his worries that someone will think he’s taking advantage of her if they shared the bed. Not a soul would know if he didn’t tidy up. No one would know if he sat there, listening to the shower running and pictured the thing he was trying not to picture. But he doesn’t. I know a lot of fans like to joke about Strike and Robin having sexy thoughts about each other, but I take this as a very clear sign that he doesn’t allow himself to cross that line even in his own head. Although, once he’s given permission by Robin, I do hope to see some sexy thoughts! (From both of them!)

Another thing I love about Strike’s treatment of Robin is how he is so happy for her to take her place as his true partner. We see when she interviews Rachel Ledwell in The Ink Black Heart that he’s not upset at all by Robin asking him to sit that one out. 

“He hadn’t been offended by Robin suggesting that it was best that he – a bulky six- foot-three male, whose resting expression he knew to be stern, bordering on threatening – didn’t attend the interview with a frightened teenage girl, but as he ordered a coffee and resisted the temptation to ask for a scone, his thoughts lingered on the way Robin had taken charge of this particular line of inquiry. If he was absolutely honest with himself, this was the first time he’d seen her as a true partner, an equal. She’d secured the interview through her own ingenuity, then taken charge of how the interview was to unfold, telling him, effectively, that he was surplus to requirements. He wasn’t annoyed; on the contrary, he was almost amused by his relegation to a waiting role at a circular table in the airy café overlooking the sweeping lawns of Meanwood Park.” (The Ink Black Heart, Chapter 82)

 

Physical Traits

We know that Strike is described as ‘not handsome’ in The Cuckoo’s Calling or ‘not nearly as handsome as…’ in Troubled Blood, but it doesn’t really matter when you’re reading a book, does it? The character becomes attractive because of who they are. That’s all you have to really go on. Having said that, it seems clear to me that while Strike might not be handsome, he’s certainly attractive to a lot of women in the books. 

“Women liked Strike—she had come to realize that over the months they had worked together. She had not understood the appeal when she had started working for him. He was so very different from Matthew.” (Career of Evil, Chapter 20)

Please note that Robin had not understood the appeal “when she had started working for him” which implies to me that, by the time she thinks this in Career of Evil, she very much understands the appeal!

‘I never found him remotely sexy,’ said Robin, but then the spirit of truthfulness unleashed by the champagne forced her to add, ‘Not for ages.’ (The Ink Black Heart, Chapter 28)

‘Ages’ to Robin is apparently less than a year. 

The thing is, none of the things we like about Strike’s appearance (and you all know there are things we like, please see below) wouldn’t matter in the slightest and would likely become unattractive if we didn’t love who he was.

 

Shallow not Serious, (but just as much fun to think/read about):

 

I know if you listen to the podcast, you were probably expecting this category to show up eventually and I didn’t want to disappoint! He’s a very large man with (I imagine) glorious chest hair and upper body strength to swoon for! I think it’s best just to list a few swoon-worthy quotes for us all to enjoy: 

via GIPHY

“While the water lapped his thickly hairy chest…” (The Cuckoo’s Calling, Part 4: Chapter 6)

“Oh yeah,’ said Strike, who was standing bare-chested in front of the shaving mirror he usually kept beside the kitchen sink, the shower room being both dark and cramped. Wiping shaving foam from around his mouth with his forearm…” (The Silkworm, Chapter 11)

“Strike threw his crutches onto the back seat and stood for a moment precariously balanced; then, with a show of upper body strength that she had never seen before, pulled himself smoothly into the car.” (The Silkworm, Chapter 28)

“He had become six foot three of highly concentrated potential.” (The Silkworm, Chapter 37)

“Strike frowned, running thick fingers through his dense hair, imagining Anstis’s patronising response.” (The Silkworm, Chapter 41)

“The memory of certain erotic sights and sounds—her alabaster skin faintly damp under his mouth, her pale lips wide in a moan—added savor to the tang of nicotine.” (Career of Evil, Chapter 14)

“She seemed to have forgotten over the previous six days how large he was. Hunched over the newspaper, he reminded her of a black bear, stubble thick on his face, tucking into a bacon and egg ciabatta roll, and Robin felt a wave of liking simply for the way he looked.” (Troubled Blood, Chapter 16)

“For a moment or two, she indulged herself in a little fantasy of flying out to Greece with Strike, to interrogate the old artist. She imagined the oven-blast of heat that would hit them on leaving the plane in Athens, and saw herself in a dress and sandals, heading up a dusty track to Satchwell’s front door. But when her imagination showed her Strike in shorts, with the metal rod of his prosthetic leg on display, she felt suddenly embarrassed by her own imaginings, and closed the little fantasy down before it took her to the beach, or the hotel.” (Troubled Blood, Chapter 45)

One of my favorite things about being so lucky to get to occasionally interact with JK Rowling online is that she sometimes drops a like or a response that reminds us all that she does pay attention to what readers are saying. It’s a lot of fun to know that not only is she very aware of the book crushes a lot of readers have, but that she might just agree!

A huge thank you to the man who tweeted the original question because he really made my day. It was so fun seeing the wave of responses, including Jo’s, about why we all love this fictional, one legged man. 

 

On August 29, 2024, we learned from JK Rowling’s Twitter that A Maid of the Silver Sea by John Oxenham will be one of the five epigraph sources for the upcoming Strike & Ellacott novel, The Hallmarked Man.

Naturally, as soon as the three of us found this out, we immediately read Oxenham’s book and loved it. (We may have spent a lot of time exploring Sark virtually on Google Maps!)

In the beginning of episode 36 of our season covering The Running Grave, we discussed which passages from A Maid of the Silver Sea we thought JK Rowling might have chosen for the epigraphs.

In the final six months leading up to the September 2, 2025 release of The Hallmarked Man, we have decided to revisit these epigraphs and explore the likelihood that each passage will appear in the novel.

Let us know which of the below you think we’re most likely to see in The Hallmarked Man, or add some suggestions of your own!  

“For that quick blow had been struck on her behalf, she knew; and it was vastly strange, and somehow good, to feel that a great strong man was ready to stand up for her and, if necessary, to fight for her.” (Chapter 7)

 

“And, oh, the thrill of that first living touch of her! The feel of the warm nervous little hand sent a tingling glow through him such as he had never in his life experienced before. Verily, a white-stone day this, in spite of winds and darkness!” (Chapter 7)

 

“The man who hesitates is lost, or saved. When the contemplator of evil deeds begins also to contemplate consequences, reason is beginning to resume her sway.” (Chapter 8)

 

“… he was an upright man, and true, and bold, with a spirit which he kept well in hand but which could blaze like lightning on occasion, and a strength which he could turn to excellent purpose when the need arose.” (Chapter 11)

 

“The path was quite invisible to him. He tripped and stumbled at times on tangled roots of gorse and bracken, but she kept on swiftly and unerringly, as though the night were light around her.” (Chapter 20)

 

“He was almost in the dark now, and could only feel his way. But he was used to groping in narrow places, and a spirit of investigation urged him on.” (Chapter 25)

 

“He fairly ached for the sight and sound of her—and the feel of her little hand, and a warm frank kiss from the lips that knew no guile.” (Chapter 26)

 

“Some women’s hearts are so wonderfully constituted that the greater the demands upon them the more they are prepared to give. At times they give and give beyond the bounds of reason, and yet amazingly retain their faith and hope in the recipients of their gifts.” (Chapter 26)

 

“Except this—that these various demands on Nance’s fortitude, incurred by her love for Stephen Gard, far from weakening her love only made it the stronger. As that love came more and more between her and her old surroundings, and exacted from her sacrifice after sacrifice, the more she clung to it, and looked to it, and let the past go.” (Chapter 26) 

 

““The partial ostracism brought upon her by Gard’s outspoken declaration of their mutual feeling—even this final offering of her dearly-loved brother—these only bound her heart to him the tighter.” (Chapter 26)

 

“Then, after an age of this numb agony of waiting, a tiny bead of light flickered on the outer darkness, as though Hope with a golden pin-point had pricked the black curtain of despair, and let a gleam of her glory peep through.” (Chapter 27)

 

“But if … if the worst comes, you will remember all your life, dear, that to one man you were as an angel from heaven.” (Chapter 27)

 

“He had no more preparations to make, and he had no wish to fight. No wish? The thought of it was hateful to him, and yet it was not in human nature to give in without a struggle.” (Chapter 28)

 

“Never in his life had he tasted bread so sweet!—and the strips of boiled bacon in between came surely from a most unusual pig—a porker of sorts, without a doubt, and of most extraordinary attainment in the nice balancing of lean and fat, and the induing of both with vital juices of the utmost strength and sweetness. Truly, a most celestial pig!—and he was very hungry.” (Chapter 28)

 

“ […] it was only the dogged determination to leave no chance untried that drove him, […]” (Chapter 29)

 

“And it seemed to Nance, as she hurried through the familiar hedge-gaps and lanes and across the headlands, that the world had lost its brightness, and that life was desperately hard and trying.” (Chapter 32)

 

“And then the weight fell off her heart, and it was all she could do to keep from screaming.” (Chapter 32)

 

“She wanted to sing and dance and scream her joy aloud. They had not found him.” (Chapter 32)

 

“for there is nothing so galling to an angry soul as to find its most venomous shafts fall harmless from the triple mail of quiet self-possession.” (Chapter 34)

 

“He was not the first who had paid the price for what he had not done, and human nature must fall to pieces if hung too long on tenterhooks.” (Chapter 35)

 

“And at thought of her, his bruised soul found somewhat of comfort and courage once more.” (Chapter 35)

 

“And the thought of it thrilled his cold blood and set it coursing through his veins like new life. Yes, truly, while there was Nance there was hope.” (Chapter 35)

 

“He felt like one granted a day’s respite as he stands on the scaffold with the rope round his neck.” (Chapter 35)

 

“Never had the sun shone so brightly. Never had the silver sea danced so merrily. It might be the last he would see of them.” (Chapter 35)

 

“And Stephen Gard lay there under the ridge on L’Etat, with the wonder and beauty of it all in his face and in his heart, and said to himself that it was probably the last sunset he would ever see, and he was glad to have seen it at its best.” (Chapter 35)

 

“If grisly Death, all bones and scythe, had come stalking along it before their eyes at that moment, they would have shrieked, no doubt, and fallen flat, but he would have no more than answered to their feelings and fulfilled their expectations.” (Chapter 36)

 

“For Peter considered he had been supplanted in Nance’s regards, though Nance had never regarded him as anything but a nuisance and a boor” (Chapter 36)

 

“This matter brings another matter home to all our hearts.” (Chapter 36)

 

“ “Who is it, then, that is doing these things amongst us?” (Chapter 36)

 

“Three times!” said the Sénéchal. “Ma fé, but she’s a garche to be proud of!”

“Ay, and to be more than proud of,” said Gard. “She has given me my life, and I will give it all to making her happy.” (Chapter 37)

 

““Give me another kiss, then!”—from which it was apparent that he knew very well what kind of medicine was best adapted to his ailments.” (Chapter 39)

 

“You’re to lie quite still,” said Nance dictatorially, with lifted finger. “And you’re not to talk or think till the Doctor comes.” “Give me a kiss, then!”—good prima facie evidence, this, that his brain had suffered no permanent injury. (Chapter 39)

J. K. Rowling loves crime fiction: ‘I’ve always loved it… I think that the Harry Potter books are in many ways who-dunnits in disguise… I enjoy the golden-age book… to take that finite number of suspects, the genuine who-dunnit style.’ In the summer of 2004 she took away as her holiday reading the book widely regarded as the first detective novel:

The last novel that I read was Wilkie Collins’s The Moonstone, which I have been meaning to read for years. It is a cracking read. I have just been on holiday and, for the first time in five years, I did not take any Iris Murdoch with me, because it is so depressing. I was just about to put one in my case and I thought, “Why do this? Why put yourself through this?”, so I didn’t bother. I read Wilkie Collins instead and it was a much better experience.

I love the timing of this because it seems possible that The Moonstone may have influenced Half-Blood Prince, which was published a year later on 16 July 2005 – as well as, perhaps, her own future detective novels. 

Rowling often describes the Harry Potter novels as ‘who-dunnits’  – saying that Harry Potter ‘is not really a detective novel, but it feels like one sometimes’ – and so it seems highly suitable for these, as well as the Strike novels, to be influenced by the book which, arguably, kick-started the whole genre. Rowling delivered the completed manuscript of Half-Blood Prince to her publishers on 20 Dec 2004  – thanks to Nick Jeffrey for finding this date!) which meant she had five months of writing and tinkering in which the novel she had just read might have influenced the one she was writing. 

The place where the influence seems to play out most obviously is at the end, for the denouement of Half-Blood Prince recalls the similarly grim sea-swept hiding place in The Moonstone. On visiting the seashore where Voldemort has hidden the locket Horcrux Harry ‘cannot think any children would have visited such as spot… and boats cannot approach the cliffs; the water around them are too dangerous.’ The seashore hiding place in The Moonstone, meanwhile, is similarly forbidding: ‘no boat ever ventures into this bay. No children from our fishing-village… ever come here to play.’ In both novels in order to reach what has been hidden there, a submerged chain must be pulled up from the water – reachable only by one who knows the secret. In The Moonstone these waters are described as looking as though they are full of the undead, and in Half-Blood Prince it literally is. In both novels a character has committed suicide in this terrible place, and left a note explaining their conduct: ‘I shall be dead and gone, sir, when you find my letter’ writes the character in The Moonstone telling him that she has discovered ‘your secret.’ Regulus likewise leaves a letter in this hiding place which, likewise, runs: ‘I know I will be dead long before you read this but I want you to know that it was I who discovered your secret.’ 

The Moonstone is a brilliant, seminal novel which sets down many of the tropes we will see again and again in detective fiction. There is a clever detective who suspects the wrong person. There are minor characters who the reader is told we will meet again later, suggesting them to be implicated in the crime (sometimes accurately, sometimes not). There are quite a few people within the novel who suspect that someone they love is the guilty party and thus behave suspiciously in shielding them. One of these exonerates the true culprit in the eyes of the reader. One of these detective-novel style tricks is played out at the end of Half-Blood Prince, as Regulus (a virtuous person) unintentionally muddies the waters. Both Regulus and the suicide in The Moonstone are acting in the service of something they believe morally right. But in both cases their actions, although undertaken for virtuous motives, obfuscate the mystery making it more difficult for the good guys to solve.

When mulling over this connection I also noticed – as supporting evidence that Wilkie Collins’s Moonstone might be influencing Half-Blood Prince – that a new character called Wilkie appears in the novel: Wilkie Twycross, the Ministry Apparition Instructor. (And like a detective novelist with all the answers, he knows how the mystery is done but doesn’t seem particularly intent on communicating this knowledge to his students…).

But even if Rowling read The Moonstone too late to influence Half-Blood Prince, she certainly read it in time for it to influence Strike. I have been thinking about The Moonstone with reference to Strike because of ‘The Gillespie Theory,’ as outlined by Lindsay and Pools:

There is one thing that ties Gillespie and Leda together: Strike’s child support account. To summarize Pools’ theory, she believes that Peter Gillespie could have been embezzling money from that account and Leda somehow found out. In order to keep his secret, especially from Rokeby, he killed her. 

One of the reasons I like this theory is that it fits with the plot of The Moonstone – for the impetus for the crime in Collins’s novel is likewise that a seemingly upright and respectable man has been embezzling money. And just like Gillespie (if the theory is correct) embezzling money from a young man for whom the money is kept in trust – so, for many years, the crime goes undetected:

[Our villain] was entrusted with the care of a sum of twenty thousand pounds—as one of two Trustees for a young gentleman, who was still a minor in the year eighteen hundred and forty-eight. That the Trust was to lapse, and that the young gentleman was to receive the twenty thousand pounds on the day when he came of age, in the month of February, eighteen hundred and fifty. That, pending the arrival of this period, an income of six hundred pounds was to be paid to him by his two Trustees, half-yearly—at Christmas and Midsummer Day. That this income was regularly paid by the active Trustee. That the twenty thousand pounds (from which the income was supposed to be derived) had every farthing of it been sold out of the Funds, at different periods, ending with the end of the year eighteen hundred and forty-seven. That the power of attorney, authorising the bankers to sell out the stock, and the various written orders telling them what amounts to sell out, were formally signed by both the Trustees. That the signature of the second Trustee (a retired army officer, living in the country) was a signature forged, in every case, by the active Trustee.

The villain commits the crime of stealing the Moonstone in order to replace the stolen money, which he should have been keeping in trust for the young man. Perhaps the crime of Leda’s murder was also intended to cover up the embezzlement of a young man’s trust fund – and Leda’s profligacy can then be blamed as the reason for the sums not adding up?

Another small clue about the possible importance of debt as a motive in the series as a whole is found in the story of Littlejohn. Littlejohn seemed quite a minor character given everything that was going on in The Running Grave. He provided comic relief, access to a useful piece of evidence, uncovered Pat’s secret and was a playful version of the undercover agent that Robin herself was in the UHC. But he had a sufficiently minor plot pay-off, given the time spent on him, that I did wonder if he pointing towards something more – are his gambling debts a hint to some more important monetary crime underlying the series? Did Gillespie embezzle Strike’s money to cover debts, like Littlejohn and the criminal in The Moonstone, and so find himself being drawn into further crimes to cover his tracks?

One issue with the Gillespie, theory, however, is that he isn’t someone in whom the reader is invested. Indeed, you have to be a pretty committed reader to even know who Gillespie is, so – unless he starts playing a bigger role soon (which is not unlikely if – when! – Rokeby turns up) – he wouldn’t be a satisfying reveal to the majority of readers. As I have suggested before, I think instead that we’re looking for a family member (just as we were with the seeming suicides in the first and fourth books of the series). I think the ‘beast within’ theme in the novels means that we are looking for someone close to Leda. I’m ruling out Strike and Joan (the pathos of her death in Troubled Blood means that Rowling can’t turn round and make her Strike’s mother’s murderer) – but only those two. That leaves us with only seven characters who have been in the story since Leda’s time: Lucy, Ted, Shanker, Whittaker, Rokeby, Gillespie, and Dave Polworth. I think we can discount Dave (like Whittaker’s parents he is just too minor, and he is also too purely a comic character). I am suspicious of Ted, though, because of how much sibling rivalry has been a motive. It is the murderer’s motivation in both Strike 1 and 7, and a big part of Raphael’s backstory in 4 too – and I can’t help but fear this will be relevant in some way. ‘Capricorn’ Ted, ‘I didn’t want her to die’ Lucy and ‘can see no flaw in Leda’ Shanker all have moments that point towards them. I don’t think Lucy would have done it on purpose, but that phrase ‘I didn’t want her to die’ could speak to some unwilling collusion that she did not realise would result in Leda’s death. I don’t think Shanker would have ever have been part of Leda’s death without her collusion – but he could have been part of some kind of Dumbledore/Snape-esque suicide pact of which Leda was the instigator. 

I’ve always been certain that Strike’s arc needs the series to close with the return to, and solution of, the first murder in his life. If you doubt that, though, you’re in good company, I’ve seen a few people in the fandom musing that maybe Leda’s death actually was an accident. I knew, however, that Leda was definitely murdered once I read Lethal White – the second seeming suicide who turned out to be murdered by a family member just seemed too close not to be relevant. One person was involved in the first, two in the second – might three be involved in Leda’s murder? I think that more than one person being involved is likely, because it makes the solution more difficult to guess, but also it would allow a minor character (like Gillespie) to be guilty of the actual murder, while a major character (like Lucy, Shanker, Ted or Leda herself) is wittingly/unconsciously implicated, allowing the reader the emotional payoff of a ‘big twist.’

Rowling herself has since corroborated this belief that Leda was murdered – for those of you still doubting! She said in an interview in 2020 – surrounded with what sounds like the hedging or fudging of someone who has perhaps had second thoughts about giving this away: ‘his mother who was murdered but that murder was never – um, was… never came to trial’ (audio clip of Rowling discussing ‘Strike’s character’ which was uploaded on the Robert Galbraith homepage on 19 August 2020). Rowling’s words here are confusing – Whittaker was put on trial for Leda’s murder, so her murder did come to trial. I think, therefore, that what she means is that Leda’s actual murderer has never been put on trial (if I’m right in that reading, it means that Whittaker is innocent). This clip has now gone from the Robert Galbraith homepage (Nick Jeffery magicked it up for me with his usual brilliance) which could be read as further evidence that Rowling, on second thoughts, either recognised her mistake or decided she did not want to reveal that Leda was murdered. The solution of Leda’s murder will be the climax of the series (which I why I think the scent has gone so cold – the breadcrumb clues were intended to be laid for a shorter, seven book series and now need to be stretched out for a ten-book series).

A possible connection with The Moonstone is also helpful for highlighting the only explicit clue we’ve been given about Leda’s death not being suicide – that she was killed by heroin, a drug which she (a cannabis user) had never touched before. The Moonstone is an interesting novel to place beside Leda’s drug-induced death because is it perhaps the first novel in which knowledge about the operation of class-A drugs plays a major role in the plot. Wilkie Collins was writing from personal knowledge: on one night he ‘consumed, in a single glass, enough laudanum (a potent combination of opium and alcohol) to kill 12 people.’

Collins decided to make use of his intimate knowledge of laudanum to create the crux of the plot in The Moonstone. If the way that drugs are used in The Moonstone did influence Rowling in Leda’s drugged death then it might point to her death as a crime that was committed ‘innocently.’ In The Moonstone someone administers laudanum to another with no aim but of helping them – causing all the ensuing mischief, but morally innocent of the crime that results. A possible parallel with this would be Shanker providing the heroin with no clue as to how it would be used. Or Lucy’s ‘I didn’t want her to die’ could be the words of the character who administered the drugs as in The Moonstone with no intention of doing harm. 

Leda was killed by heroin, a drug that she has never taken before – and the reader is told elsewhere in Strike some specific aspects of how this drug acts. This information seemed to me suspicious and interesting – an information dump for those of Rowling’s law-abiding readers who might be unaware of the action of heroin:

If, however, he had taken heroin with Whycliff, Strike knew that the odds of him being in a fit state to infiltrate number 18, Kentigern Gardens, or to work himself into a murderous rage, were negligible. Strike was familiar with the behaviour of heroin addicts; he had met plenty at the last squat his mother had lived in. The drug rendered its slaves passive and docile; the absolute antithesis of shouting, violent alcoholics, or twitchy, paranoid coke-users. Strike had known every kind of substance-abuser, both inside the army and out. The glorification of Duffield’s habit by the media disgusted him. There was no glamour in heroin. Strike’s mother had died on a filthy mattress in the corner of the room, and nobody had realised she was dead for six hours.                              (Cuckoo’s Calling)

Leda, as we know, eschews ‘heroin in all its forms’ (Career of Evil) and this gives us our primary clue that she has been murdered. Might this passage suggest a reason? Has Leda been administered heroin by someone – Gillespie, Rokeby, Whittaker or Ted wanting a signature or some acquiescence – in order to render Leda ‘passive and docile’? This would fit with the administration of the drug in The Moonstone which is not done by the criminal, and is done with the aim of proving a point rather than committing a crime.

Finally, the centrality of drugs in The Moonstone draws attention to another important aspect of drugs in Leda’s death, which is that Shanker, while this overdose occurs, is miles away concluding a deal for cocaine. Of all the long-running characters who might have been involved in Leda’s death, it is only Shanker who has been given an alibi: 

Nevertheless, he could not always be there. On the day that Leda had died, Shanker had been away on one of his regular, drug-related business trips. Strike would never forget Shanker’s grief, his guilt, his uncontrollable tears when they next met. While Shanker had been negotiating a good price for a kilo of premium Bolivian cocaine in Kentish Town, Leda Strike had been slowly stiffening on a filthy mattress. The finding of the post-mortem was that she had ceased to breathe a full six hours before any of the other squat dwellers tried to rouse her from what they had thought was a profound slumber.

Like Strike, Shanker had been convinced from the first that Whittaker had killed her, and such was the violence of his grief and his desire for instant retribution that Whittaker might well have been glad he was taken into custody before Shanker could get his hands on him. Inadvisably allowed into the witness box to describe a maternal woman who had never touched heroin in her life, Shanker had screamed “That fucker done it!,” attempted to clamber over the barrier towards Whittaker and been bundled unceremoniously out of court.    (Career of Evil)

It seems suspicious, on reflection, that Shanker is given such a clear (although obviously rather dubious) alibi – given that it relies on drug dealers who, even if giving what they believe are true statements, might be as likely to have as shaky grasp on precise times as the equally drugged-up Lady Bristow. Shanker would never wittingly have harmed Leda but he, and his drugs, may have been involved in some way.

Finally, I recently spotted what I think might be an additional clue that ‘The Gillespie Theory’ might be running along the right lines.

“You get people like Gillespie round the rich and famous,” said Strike. “His whole ego was invested in being my father’s enforcer. The bastard was half in love with my old man, or with his fame, I dunno. I was pretty blunt on the phone about what I thought about Rokeby, and Gillespie couldn’t forgive it. I’d insisted on a loan agreement between us, and Gillespie was going to hold me to it, to punish me for telling him exactly what I thought of the pair of them.” (Troubled Blood)

Gillespie is being given a little more colour here and something like a motive – ‘half in love with my old man’ – quickly brushed off with ‘or with his fame, I dunno.’ And while Gillespie has only been mentioned in Cuckoo’s Calling and Troubled Blood which makes him, currently, too small a character to be the sole suspect, he could definitely have been involved. And here’s the subtlest of clues that he might be: 

“Well, thanks very much for getting back to me,” said Strike. “Social workers work Saturdays as well as detectives, I see.”

“People don’t stop needing help at weekends,” she said drily. “Good luck. I hope you find out what happened to that poor doctor.”  (Troubled Blood)

Janice has, in fact, made a slip-up by calling back as ‘Clare’ on a Saturday, because social workers don’t make non-urgent calls at the weekend. This is a clue that ‘Clare’ is working her own business here, not fulfilling the dictates of her job as she claims. So, it would be satisfying if this were retrofitted clue to another weekend call earlier in the series:

‘Ah, Mr Strike,’ said Peter Gillespie’s voice. ‘How nice of you to pick up.’

‘Oh, hello, Peter,’ said Strike. ‘Got you working weekends now, has he?’

Gillespie as Rokeby’s lawyer, like Clare the social worker, shouldn’t (and wouldn’t) be working weekends. So, is this a clue that Gillespie, like ‘Clare,’ is pursuing his own agenda here, not just doing his job as he claims? It is he, not Rokeby, who wants that money back? Is it the subtlest of clues that he, like ‘Clare,’ is a murderer? Because, of course, murderers – like private investigators – do work weekends. 

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).

Below is a list of our epigraph discussions from our episodes on The Cuckoo’s Calling, taken from our notes. 

Please be warned that there are MAJOR SPOILERS for The Cuckoo’s Calling below, including the identity of the killer!

 

Opening Epigraph

“Why were you born when the snow was falling?

You should have come to the cuckoo’s calling,

Or when grapes are green in the cluster,

Or, at least, when lithe swallows muster

     For their far off flying

     From summer dying.

Why did you die when the lambs were cropping?

You should have died at the apples’ dropping,

When the grasshopper comes to trouble,

And the wheat-fields are sodden stubble,

     And all winds go sighing

     For sweet things dying.

Christina G. Rossetti, “A Dirge”

Kenz:

Wow, what a great poem. To give some context, this poem was written after the author’s sister-in-law died of an opium overdose after having given birth to a stillborn child…it’s very sad. Essentially, the poem describes mourning an early, untimely death. There’s a really great analysis of it that I found while looking into this that I’ll link in the show notes. Basically, it’s very thematically appropriate for the book. Lindsay, I feel like now would be a great time to talk about that murder case that you found and wrote about for The Rowling Library that was eerily similar to the Lula Landry case in this book.

Lindsay:

Yes, so JK Rowling has said that CC was somewhat inspired by a real life murder case but she didn’t want to say which because it would spoil the ending so, of course, I had to google it and try to find the case!  I think it’s the Sheila Caffell case! There are a lot of similarities. We’ll link to the issue of The Rowling Library for anyone who wants to read more about it but Sheila Caffell was murdered by her adopted brother, she had worked as a model, the police originally dismissed it as a suicide because she had a history of mental health issues and her brother’s girlfriend eventually changed her statement, which we know happens with Alison in CC. There’s also some reports of a strained relationship with her adopted mother and it seems like the motive was money, which is PART of John Bristow’s motive. It’s a really sad case- when I say police dismissed it as a suicide, I actually mean they dismissed it as a murder/suicide because there were other victims including her young children but despite that difference, if I had to guess, I think it’s probably the case she was talking about. Nothing else really hit as many points as this one did. 

Pools:

The choice of Christina Rossetti – it’s very out of step with the other epigraphs in the book, who are all Roman (male) poets/philosophers/authors. Christina herself was a Victorian poet, the sister of Dante Gabriel Rossetti (who was a founding member of the Pre-Raphaelite Brotherhood). There are fewer epigraphs in this book too – I think as the series goes on, we see the development of Rowling’s “epigraph skills”; she starts to have more and more fun with them with every book, doesn’t she?

Lindsay:

I do really miss the epigraphs in this book and I’m so glad she chose to do more of them because they’re so rich and full of insight and clues! Also, isn’t Christina Rossetti buried in Highgate Cemetery? Not that I think that means anything, but I do think it’s a fun coincidence.

Kenz:

She is! She’s buried there with her mother and father towards the front of the cemetery, if any of our listeners around London want to go poking around Camden and check it out. 

Pools:

The meaning of the poem – it acknowledges that death is part of the natural world, but shows the pain that unexpected, unnatural death – death that doesn’t fit with the rhythms and patterns of nature and life – causes… Strike says at one point that “unnatural death” is the only thing that’s ever exerted more fascination for him than Charlotte, or something along those lines – and that’s really what this poem says to me, that death can be at the same time natural and profoundly UNnatural, and that we are about to spend a whole series diving into the second aspect and trying to set it right.

The title of the book! It is such a brilliant title on so many levels. Lula herself as the Cuckoo – out of place with her adopted family, mental health problems meaning her death is dismissed as suicide, her literal nickname being “Cuckoo”, the way the “ghost” of her calls out for justice. But it’s literally!! Pointing out!! The murderer of the book!! John Bristow, the literal cuckoo in the nest who pushes BOTH of his siblings off of a high place out of jealousy and greed for parental attention. He CALLS Strike to the case!

There’s also the connection to the poem, where the cuckoo’s calling symbolizes spring and rebirth – it’s a new start for both Strike and Robin, the proper birth of their agency and relationship.

 

Prologue

“Is demum miser est, cuius nobilitas miserias nobilitat.

Unhappy is he whose fame makes his misfortunes famous.

Lucius Accius, Telephus”

Kenz:

This is likely about Lula and her struggles with her mental health that the press speculated on, right?

Lindsay: 

Yeah, her struggles with mental health is definitely part of it but also her relationship problems with Evan Duffield, her family issues with her adopted and biological family…Problems that a lot of people go through but because of her fame, her misfortunes are famous, as the epigraph says. And of course, I think her most unfortunate misfortune is her murder. And THAT will probably be the most famous thing about her. 

We see throughout the entire book how Lula struggled with fame and the burden she felt from it. It’s a theme not only through the Strike books but also in HP. Harry has to deal with this, as well. I don’t think it’s a stretch to say that some of this could be a commentary on how JK Rowling feels about fame. We see with both Lula and Strike a lot of plus sides but also a lot of downsides, too. So I think there’s a lot to think about and dissect when it comes to fame and how it relates to these characters that we’re about to meet.

 

Part One

“Nam in omni adversitate fortunae infelicissimum est genus infortunii, fuisse felicem.

For in every ill-turn of fortune the most unhappy sort of unfortunate man is the one who has been happy.

Boethius, De Consolatione Philosophiae”

Kenz:

Ouch. Poor Strike. This speaks so well to his feelings in  the aftermath of his breakup with Charlotte.

Lindsay:

This is a sad epigraph and is really preparing us for the kind of pain Strike is in when we first meet him. I think it’s very easy to dismiss or not realize just exactly how low he is when we meet him. Actually, in the beginning of the SW (chapter 5) it says that Robin had stuck by him when he was at his lowest ebb and helped turn the business around… We know in TB he also describes the loss of his leg and Charlotte coming to him in the hospital as his lowest ebb so 1) these two times of his life seem to be equally devastating to him and 2) it’s another parallel between Charlotte and Robin coming to him and providing hope of a life turned around. 

Pools:

The text this epigraph is from – Boethius, The Consolation of Philosophy – is an important work (specifically in regards to Medieval and Renaissance Christianity), written by a Roman statesman. There were a couple aspects of this text as a whole that I found interesting:

“Philosophy consoles Boethius by discussing the transitory nature of fame and wealth (“no man can ever truly be secure until he has been forsaken by Fortune”), and the ultimate superiority of things of the mind, which she calls the “one true good”. She contends that happiness comes from within, and that virtue is all that one truly has, because it is not imperiled by the vicissitudes of fortune”

I guess I just feel like this really speaks to Strike’s approach to life, his values – he doesn’t care about wealth, or fame. He cares about Justice, about “doing the job and doing it well”, about doing the right things for the right reasons. Although for him happiness really comes from finding a partner who shares those same values. 

Another interesting part: 

“On justice, he says criminals are not to be abused, rather treated with sympathy and respect, using the analogy of doctor and patient to illustrate the ideal relationship between prosecutor and criminal.” 

We’ve noticed before that these books take a lot of time establishing the ways in which childhood experiences impact who someone becomes, especially in terms of criminality – but it does this without ever excusing criminals for their choices (especially by showing people with bad childhoods who became moral and goodhearted adults.) 

 

Part Two 

“Non ignara mali miseris succurrere disco.

No stranger to trouble myself, I am learning to care for the unhappy.

Virgil, Aeneid, Book 1”

Lindsay:

My first thought is that even though he has his own troubles, he’s turning his attention towards the case and helping other people. He does interview a lot of people in Part 2, and he also deals with Mrs Hook and Lucy in this section and both women are pretty unhappy when we meet them. So I think this is Strike turning his focus towards doing what he does best and helping others in the process. 

Kenz:

That’s a great interpretation! 

Pools:

Oh interesting! My first thought was that this was about Robin – the beginning of her journey towards Strike. It reminded me of the line from her previous POV, where she’s disposed to feel sorry for anyone with a more unhappy love life. She’s getting to know Strike a bit more, and we get the first hints of trouble with Matthew because of her interest… Can it be both at the same time?

Lindsay:

Yeah, I always love when an epigraph can be applied in more than one way or when we can each read a different meaning to it. 

 

Part Three

 “Forsan et haec olim meminisse iuvabit.

Maybe one day it will be cheering even to remember these things.

Virgil, Aeneid, Book 1”

Kenz:

Have I mentioned before how much I miss the straightforwardness of TB’s epigraphs? The epigraphs in this one for me at least take a little effort to get.  I wonder if this has anything to do with the progress he’s making on the case. In this part, Strike makes some breakthroughs, like when he and Robin go to Vashti, he interviews Tony Landry, and when Robin finds Rochelle. So maybe it has something to do with that? These breakthroughs help bolster the case that ends up making his name, right?

Pools:

Is it paranoid of me to think this is some kind of super-foreshadowing signal that some of the stuff that happens in this section will later be VERY fond memories for Strike and Robin? Like, that they’ll look back and the events will take on even greater significance than they had at the time? I’m thinking particularly of The Green Dress, and also maybe Corm playing with Jack in the next section? 

Lindsay:

I think it could be both! It could totally be, like you said Kenz, just about the case because what you said makes sense, but I do think there might be something more general going on. So, like you said Pools, the green dress and Jack, but we also get Strike reflecting a bit more on Robin after the green dress and later some more thoughts on how he met Charlotte and how he begins to tell people of their split through Spanner so I don’t think super-foreshadowing is too out there.

This feels like a ‘big picture’ epigraph that might even go beyond just this first book. It could be talking about the case and how once it’s solved, it will be cheering to look back on the difficult parts of the investigation and know it was all worth it. However, Part 3 also gives us the Vashti chapter and some painful reflections on Charlotte- it doesn’t seem like too much of a stretch to suggest that one day, when Strike and Robin are living happily-ever-after, that it will be cheering to look back on the early days of their partnership and remember how their lives began to change after they met. 

 

Part Four

“Optimumque est, ut volgo dixere, aliena insania frui.

And the best plan is, as the popular saying was, to profit by the folly of others.

Pliny the Elder, Historia Naturalis”

Lindsay:

This is the second to last Part of the book and it’s the longest. So it’s really building up to the final confrontation and conclusion. Everyone he interviews, and there’s a lot of people, he’s benefitting from them because we know he’s going to solve the case and it turns his whole life and business around!

Pools:

Maybe we should keep this epigraph in mind as we read the part, so we can point out bits where other people are being foolish? Really though it’s mostly Bristow’s folly in hiring a genius private detective to investigate the crime he committed that Strike’s about to profit off of! What an idiot Bristow is.

Lindsay:

Oh yes, definitely Bristow! We also have the best chapter in this section where he gets drunk because Charlotte is getting married! It seems to me that even though this is extremely painful for him, he’s still benefiting from Charlotte’s foolishness because it does place a barrier between them that hasn’t ever been there before. She’s now going to be someone’s wife and as far as we know, he’s never crossed that line. So he might not see it as a benefit yet, but it really is and we ALL benefit from that, right? 

Pools:

I love this!

Lindsay:

In just looking this up and learning a little bit about Pliny the Elder, I saw another quote in this same book that says “that in wine there is truth” and it’s not used anywhere in the book but boy does it fit with that chapter!

 

Part Five

 “Felix qui potuit rerum cognoscere causas.

Lucky is he who has been able to understand the causes of things

Virgil, Georgics, Book 2”

Kenz:

How appropriate is this epigraph for the last two chapters where we finally learn who killed Lula?

Lindsay:

Super appropriate! Very straightforward and I like it in contrast with the last epigraph that speaks of profiting off the folly of others because it’s not just that Strike benefits from other people being foolish but because he is someone who can find the answers- It speaks to Strike’s abilities. 

I also like that it’s telling us that we’re finally here, at the end, where those things will be explained to us.

Pools:

Lucky us!

 

Epilogue

“Nihil est ab omni

Parte beatum.

Nothing is an unmixed blessing.

Horace, Odes, Book 2”

Kenz:

I’m going to make an educated guess that this is related to both Jonah (who’s now 10 million pounds richer,) and Strike, whose fame on his merit is skyrocketing in the aftermath of catching Lula’s killer. 

Lindsay:

It also makes me think of the fly in the ointment line towards the end. Her staying is a HUGE blessing to both of them but we all know it’s also going to cause some heartache along the way, right? Worth it, of course! Also, Strike is now dealing with ‘becoming a name’ and Jonah with confusing and complicated emotions in the wake of Lula’s murder. So yeah, I agree with you that this can be applied many ways, which makes it a really good epigraph! 

Pools:

I agree with all of these!

It’s no secret that here at TSEF, we LOVE discussing the epigraphs! What you’ll find below is a rough transcript of our epigraph discussions for The Running Grave, taken from our episode notes (so please ignore the punctuation and grammar).

WARNING that this post contains MAJOR SPOILERS for The Running Grave! We mean it! MAJOR! Do not keep scrolling if you haven’t finished reading The Running Grave!

 

Opening Epigraphs:

 

“When, like a running grave, time tracks you down…”

• Dylan Thomas, “When, Like a Running Grave”

 

“It took a long time for things to go so far. It came about because things that should have been stopped were not stopped soon enough.”

• The I Ching, or Book of Changes

Lindsay: 

I feel like the Dylan Thomas one really applies more to the case – I kind of like it as a sort of warning to the killer in this book. Time (and Strike and Robin) are about to track her down. She got away with this murder 21 years ago and her time is up! You could also say that to the Wace’s and all of the UHC. 

Pools: 

Oh absolutely! When I thought that Dylan Thomas’s poetry was going to feature more heavily in the book’s epigraphs, I was playing with all kinds of different ideas about the book based on his theme’s, etc. But since it’s only this one excerpt… yes. I think this poem might also speak a bit to Jonathan Wace’s personal obsession with bloodline; in my interpretation, the poem is about the inevitability of death and the desperate search for immortality through sex and reproduction – a way to live on from beyond the grave, which to me seems to fit with Wace. 

Lindsay: 

The I Ching one works for me on both levels though- the case and the personal. It works for the case because the disappearance/death of Daiyu is a 21 year old cold case that should have been resolved right away. Too many people knew what happened for it to have gone on that long, but no one did anything about it because it suited them to either make her into a prophet and fuel their disgusting cult or to not be convicted of murder. 

Pools: 

You’re so right about this. I think it also speaks to the larger problem of the cult – it should have been stopped a long time ago, but it was allowed to carry on and grow, its evil spreading. It also makes me think of the comparisons of the UHC to a cancer, and Robin’s pessimism at the end of the novel – at the close of this book, we think they’ve succeeded in finally stopping this cult. But have they? Robin thinks it’s only a matter of time before another five sided temple appears… perhaps the reason it was not stopped when it should have been was because *it cannot be stopped*.

Lindsay: 

Well that’s depressing. Makes me think of the ending of the Keep Sweet doc. I was ready to celebrate that this monster is in jail and then, oh wait, he still controls everything and does sermons by phone! Someone take away that man’s phone privileges please. Or…hire a hit man. Am I allowed to say that? 

Pools: 

I’ll allow it. *bangs gavel*

Lindsay:

But I think it also works so well for the personal side of things because of all of the healing that Strike (and Lucy) do in this book in regards to Leda. All of the things that happened to them in their childhood have had major negative consequences on their adult lives, but in this case I think there’s a happy ending for both of them. It’s not as dreary as the passage suggests. 

Kenz: 

You said it best, Linds- this really is the book of changes for the Book of Changes, right? 

Lindsay: 

It really is! I have so many emotions about the changes and healing that Strike goes through in this book, but I really loved the stuff with Lucy and Leda. 

Kenz: 

Me too! The Strike family stuff in this book is so good.

Lindsay: 

I was so interested to see Jo say on twitter the other day about coming across the I Ching book on her shelf, not knowing much about it and then deciding that it was perfect for this book because it really is.

Pools: 

It definitely is – and can I say that I *loved* that little peek into Jo’s thought process when it comes to finding framing texts for her novels? 

Back to this epigraph – This particular line of the I Ching comes from Book III: The Commentaries (the Wilhelm translation, which is the translation that all of the epigraphs come from), and it is in Hexagram 2: The Receptive. It was interesting to me that this was the hexagram that frames the entire novel, because it’s made up entirely of broken (Yin) lines – meaning it is the essential “feminine” hexagram. Remember when Taio tells Robin that she’s a “Receptive”? He states that the Receptive is female, the Creative male (ugh); this is the hexagram he’s referring to. But Robin hardly embodies the principle of the Receptive in this book – she’s the one who is the active force of this investigation out in the world for most of the novel; I would say that Cormoran embodies the Receptive much more than Robin does, and it’s why his growth is so beautiful – because he’s the “yielding, yet firm” of the hexagram. He’s the solid foundation for Robin, but he himself has opened his mind to change and renewal. Anyway, I know this is all kinds of nonsense, but I just feel like Jo is playing with the I Ching’s traditional patriarchal interpretations of the male/female here and in this book.

Lindsay: 

I don’t think that’s nonsense at all- I love it! 

 

PROLOGUE

Chapter Summary: epistolary section, background on case and UHC

Epigraph:

“All individuals are not equally fitted to consult the oracle. It requires a clear and tranquil mind, receptive to the cosmic influences hidden in the humble divining stalks.”

• Richard Wilhelm, Introduction to The I Ching or Book of Changes

Lindsay: 

What I think this is talking about is Will’s receptiveness to the UHC and how he got sucked in. In all these letters and emails, we’re told by Will’s father that Will is autistic and how he believes that played a role in his particular situation and susceptibility. Now, obviously, that’s not the only reason and as we see, anyone can be susceptible to this but it is laid out for us as an important part of Will’s character. What I like about this is that while it seems to have had a hand in why he went along (like his father saying he doesn’t understand evil or people being deceptive) I also think it’s a big part of what saved him from being fully indoctrinated. 

Kenz: 

I think you’re bang on the money tbh!

Pools: 

I definitely think that you’re on the money about Will being “receptive to the cosmic influences” of the UCH! In this passage of the I Ching, being fitted to consult the oracle is a powerful good – but as we see for Will, this receptiveness was incredibly destructive when twisted to evil purposes (the evil hidden in what appeared to be the humble divin(ing stalks)!. It’s part of one of the larger patterns of the novel, where the Principals of the UHC appropriate traditions like the I Ching and misuse them to their own selfish, greedy, sadistic ends.

 

PART 1

Ching / The Well

THE WELL. The town may be changed,

But the well cannot be changed.

• Hexagram 48, BOC

Lindsay: 

I’m thinking that this one is talking about Strike because we see a lot of change in him in this first part. I’m kind of connecting the ‘town may be changed’ with the parts of Strike that have changed, but also connecting the well with his heart or who he is at his core which has not changed. I know the book uses the Wilhelm translation, but as we’ve talked about before, I have a couple other decks that Jo has posted photos of and I’ve been using those to help spark ideas or understanding when I’m struggling with one. (I feel like I’m going to call these the Header Deck and the Cake Deck so I know which is which. Because one she used in her header and one she had with her picture of her birthday cake) 

And I just really liked the way the cake deck described the well as the ‘foundations of life that endure’ and the header deck asks the question: What is the ever present resource you draw from? For Strike, I think those things are his passion for his vocation, for truth, justice and for Robin. So I think this epigraph is saying to us, the readers, that there are things about Strike that are going to be different in this book, but the core of who he is, the well, is still there. I’m sure as we go through the rest of Part 1, we might see other ways to apply this, but this is what is standing out to me now. 

Kenz: 

Oh, I love this interpretation! I think you’re right.

Pools: 

I absolutely love that you’re designating these decks “Cake” and “Header” by the way! It’s making me giggle. I love your interpretation of this hexagram in terms of Strike’s essential nature and the change he’s going through! In addition, I think that we can think about the UHC – which is introduced and explored for the first time in Part 1 – through this hexagram! This hexagram refers to the political structures that people create to organize their lives and meet their human needs – these structures can change their shape and form (like the town), but the well itself – the fundamental needs and nature of human beings – does not change. Any satisfactory organizing structure (government, CHURCH) needs to satisfy the deepest needs of the people living in it – the UHC claims to do this, but it does not; it claims to work for the benefit of the whole, but it absolutely does not. The UHC has poisoned The Well.

Also, I’d like to note this passage from the interpretation of 48: “True, if a well is being lined with stone, it cannot be used while the work is going on. But the work is not in vain; the result is that the water stays clear. In life also there are times when a man must put himself in order. During such a time he can do nothing for others, but his work is nonetheless valuable, because by enhancing his powers and abilities through inner development, he can accomplish all the more later on.” Is this not speaking EXACTLY to Cormoran’s inner growth in this novel? He’s lining his well with stone! He is the Superior Man! (Yes I’m going to be referring to Strike as the Superior Man A LOT. It’s a very sexy term for him.) 

Lindsay: 

Big same!!! 

Pools: 

Yes, I’m going to go absolutely batshit with my own insane interpretations of the meanings of each hexagram for every single epigraph in this book. I think we all knew that that would be the case. We should all buckle in.

Lindsay: 

They’re SO MUCH FUN!!! I love these epigraphs! 

 

CHAPTER 1

Chapter Summary: Christening of Nick and Ilsa’s son

Epigraph:

… the superior man is careful of his words

and temperate in eating and drinking.

• Hexagram 27 (The Corners of the Mouth), BOC

Kenz: 

I’m loving how much more straightforward the epigraphs are for this book! Pretty sure this is referring to Strike’s noticeable efforts to lose weight.

Lindsay: 

Yeah, I agree. We learn right away how successful he’s been with his diet. 3 stone is a lot of weight- for those who don’t know a stone is 14 pounds so he’s lost about 42 pounds. Which is great! The epigraph also says that the superior man is careful with his words and I guess you can apply that to Strike not saying his thoughts about Murphy OUT LOUD!  

Kenz: 

Also, I dunno if anyone else has noticed this, but every epigraph in this book referring to “the superior man” are Strike chapters with the exception of one Robin chapter (46). It talks about someone having an “inner relationship with a superior man” which is appropriate since it’s the first time Robin mentions using Strike to keep a foothold in reality. (And I already need an emotions closet.)

Lindsay: 

Well, YOU KNOW I noticed that and I texted you immediately when I realized it because it’s amazing. Yeah, the fact that the only time it’s not a Strike chapter is in the context you’ve explained, makes me absolutely certain that she did this intentionally. Who is Strike superior to? I mean… I think we know the answer to that! I will say that I did notice while I was listening to the book that there are some epigraphs that have the phrase ‘inferior man’ with a Strike chapter, but I’m almost positive that in context, it’s referring to a different man in that chapter. For example, I think one of those times is when he interviews Jordan Reaney and it’s clear that Reaney is the inferior man. But yeah, I really, really like Strike being called the superior man (obviously). It’s up there with Jo using the epigraphs to compare Strike to the champion of true justice in Troubled Blood. It’s just fun because she’s saying so much to us in the epigraphs about how she feels about these two, you know? How she sees them. At least, I think so! 

Pools: 

It really is SO much fun! The I Ching is all about providing judgements – these epigraphs seriously feel like the voice of the author judging her own characters for us. It’s beautiful. Also, can I just say that this hexagram is composed of Mountain over Thunder (the two trigrams that are arranged one on top of the other to form the hexagram). Just the image of Strike as a mountain of a man on top of the crashing power of thunder… I gotta say, it’s doing something for me ok.

 

CHAPTER 2

Chapter Summary: Robin and Ilsa have a chat, and Strike and Robin talk about the case

Epigraph:

Six in the fifth place means…

The companion bites his way through the wrappings.

If one goes to him,

How could it be a mistake?

• Hexagram 38 (Opposition), BOC

Lindsay: 

What do you think is the significance of the ones where it’ll say ‘six in the fifth place means…’ because she could just put the other part, right? Do you think there’s a reason she left that stuff in?

Pools: 

My theory is that she leaves these in because, in the I Ching, they’re referring to *changing* lines; the lines of the hexagram can be stable or they can be changing – the changing lines indicate moments of tension, where change is coming. So perhaps she leaves these in because this is referring to some change that is happening, or is about to happen, rather than to a stable situation? Or just because the excerpt comes not from the main hexagram, but from the interpretations of the changing lines, I don’t know lol.

Lindsay: 

I am having a bit of trouble making a direct connection between this particular passage and the chapter, but… When I looked at the other decks, the hexagram as a whole kind of makes sense to me. The Cake deck says, “When people have fundamental differences that cannot be compromised, opposition is inevitable. Small things may be accomplished with care, but expect no success in any great endeavor as long as the players remain the same.” And to me, that screams of Murphy and Robin because we’re introduced to a major fundamental difference in this chapter when we learn that he really wants kids. We’re seeing fundamental differences in this relationship and there’s no possibility for long term success here. I’m hoping that Pools can make more sense of the actual epigraph though! 

Pools: 

There are a lot of oppositions in this chapter – Robin/Ilsa, Robin/Murphy, Cormoran/Murphy, Robin/Cormoran! Each of these are separated in some way – refusal to open up, petty internal loathing, a slight estrangement (going in order there lol). Oppositions like this can be obstructions – when people have different points of view that diverge fundamentally, they cannot work together for a whole purpose (cough, Robin/Ryan cough). 

But some oppositions can be fruitful when reconciled – the hexagram speaks specifically of the duality of heaven/earth, spirit/nature, man/woman – these opposites can work together to bring about creation. I think that the actual lines in the epigraph are referring to Strike and Robin – this line is explained with: “Coming upon a sincere man, one fails to recognize him at first because of the general estrangement. However, he bites his way through the wrappings that are causing the separation. When such a companion thus reveals himself in his true character, it is one’s duty to go to meet him and to work with him.” Cormoran is the sincere man here, with Robin. There is a slight estrangement between them, because of Murphy and the love they’re both hiding – but Cormoran is doing the work in this novel to reveal himself to her; and Robin must GO TO HIM. To meet him and work with him (and to love him, to reconcile their opposition and bring order to the world). Does that make sense?

Lindsay: 

Yes….I have to go have a cry. 

 

CHAPTER 3

Chapter Summary: Strike gets a call from Shanker and Charlotte

Epigraph: 

To be circumspect and not to forget one’s armour is

the right way to security.

• Hexagram 43 (Break-through / Resoluteness), BOC

Lindsay: 

I think this epigraph is that Strike is considering his predicament of being in love with Robin and he’s thinking about what he might do, weighing his options, but at this point, he’s still wearing a lot of his armor, as the epigraph says. He’s still thinking about the fear he has of ruining their friendship and their business, but it’s so beautiful when you think about how this comes back later where, at the end, he’s no longer waiting around and hoping like he is in this chapter, but decides to make the effort and set his armor down and be vulnerable. So I love this chapter and I love how the epigraph is showing us that while he’s considering telling Robin how he feels, he’s still afraid, but I love it even more now that we can see how this chapter is resolved in the end. 

Kenz: 

Awww, that’s beautiful. I love that.

Lindsay: 

This chapter is a great example of ring structure in the novel and it was one of the reasons I was completely convinced that he was going to tell Robin he was in love with her at the end. 

Pools: 

I love this interpretation! Because yes, keeping his armor on *is* the way to *security* – it’s safer. But in the end, it’s not the right way to *happiness* – reaching happiness requires risk and vulnerability. It’s not safe or secure (or at least, not in the moment of trying to attain it!) – but it’s so much more valuable than that. 

There is one bit of the hexagram that I found *very* interesting when thinking about your reference to ring structure: “it refers to the time when inferior people gradually begin to disappear. Their influence is on the wane; as a result of resolute action, a change in conditions occurs, a break-through.”  When we circle back to this, to Strike eventually taking off his armor, this is when the break-through/change in conditions happens; as a result of his resolute action! The “inferior people” can be read as the Ryan and Bijous of the novel – their influence is waning. They’re on their way out (some faster than others lol) – and Strike is being set up to have his big Break Through by the end of the book.

 

CHAPTER 4

Chapter Summary: Strike and Robin interview Will’s father Sir Colin Edensor

Epigraph:

Nine in the third place means:

When tempers flare up in the family,

Too great severity brings remorse.

• Hexagram 37 (The Family / The Clan), BOC

Lindsay: 

This one seems pretty straight forward as we meet the Edensor’s because there are a lot of tempers flaring not just with the brother, James, but Sir Colin talks about losing his temper when he met with Will. I don’t know if James regrets his temper, but it’s clear Sir Colin does.  What’s interesting about this whole family dynamic is that even though I don’t really like James, especially after the coffee incident, I can’t fault his anger. I think Jo did a really good job of showing all the different reactions that people might actually have in this situation and anger is really understandable to me.

Kenz: 

She really did- one thing that comes across plainly in these books is just how well Jo understands people and human nature, and it comes across particularly well in group interview settings. 

Lindsay: 

Actually, this might be a good place to put this- we got an email recently from someone named SwanFan17 that said the dynamic with the Edensor’s reminded them of the story of the Prodigal son from the bible and SwanFan summed up the story for us here in case you aren’t familiar. They said: The youngest son left home,  wasted away his fortune, suffered and was made to care for pigs (!) and returned home thinking that he did not deserve to be his fathers son. And the eldest son resents his brother’s welcome, when the father rejoices in the younger son’s return….  So yeah, I liked that. Thanks for sending that email in. It seems very fitting.

Pools: 

It is incredibly fitting! This hexagram talks a lot about the family as a microcosm of society; each member has their appropriate place, and the appropriate relationships between members is clearly defined. When the family fulfills these roles, there is order; failing to do so leads to disorder and breakdown. “When the family is in order, all the social relationships of mankind will be in order”.  What is interesting to me is the part of this line that Jo deliberately leaves out – this specific line continues, “Good fortune nonetheless. When woman and child dally and laugh, It leads in the end to humiliation” meaning that too great a severity is preferable to too much indulgence; because at least severity results in discipline, whereas weakness leads to disgrace. This is the stance that James takes in this chapter – he is very much on the side of severity. But Sir Colin, and the Epigraph itself, take a different view – a wiser, more gentle perspective of understanding. I think it points to a different understanding of the family in general – not as a place of strict roles and hierarchies, but as a foundational unit built on love, acceptance, and care. That is what brings order to society. 

Lindsay: 

I don’t know if you meant it to be, but that sounds like such good parenting advice. It just made me think of my kids- don’t be so severe, teach love over everything else.

 

CHAPTER 5

Chapter Summary: Strike and Robin discuss the case and her going undercover

Epigraph:

Six in the fifth place means:

Giving duration to one’s character through perseverance.

This is good fortune for a woman…

• Hexagram 32 (Duration), BOC

Kenz: 

I’m wondering if this is speaking to Robin making the case for her being the person to go deep undercover to Strike.

Lindsay: 

This hexagram is about marriage and it’s used again later on in a more direct way to Strike and Robin’s relationship, but I don’t think that’s really relevant here – I think it might literally be talking about the character of Rowena when it says ‘giving duration to one’s character… is good fortune’. Robin has spent so much time and given so much thought to this character and doing so will bring her success- not really with pitching it to Strike, imo, because we know he’s already come to the same conclusion that she’s the best for the job, but it will bring her success with the UHC and getting recruited. 

Pools: 

I think I agree with you, Lindsay! This is very much talking about the “character” that Robin is creating, and her perseverance in working this case (in every respect). In the actual interpretation for this line, it argues that it is right for the woman to “hold conservatively to tradition”, and the man to be flexible in being guided by his duty – well, Robin is definitely not conservative here – but she *is* holding fast in her argument that she should be the one to go undercover (as is traditional in these books, actually! LMAO). Strike is the one who needs to be persuaded, who bends under her persuasion and their duty. This is another example of what I talked about last ep – about Rowling playing with the patriarchal foundations of this text to give us an incredibly powerful woman in Robin, and an even more powerful partnership between Robin and Strike.

 

CHAPTER 6

Chapter Summary: Robin thinks about not thinking about Strike, as well as her relationship with Murphy

Epigraph:

Six in the fourth place means:

A tied-up sack.

No blame, no praise.

• Hexagram 2 (The Receptive), BOC

Lindsay: 

I had to think about this one for a bit because it’s a really shippy chapter, but not a very sentimental epigraph. So my first instinct is that Strike is the tied up sack, emotionally speaking. He’s kept his feelings for Robin hidden well enough that she doesn’t believe that he could ever feel the same or want the same thing as she does. Which is exactly what she’s thinking about in this chapter. My header deck says that at first, there’s confusion but ‘later gains a master’ and I just think that’s where Robin is right now. She’s very confused because of Strike being a tied-up sack. 

Pools: 

Ooh this is interesting, because I was thinking that this chapter was Robin basically double-knotting the ties of her *own* emotional sack! But she’s really only doing this because she’s following Strike’s lead – which is very much the receptive position.

Lindsay:

Interesting that this is the Receptive hexagram again. I was thinking about what you said last time, Pools, about Taio telling Robin she’s the receptive, but actually Strike is the one who embodies that more. I’m not quite sure if this makes sense, but if I’m right that this epigraph is actually talking about Strike and not Robin- I think that adds weight to what you were saying about Strike being the true receptive and Jo sort of flipping some of the male/female stuff of the I Ching. 

Pools: 

I’m wondering if, in playing with these positions, there is more fluidity than I assumed – basically, that there are the personal and professional realms – that in the professional, Robin is very much the Creative and Strike the Receptive. But in the personal realm, Robin is embodying the passivity and “being led” of the Receptive (and in doing so, she’s not actually “open” at all, but instead incredibly closed down – whereas by the end of the novel, Strike has stepped into the Creative power of the personal, and is taking action to control his own fate. Perhaps the genius of what Jo is doing with the Creative/Receptive dynamic is in making it *constantly shifting* – Robin and Strike move in and out of each role, balancing each other, each embodying both at different times. In the OG text, “the Receptive must be activated and led by the Creative; then it is productive of good. Only when it abandons this position and tries to stand as an equal side by side with the Creative, does it become evil.” – but in these novels, Strike and Robin *are* true equals, standing side by side, because their position in these roles is never static!

Anyway. In reference to this SPECIFIC line, I just have to say that the interpretation of it smacked me in the face: “he strictest reticence is indicated here. The time is dangerous… therefore a man ought to maintain reserve, be it in solitude or in the turmoil of the world, for there too he can hide himself so well that no one knows him.”  If this is not Robin??? Keeping all of her feelings tied up in a sack, holding herself apart from Ryan (and from her own feelings for Strike!) to protect herself? And doing so because, up until now, Strike has been doing the exact same thing!! Honestly it is time for these two to just. Burst out from their sacks. Spill their feelings out to the universe (and each other). I bet alcohol would help.

Lindsay: 

Yeah, I guess they’re both tied up sacks, but it’s a kind of chicken and egg situation? Is Robin doing it because Strike is doing it or is that kind of how Robin is? There’s a part in one of the Q&As where Jo says that she would tell Strike it’s his own fault that Robin is with Murphy since he’s made himself so unavailable so maybe that’s also playing into why I’m thinking Strike is the more emotionally tied up sack… I need to stop saying the word ‘sack’

 

CHAPTER 7

Chapter Summary: Strike reads about the UHC

Epigraph:

This hexagram indicates a situation in which the

principle of darkness, after having been eliminated,

furtively and unexpectedly obtrudes again from

within and below.

• Hexagram 44 (Coming to Meet), BOC

Kenz: 

This is Strike coming to the realization that the UHC is the same as the commune he, Lucy and Leda lived in, right?

Lindsay: 

Yeah, I think so too. The way it talks about this dark situation ‘having been eliminated’ speaks to me about how Strike thinks this is something he’s eliminated from his life, but I don’t think it is. I don’t think he realizes just how much good it will do him to face this and how much healing it will bring to Lucy and their relationship. 

Pools: 

Yes this is definitely pretty straightforward – the horrors of Strike’s past, that he thought dead and buried, are rising up suddenly in front of him again. The hexagram states, “It is an unfavorable and dangerous situation, and we must understand and promptly prevent the possible consequences.” – which, I mean, it definitely IS a dangerous situation! But I’m so intrigued by your point, Lindsay, that this ultimately results in healing, because that speaks to the cyclical nature of the I Ching – everything changes. Order becomes chaos becomes order, dark becomes light and dark again, winter becomes spring and then winter. This darkness rising up is what allows it to be vanquished. I’m also interested to note that this hexagram focuses strongly on the darkness as the Yin (feminine); it says “the rise of the inferior element is pictured here in the image of a bold girl who lightly surrenders herself and thus seizes power”. I think this is definitely speaking to Mazu Wace, both in Kevin’s letters and, in a later chapter, Lucy’s memories. 

 

CHAPTER 8

Chapter Summary: Strike meets up with Wardle

Epigraph:

Nine in the fifth place means…

It furthers one to make offerings and libations.

• Hexagram 47 (Oppression / Exhaustion)

Kenz: 

This is Strike taking Wardle out for food to get information out of him, I’m pretty sure.

Lindsay: 

Yeah, I think that’s it exactly. And Strike makes sure that it’s a nice place, really buttering him up and it pays off. I like to think that Wardle would have helped Strike out either way, but it’s a nice gesture and we see Wardle return the respect (if you will?) later on. I also want to add to this that there’s a paragraph or two before Strike goes to meet Wardle about how Strike spent three hours tracking down Angel’s biological father for Shanker. It’s another offering, so to speak, that comes back to benefit him later. This whole chapter is him doing things for other people that ends up benefiting him in the long run. 

Pools: 

Definitely agree with both of you! I’m also wondering if this hexagram speaks to the general situation of both Wardle and Strike – both are facing adversity, which is what this hexagram describes (Wardle with April leaving “He enters his house and does not see his wife – six in the third place!); Strike with that smug prick Murphy… also six in the third place lol). The judgement advises that the superior man bends to adversity, rather than breaking; that he remains cheerful and strong within; that he “acquiesce in his fate and remain true to himself”.  Strike is definitely taking this advice, and making offerings – is Wardle as well?

 

CHAPTER 9

Chapter Summary: Strike and Robin visit Prudence

Epigraph:

But in abolishing abuses one must not be too hasty.

This would turn out badly because the abuses have

been in existence so long.

• Hexagram 36 (Darkening of the Light), BOC

Kenz: 

I think this is speaking to Prudence’s warnings not to underestimate the UHC and its methods.

Lindsay: 

Yeah, I agree. I think, at this point, Strike and Robin are a bit naive to what they’re really facing. The hexagram talks about “a man of dark nature is in a position of authority and brings harm to the wise and able man.” and that really feels like a warning about JW and the whole of the UHC to me. But I think the hexagram also talking about the light overcoming the dark or the good overcoming the bad. In pretty much all the interpretations of this hexagram, it talks about hiding your light to keep it protected and that really speaks to me about what Robin is about to do here: she is hiding her true self, hiding the fact that she’s an actual superhero in disguise in order to free Will and the rest of the world from this darkness that is Wace and the UHC. 

Pools: 

Your interpretation is absolutely spot on here, I have pretty much nothing to add! 

 

CHAPTER 10

Chapter Summary: Robin attends a UHC meeting in Rupert Court

Epigraph:

Six in the second place means:

Contemplation through the crack of the door.

Furthering for the perseverance of a woman.

• Hexagram 20 (Contemplation), BOC

Kenz: 

Appropriate for the chapter when Robin gets her first glimpse into what the UHC is about, isn’t it?

Lindsay: 

I’m actually going to go to the Q&As for this one because in the question What inspired you to explore the theme of religious cults in The Running Grave? Jo says, None of us can say for sure there is nothing beyond, but by saying I admit the possibility, the cult leader cleverly opens that door one inch and people want to come back. So really, I think that Jo herself is explaining this epigraph perfectly. ‘Contemplation through the crack in of the door’ We see JW get these people to just open the door a tiny bit and sometimes that’s all it takes. 

It’s kind of funny how, Pools, you talked about how these epigraphs are flipping the patriarchal tone of the BOC because this one was a bit much, but you’re right because this crack in the door furthering for the perseverance of a woman is not in the way the I Ching says, but it’s how THIS woman takes them down. It’s instead giving Robin the power and almost like the UHC is the one who opens the door to HER. I don’t know- this might all be absolute nonsense. 

Pools: 

No no, this is beautiful!! There was a part of this judgement that really stood out to me – “All of this points to the power possessed by a superior personality. On the one hand, such a man will have a view of the real sentiments of the great mass of humanity and therefore cannot be deceived; on the other, he will impress the people so profoundly, by his mere existence and by the impact of his personality, that they will be swayed by him as the grass by the wind.” I mean. Is that not Wace?? But this hexagram is all about seeing and *being seen* – and he has not counted on *being seen* by someone as brilliant, badass, resourceful, and FIERCE as Our Robin, has he?? There’s a crack in his door, and Robin is insinuating herself through it to DESTROY HIM.

 

CHAPTER 11

Chapter Summary: Strike goes to Lucy’s house to tell her about the case’s connection to their past 

Epigraph:

Six in the fifth place…

Shock goes hither and thither…

However, nothing at all is lost.

• Hexagram 51 (The Arousing / Shock, Thunder), BOC

Kenz: 

Something to do with Strike and Lucy’s relationship and the revelations that come up in this chapter?

Lindsay: 

Just looking at this passage for the chapter, shock goes hither and thither is, I think, a reference to both Strike and Lucy facing a shock in this chapter. Lucy is shocked to learn about the investigation and by Strike’s honesty about Leda and Strike is shocked to learn about what happened to Lucy at the commune. But the second line is really the beautiful part of this- however, nothing at all is lost- because it speaks to the healing aspect of truth finally being spoken between brother and sister and it does not cause a loss in their connection, it instead strengthens it. The actual hexagram talks about shock bringing success- and that’s exactly what happens here. I just think that this is such a beautiful chapter and it’s a beautiful epigraph! 

Pools: 

I think you’re absolutely right about this! The image in this hexagram says “Thus in fear and trembling \ The superior man sets his life in order \ And examines himself.” That is just what this shock (and other shocks in this book!) cause the superior man – Strike – to do; to reflect inwards, to assess his beliefs and his actions, to correct his course and choose a better path. 

 

CHAPTER 12

Chapter Summary: Strike thinks about his mother and Charlotte in the aftermath of Lucy’s revelation and hooks up with Bijou

Epigraph:

The inferior thing seems so harmless and inviting

That a man delights in it; it looks so small and weak

That he imagines he may dally with it and come to no harm.

• Hexagram 44 (Coming to Meet), BOC

Kenz: 

The ‘inferior thing’ the epigraph is referring to the temptation to sleep with Bijou, right?

Lindsay: 

I don’t really know if it’s just about the temptation to sleep with Bijou, I was going to say that the inferior thing IS Bijou- but maybe you’re right and nicer than I am. But yes, whether Bijou or the temptation to sleep with her- Strike thinks it’s harmless. This was the same hexagram that was used a couple chapters back when Strike realizes the UHC was connected to the Aylmerton commune- if that gives any indication about how bad of a decision this is… 

Pools: 

Quite! The judgment states that “It is an unfavorable and dangerous situation, and we must understand and promptly prevent the possible consequences.” I don’t think that Strike is going to immediately succeed in doing that…

Lindsay: 

The judgment of this hexagram says “The maiden is powerful. One should not marry such a maiden.” but my header deck made me a laugh a bit when I read it, it said “The woman is powerful. Do not take this woman.” 

Pools: 

Do not, Strike! Do not take her up against a wall! (why does this feel like a line from a very strange Dr Seuss book??) Do not take her in the hall, do not take her on a ball…

Lindsay: 

My cake deck says that such a person needs to be confronted directly in order to stop the problem. It must be met and conquered- we’re not there yet but I do think that’s what Strike eventually does with her. Even though he created the problem, he does put a stop to it. 

Pools: 

He does! This epigraph is so incredibly straightforward that I have little else to add… time to facepalm while Strike goes to meet the “inferior thing”.

 

CHAPTER 13

Chapter Summary: Robin arranges an interview with Sheila Kennett

Epigraph:

Nine at the beginning means:

The footprints run crisscross.

• Hexagram 30 (The Clinging, Fire), BOC

Lindsay: 

This one is a bit tricky. Without looking at any interpretations or the actual BOC, the idea of footprints crisscrossing put the image in my mind of two people sort of going in the same direction and overlapping and since this is a very Franks heavy chapter- this is where we’re first introduced to them, we’re told that they’re not sure which brother is guilty of stalking. I’m wondering if this is a clue that they’re both involved. Their footprints are criss crossing because they’re both following the same woman. 

Pools: 

Ooh, I like that! Plus, Strike and Robin’s paths both cross with Well Edensor (and narrowly miss each other’s).

Lindsay: 

There is something about the hexagram itself that stands out to me and that’s just the general idea to pay attention to what’s around you. The last line of this line judgment says “It is precisely at the beginning that serious concentration is important, because the beginning holds the seed of all that is to follow.” I liked that mostly because it seems like really good advice for reading these books, but I don’t know. Maybe you have something more here?

Pools: 

In this line, the work day begins with the sun – activity and haste prevail, which is appropriate for this point in the novel for sure, as they work to get everything in order for the UHC case while juggling their other cases. I like that you point out that serious concentration is important – because the drama going on with Bijou is threatening to derail that serious concentration for both of them! But I also totally agree with the double meaning you point out, the meta lesson about reading these books; all of the seeds for the rest of the book are being sown in these chapters! Pay attention!

 

CHAPTER 14

Chapter Summary: Strike interviews journalist Fergus Robertson

Epigraph:

Nine in the second place means:

Penetration under the bed.

Priests and magicians are used in great number.

• Hexagram 57 (The Gentle / Penetrating, Wind), BOC

Lindsay: 

This one turned out to me a lot more interesting than I first thought it was going to be! This hexagram talks about really getting in there and influencing or changing something by being on the inside. It talks about the wind being a penetrating force and slowly moving the clouds away and that is what Robin does with the UHC. But I wanted to read this entire thing for this particular line judgment because I think it’s interesting in how it relates to Strike and Fergus Robertson.

“At times one has to deal with hidden enemies, intangible influences that slink into dark corners and from this hiding affect people by suggestion. In instances like this, it is necessary to trace these things back to the most secret recesses, in order to determine the nature of the influences to be dealt with. This is the task of the priests; removing the influences is the task of the magicians. The very anonymity of such plotting requires an especially vigorous and indefatigable effort, but this is well worth while. For when such elusive influences are brought into the light and branded, they lose their power over people.”

I feel like, in this instance, Strike and Robin and also Robertson are the ones infiltrating, they are the hidden enemies of the UHC. They’re the ones who are going to bring this to light and cause the UHC to lose their power. I’m trying to think of how to split Strike/Robin and Robertson up by these two categories that this is giving us- priests who trace things back and magicians who remove the influence. I would imagine that Robertson is the priest here and Strike and Robin are the ones working their magic to remove them, but I don’t know. I don’t know if that bit is important, but this sort of team effort says to me that Robertson is potentially a good contact and someone we can trust to have the same sense of right and wrong as Strike/Robin. 

Pools: 

Damn, this was exactly what I was going to say! You beat me to it lol. I see the hidden enemies, slinking in the shadows and influencing people by suggestion, as the UHC – this is very much their MO, with the anonymous phone calls and wiki articles. I would frame Strike and Robin as the priests; they need to investigate the nature of the evils at the UHC, while Robertson is the magician taking this info and making it public to bring them down in the eyes of the masses! Totally agree about the sense of a “team effort” here. (And what better profession that a journalist to pair with this hexagram, which “In the life of the community it is the powerful influence of a great personality that uncovers and breaks up those intrigues which shun the light of day”??

 

CHAPTER 15

Chapter Summary: Robin gets one step closer to being recruited for UHC, Strike and Robin look into talking to ex-UHC members

Epigraph:

In friendships and close relationships an individual

Must make a careful choice. He surrounds himself

Either with good or with bad company; he cannot

Have both at once.

• Hexagram 17 (Following), BOC

Lindsay: 

This seems really clear and straightforward. Because the other thing that happens in this chapter is that Ilsa tries to warn Strike about Bijou so I think this is a very Ilsa vs Bijou epigraph when it comes to who Strike is willing to surround himself with- whether physically or in the form of friendship over the phone- and of course Robin is also part of that since he’s lumping her in with Ilsa and since his anger is mostly coming from her talking to Murphy in front of him. He’s turning away from his true friendships to do something stupid with bad company. And he can’t have good relationships with either of these women when he’s making these kinds of decisions! 

Pools: 

Indeed!! The judgement says, “if he throws himself away on unworthy friends he loses connection with people of intellectual power who could further him in the good”. So you’re spot on with this I think.

 

CHAPTER 16

Chapter Summary: Robin and Murphy have their first fight and Robin interviews Sheila Kennett

Epigraph:

The line at the beginning has good fortune, the second

is favourable; this is due to the time.

The third line bears an augury of misfortune, the fifth

of illness…

• Hexagram 25 (Innocence / The Unexpected)

Lindsay: 

This one should have us all excited! I think this is actually referring to two different things. So we have the story that Sheila tells us, which is terrible and sad. She tells us that things were good at first, right? But slowly misfortune came and finally illness with the death of Brian and just the illness that is the UHC too. 

The other major thing that happens in this chapter is, like you said, the first fight between Robin and Murphy and I think we should all be excited because this is hinting at misfortune and illness coming- not literal- but this is describing a breakdown of something and how it goes from good to bad. I want to read the interpretation from my header deck just because it feels a bit like Robin to  me: Freedom from entanglement from what is not yours, such as others’ problems or events that are not your responsibility, brings extraordinary energy. It liberates the natural and spontaneous creative flow and grounds you in present reality. A good time to re-evaluate plans, dreams and goals from where you are right now. 

Pools: 

I love this interpretation, because I didn’t know where to start with this hexagram at all! You’re so right about that header interpretation being Robin, and I’m with you on the hope front haha. I was reading the line judgements for this hexagram, and a few things stood out to me: for nine at the beginning (the first line there!) it says: “The original impulses of the heart are always good, so that we may follow them confidently, assured of good fortune and achievement of our aims.”  Hmm! Robin isn’t following her heart’s original impulse, is she! Thus comes the misfortune, me thinks…

And then the judgement on the third line, the “augury of misfortune” made me laugh because… just read it. “Sometimes undeserved misfortune befalls a man at the hands of another, as for instance when someone passes by and takes a tethered cow along with him. His gain is the owner’s loss.” OK I don’t want to say that this is Strike’s perspective on Murphy “stealing” Robin for most of this book… because obviously Robin is not a cow. But.. I mean… 

And then just to quickly share one more line judgements that isn’t mentioned in this epigraph, just for funsies: “We cannot lose what really belongs to us, even if we throw it away. Therefore we need have no anxiety.” Am I crazy for feeling like… Strike is Robin’s. Even if she’s messing around with Murphy here, she’s not gonna lose Strike. Let’s not be anxious.

 

CHAPTER 17

Chapter Summary: Strike interviews Henry Worthington-Fields

Epigraph:

For youthful folly it is the most hopeless thing to

entangle itself in empty imaginings.

The more obstinately it clings to such unreal

fantasies, the more certainly will humiliation overtake it.

• Hexagram 4 (Youthful Folly), BOC

Lindsay: 

This one seems pretty straight forward to me- I think it’s talking about Henry’s story of almost joining the UHC. He’s telling Strike about a stupid thing he did when he was younger. I really like what my header deck says and I just want to read it even though I don’t think it says anything else about Henry in particular but it says: Don’t go running after answers, as if it is embarrassing not to know. Holding steadily to not knowing- and hence to learning- will bring good results. Then it asks the question: What if you didn’t need to know all the answers now? I just thought that was good advice that maybe young Henry could have really used- it’s ok to not know everything. You don’t need to run off to a cult to try and figure it all out. 

Kenz: 

You know, connecting the case to the personal, that reminds me of a few lines from Chapter 64 when Strike comes to that similar realization that there are some mysteries in this world – like love, death, and Charlotte – that are unsolvable and will never be fully understood, and that that’s okay. Young Strike could have used that advice as well!

Pools: 

That’s such a beautiful connection, Kenz! It brings me around to one of the final thoughts of the novel – that we have to forgive who we were, when we didn’t know any better. The hexagram reassures us that “in the time of youth, folly is not an evil. One may succeed in spite of it, provided one finds an experienced teacher.” Unfortunately for the youthful characters in this novel… they found the wrong teacher in Wace. For Strike and Robin, only experience could teach them the lessons they needed to learn (long, long, long experience… and I’m not 100% sure that both of them have actually learned these lessons yet. Robin.)

 

CHAPTER 18

Chapter Summary: Charlotte intercepts Strike after his interview with Henry

Epigraph:

Thunder and wind: the image of DURATION.

Thus the superior man stands firm

And does not change his direction.

• Hexagram 32 (Duration), BOC

Lindsay: 

Reading this epigraph for the first time was a little unique in that we were already told what was about to happen with that final line of the previous chapter telling us that Charlotte had walked in. So, I actually remember saying “THANK GOD” when I read this. Not that I ever thought he wouldn’t stand firm because he’s proven to us so many times that he will, but still it was nice to be told ahead of time.

Pools: 

This epigraph is so tricky for me to grasp onto, because it represents “the institution of marriage as the enduring union of the sexes”. Which is definitely *not* what’s going on here with Corm and Charlotte lol! I suppose that Charlotte is the thunder and wind here – she’s chaos, but for Cormoran she’s always been predictable and familiar chaos, which is why he stayed with her so long. But Cormoran is the superior man, which means that though he’s stable he also changes; the inner laws of his being are guiding him away from Charlotte’s chaos and onto a new path, the *real* duration of marriage that this hexagram represents. Maybe??

Lindsay: 

No, I think you’re totally right- Charlotte is the known chaos but Strike is holding firm in his decision to never go back to her. Yes, the hexagram is about marriage, but I think this is one of those times where the larger meaning doesn’t apply- probably an argument that it’s only the lines Jo chooses that apply…that won’t stop up from looking at them further but these lines are very fitting here. 

 

CHAPTER 19

Chapter Summary: Robin gets recruited to UHC

Epigraph:

Nine at the top means:

The standstill comes to an end.

• Hexagram 12 (Standstill / Stagnation), BOC

Lindsay: 

This is another one that seems straightforward- Robin has been trying to get recruited and I can see how you could think of it as a standstill- they can’t really move forward that much until it happens and now it has. The judgment says that a standstill doesn’t just end of its own accord, that you have to work for it to end and I think we can apply that to Robin- she put a lot of work into getting recruited. 

Pools: 

Absolutely! The ending of this line is interesting as well – it says, “Continuous effort is necessary to maintain peace: left to itself it would change into stagnation and disintegration… This shows the creative attitude that man must take if the world is to be put in order.” which I think speaks to the fact that Robin’s work is NOWHERE NEAR done at this point. She’s just STARTING!

 

PART 2

Epigraph:

Shêng/Pushing Upward

Within the earth, wood grows:

The image of PUSHING UPWARD.

Thus the superior man of devoted character

Heaps up small things

In order to achieve something high and great.

• Hexagram 46 (Pushing Upward), BOC

Lindsay: 

This might be the one time where I think ‘the superior man’ is referring to both Strike and Robin- obviously since it’s for the entire Part 2 and this is the *real* beginning of their investigation. They might both feel like they’re only getting small things here, but all of these small things are going to add up to something great. 

Pools: 

Yup, I absolutely agree with you! This feels really straightforward (and funny that one of the “small things” is Strike meeting with Abigail, the murderer! Jo’s just messing with us here!)

 

CHAPTER 20

Chapter Summary: Midge and Barclay share intel about the area around Chapman Farm, and Robin and Strike get updates regarding witnesses Jordan Reaney and Niamh Doherty

Epigraph:

Over the earth, the lake:

The image of GATHERING TOGETHER.

Thus the superior man renews his weapons

In order to meet the unforeseen.

• Hexagram 45 (Gathering Together), BOC

Lindsay: 

Gathering together is a great image for this chapter since that’s what they’re here doing and I think I’m going to take back what I just said for the Part 2 epigraph because I think you could also apply this superior man to both Strike and Robin. I get that it could be Strike arming himself and the team for what’s coming, but that really should go to both of them, especially since she’s the one who needs to be armed. 

Pools: 

It is a really great epigraph for the whole team coming together. The hexagram states, “such great times of unification will leave great achievements behind them”, which, I mean, bringing down the UHC! A Global Cult! That’s a hell of a great achievement this team is coming together to accomplish!

Lindsay: 

I also really like what my cake deck says: People are stronger when they are gathered together within the vessel of community. A shared history adds depth to their connection. 

 

CHAPTER 21

Chapter Summary: Strike and Robin interview Niamh Doherty

Epigraph:

The danger of heaven lies in the fact that one cannot

Climb it… The effects of the time of danger are truly great.

• Hexagram 29 (The Abysmal / Water)

Lindsay: 

This is the hexagram that caused all of us to freak out a lot before the book came out, wasn’t it? 

Pools: 

Freak out? Us? Now that just doesn’t sound right.

Lindsay: 

This hexagram being water on water and all about finding yourself in danger in water… I think it could be a clue about what happened to Deirdre, since in this chapter, Niamh says she never found out what happened to her mother. 

Pools: 

Oooh, that’s so smart! Yes

Lindsay: 

I’m interested in this bit from the BoC but I’m not quite sure what it means: The whole line is: “The danger of heaven lies in the fact that one cannot climb it. The dangers of earth are the mountains and rivers, hills and heights. The kings and princes make use of danger to protect their realms. The effects of the time of danger are truly great.” and then it says: “danger serves as a protective measure—for heaven, earth, and the prince. But it is never an end in itself. Therefore it is said: “The effects of the time of danger are great.”

Pools: 

I suppose that Wace is the king or prince using danger to protect his realm – the danger of heaven (the spirit world) and the danger of earth (the murder pool!). We learn more about the spirit dangers of the drowned prophet here – but we also, like you said Linds, get those hints about what happened to Deirdre.

 

CHAPTER 22

Chapter Summary: Strike and Robin debrief on their interview with Niamh and Strike gets a call from Jordan Reaney’s ex-wife Ava

Epigraph:

Nine at the top means:

Look to your conduct and weigh the favourable

Signs.

• Hexagram 10 (Treading), BOC

Lindsay: 

I think this might be about Strike and Robin choosing to not push things that they might want to push in this chapter so that they don’t have conflict on their last day together before she leaves. My cake deck says: Do not create conflict where none exists. I’m not saying this isn’t a real conflict, but they don’t need to have it right now…even though I wish they would!

 

CHAPTER 23

Chapter Summary: Robin takes the bus to Chapman Farm

Epigraph:

Nine at the beginning means:

Fellowship with men at the gate.

• Hexagram 13 (Fellowship with Men), BOC

Lindsay: 

I think the way this directly relates to this chapter is that Robin is meeting with the others ‘at the gate’ or not quite inside just yet but on the way. This line judgement talks about how no one has made any mistakes yet…it’s the beginning of fellowship even though this is the worst kind of it. 

Pools: 

This hexagram is so appropriate for the image of the church that’s being presented by Becca here – it says, “True fellowship among men must be based upon a concern that is universal. It is not the private interests of the individual that create lasting fellowship among men, but rather the goals of humanity.” And that’s just what the UHC claims to be, right? Concerned with the universal benefit of humanity?? It’s literally in the name! But here’s where it all goes wrong, because the hexagram says “in order to bring about this sort of fellowship, a persevering and enlightened leader is needed” – and though Wace appears to be this leader, he’s *actually* only in it for himself; the leader is rotten, so the whole core of the UHC is rotten. They cannot achieve true fellowship.

 

CHAPTER 24

Chapter Summary: Robin arrives at Chapman Farm and meets her fellow recruits

Epigraph:

The dark force possesses beauty but veils it. So must

A man be when entering the service of a king.

• Hexagram 2 (The Receptive), BOC

Lindsay: 

Pools, I’ll let you take the lead on the whole Hexagram and being receptive thing, but obviously being a receptive is to follow someone else’s lead, right? And that’s what all of these people are doing here as they enter the UHC. I think we can apply this especially to Robin, as we’re supposed to do, because not only is she following the orders of those in charge but she is veiling her true self. 

Pools: 

This is such a genius epigraph. Because Robin is absolutely posing as the Receptive, just like Taio said she was! The Receptive is what the cult wants, like you said it’s what everyone else is – but we know that Robin is *really* the Creative acting in this role to achieve her purposes. So she *is* veiling the beauty that she possesses, as a receptive would (beauty meaning purpose and skills and her true self here, of course); but she’s not doing it *as* a receptive, to allow someone else to take credit. She’s doing it to achieve her own active ends of burning this church to the ground!

 

CHAPTER 25

Chapter Summary: Jonathan Wace’s daughter Abigail Glover calls Strike back to arrange an interview

Epigraph:

The correct place of the woman is within;

The correct place of the man is without.

• Hexagram 37 (The Family / The Clan)

Lindsay: 

Initially I was thinking that it had to be about Strike and Abigail because they’re the main ones in this chapter… but I don’t know maybe this is a bit literal that Strike is on the outside of the cult working and Robin is working on the inside. 

Pools: 

I interpreted this as the latter – we just finished with Robin, who is within the cult; and now we’re looking at what Strike is doing without (on the outside). But this is one of those brilliant reversals that Jo is playing with, because the hexagram sees “within” as the place of the woman in the domestic sphere, providing the nourishment of the family within the house, and the “without” as the masculine place in the public sphere. Robin’s “within” is actually the active principle, the primary thrust of their investigation; and Strike’s “without” is at the fringes, investigating what he can while Robin is doing the primary work, and holding down the “home” – nourishing their children, the subcontractors… ok I might be veering a bit off course here. But my point is, they’re married, and Robin is a badass, and Strike would make a great Stay at Home Dad.

 

CHAPTER 26

Chapter Summary: Becca continues to lead Robin’s group through the farm, and Robin attends a Joyful Meditation with Mazu

Epigraph:

The Joyous is the lake… it is a sorceress; it is mouth

And tongue.

It means smashing and breaking apart.

• Chapter 3, BOC

Lindsay: 

Sounds so strange to say Chapter! This is the first epigraph that doesn’t come from a Hexagram from the BoC

Pools: 

Yes! It comes from the discussion of the trigrams – so the individual groups of three lines that are paired together to make the hexagrams. This image is referring to Tui, the Lake – which is actually coming up in the hexagram for chapter 28! 

Lindsay: 

I think the word ‘joyous’ here is a direct connection to the joyful meditation and then with our introduction to Mazu, we have our sorceress. Smashing and breaking apart might be a pointing at Mazu’s dangerous nature.

Pools: 

Absolutely, yes!

 

CHAPTER 27

Chapter Summary: Robin experiences her first dinner at Chapman Farm, Jonathan Wace speaks to the group

Epigraph:

Thunder comes resounding out of the earth:

The image of ENTHUSIASM.

Thus the ancient kings made music

In order to honour merit,

And offered it with splendour

To the Supreme Deity…

• Hexagram 16 (Enthusiasm), BOC

Lindsay: 

The image of enthusiasm is absolutely connecting to the mood of the first dinner where Wace is there and bringing people up for recognition. I think Robin says something about the hysteria being unnerving. And it really feels to me like this Supreme Deity is Wace- they’re all acting this way because of Wace. 

I think my cake deck has a really great interpretation for this chapter! It says: Effective leaders do not seek to shape opinion or change minds, but rather, they rouse popular sentiment into real action. Like rolling thunder, music can open a mystical gateway to emotions that draw people together with a united heart. The people then rise in enthusiasm for a cause, an undertaking, or even a war. 

It’s fascinating, isn’t it? Because obviously Wace IS trying to shape opinion, but he’s doing it by using things like music and festivity to unite people against a common enemy- it’s so effective! I honestly think that this is one of the most relatable ways of getting people in. If you’ve ever felt that kind of excitement from being around people with a shared love for something- a concert, a conference, comic con…shared enthusiasm is powerful!

Pools: 

Yes to all of this!! I don’t have anything to add at all, you nailed it.

 

CHAPTER 28

Chapter Summary: Strike interviews Abigail Glover

Epigraph:

This hexagram is composed of the trigram Li above,

i.e., flame, which burns upward, and Tui below, i.e.,

The lake, which seeps downward…

• Hexagram 38 (Opposition), BOC

Pools: 

So if I had paid attention to this epigraph the first time around, I feel like I would have immediately known that Abigail killed Daiyu! Abigail is the flame above, Daiyui is the lake below – it says in the image,  “These two movements are in direct contrast. Furthermore, Li is the second daughter and Tui the youngest daughter, and although they live in the same house they belong to different men; hence their wills are not the same but are divergently directed.” Daiyu IS the youngest daughter, but Abigail comes second! The sibling jealousy is pointed out right here! They belong to different mothers rather than different men; but actually, the father that Abigail had before Mazu *was* different than the father she had afterward, or at least that’s how she sees it! The two girls are in opposition –  that is the key point that we should be taking away from this chapter. The key to the WHOLE MYSTERY.

Lindsay: 

I LOVE this! Not just because it’s interesting on its own but because I was genuinely hoping that the Abigail chapter epigraph would be a clue because there are times where I think the epigraphs are pointing us at the killer but we never pick it up on the first read and this one is even more hidden!

In SW, when Strike first interviews Tassel, the epigraph is: “I took the book and so the old man vanished.”

In TB, there’s a Janice chapter that says: “Aye me (said she) where am I, or with whom?
Among the living, or among the dead?” Which isn’t quite as on the nose, but once you realize Janice is living with all the photos and obituaries of people she killed, it feels more telling. Janice is also compared to Duessa, the witch with a mask.

 

CHAPTER 29

Chapter Summary: Strike does research into the death of Daiyu Wace

Epigraph:

Thus in all his transactions the superior man

Carefully considers the beginning.

• Hexagram 6 (Conflict), BOC

Lindsay: 

This is very straightforward. The hexagram itself is about having conflict or arguing, but I don’t really think that’s relevant here. Strike is going back and reading all the old news reports about what happened the day of Daiyu’s alleged drowning- he’s considering the beginning. 

Pools: 

Agreed! I think that the trigrams which make up this hexagram are interesting – it’s Heaven (The Creative) over Water (The Abysmal); the two move in opposite directions, causing conflict. The hexagram says, “The attribute of the Creative is strength, that of the Abysmal is danger, guile. Where cunning has force before it, there is conflict.” To me that really sums up the larger conflict that’s getting underway here – between Strike and Robin (Creative) and the UHC (Abysmal)

Lindsay: 

You know, this really reminds me of chapter 14 of TB. The one where Strike and Robin go to The Three Kings and look at all the old articles about Margot’s disappearance. The epigraph for that chapter is: “In which there written was with cyphres old…” both of these chapters are about going back to the beginning and looking at old news reports. 

 

CHAPTER 30

Chapter Summary: Robin meets Deirdre Doherty’s daughter Lin

Epigraph:

… a princess leads her maids-in-waiting like a shoal

Of fishes to her husband and thus gains his favour.

• Hexagram 23 (Splitting Apart), BOC

Lindsay: 

This epigraph reminds me of Lucy’s story where Mazu led her to Dr Coates so I don’t know if that’s connected here where she’s with Mazu and is then led to the doctor- it doesn’t fit perfectly but that was my strongest feelings about just these lines being applied to this chapter. 

Pools: 

I think this is *definitely* talking about Mazu, and the way she preaches to this group in this chapter (and to her larger function in the cult more generally); she’s drawing people in and keeping them in line, leading them to her husband for a share of his power (both in the general “recruiting cult members” sense, and the more specific “helping him rape women” sense).

Lindsay:

The hexagram as a whole talks about a crack in the foundation and that a wise person stays still at this time so applying this in a larger way, what Robin needs to do now in this moment is to just go along with everything and not ruffle feathers. 

 

CHAPTER 31

Chapter Summary: Robin visits Dr Zhou, who assesses her ‘fitness to fast’

Epigraph:

Nine in the fifth place…

One should not try an unknown medicine.

• Hexagram 25 (Innocence / The Unexpected), BOC

Lindsay:

This epigraph made me sooo afraid of what happens in the chapter because Zhou gives Robin something…I’m so glad that this ended up not being an issue but maybe this speaks to the larger issue of Dr Zhou in that he cannot be trusted as a medical professional. 

Pools:

Do not go to Zhou for medical advice!! He is not qualified!!

No but seriously, I think Zhou is pretending to the “innocence” that the hexagram talks about, in the sense of being guided by the pure spirit of heaven: “By devotion to this divine spirit within himself, he attains an unsullied innocence that leads him to do right with instinctive sureness and without any ulterior thought of reward and personal advantage.”

He pretends that this sums up his medical practice. He’s a fraud. (green tea enemas are NOT what any kind of divine spirit wants!!)

 

CHAPTER 32

Chapter Summary: Strike confronts Littlejohn about working for Mitch Patterson

Epigraph:

The superior man is on his guard against what is not

yet in sight and on the alert for what is not yet within hearing…

• Hexagram 43 (Break-through / Resoluteness), BOC

Lindsay:

This is another one that seems very straightforward. There’s a lot going on in this chapter that Strike is managing- he’s got the Franks being super creepy and kidnappy so he’s on his guard there, he’s got LJ being shady, and he’s setting up a meeting with Shanker to get to Jordan Reaney so he’s on his guard and alert all over the place from things that are to come. 

Pools:

And he is, of course, The Superior Man. Resolute. Solid. Hairy. (that bit isn’t in the hexagram I don’t think)

 

CHAPTER 33

Chapter Summary: Strike meets up with Shanker and discusses a few key points of the case

Epigraph:

Slight digressions from the good cannot be avoided…

• Hexagram 24 (The Turning Point), BOC

Lindsay:

I think this has to do with the path Strike has chosen to get Jordan Reaney to talk to him. He’s asking Shanker to have his friends in prison…convince him. This is a digression from good, possibly moral choices. There are probably people who don’t like that Strike did this, but as the epigraph implies, sometimes you don’t have another option. 

Pools:

I agree with you. The line judgement goes on to say, “one must turn back in time, before going too far” and that when this is done there is no cause for remorse – all goes well. I don’t think Strike does go too far, but this makes me think about the consequences of their investigating Reaney and Cherie – an attempted suicide, and a completed suicide – these are digressions from the good… but they could not be avoided.

 

CHAPTER 34

Chapter Summary: Robin and her group discuss their struggles with Mazu, and we see the first manifestation of Daiyu

Epigraph:

It is a question of a fierce battle to break and to discipline

the Devil’s Country, the forces of decadence.

But the struggle also has its reward. Now is the time

to lay the foundations of power and mastery for the future.

• Hexagram 64 (Before Completion), BOC

Lindsay:

I think this has to do with the argument that Wace and the UHC are presenting to the recruits in this chapter to get them to join. There’s a whole manipulation day leading up to the UHC baptism where they talk about battle against the bubble world and how they’re fighting this evil in battle. I feel like Wace could read this epigraph as part of his speech: Now is the time to lay the foundations of power and mastery for the future! Aka join us against evil. 

Pools:

Yes, this is exactly what the UHC claims to be doing! Of course, we know what the real “Devil’s Country” is (hint: Robin is currently undercover there) and the forces of decadence… well, we’ve seen the hypocritical luxury the principles live in! SOMEONE is going to be disciplined by the end of this book… *sips tea*

 

CHAPTER 35

Chapter Summary: Robin officially joins the church

Epigraph:

Nine at the top…

One attains the way of heaven.

• Hexagram 26 (The Taming Power of the Great), BOC

Lindsay:

I think this is referring to people joining the UHC and the baptism that happens. Obviously, this is anything but heaven though, but it’s presented that way. 

Pools:

Yes, absolutely! This hexagram reminds me of Robin and her larger goals here – it’s about storing great creative powers, holding still in order to eventually burst forth and accomplish great things; which is exactly what Robin is doing her, in this first milestone as she goes passively along with this ceremony – she’d holding herself ready and preparing to burn this place to the ground!

 

CHAPTER 36

Chapter Summary: Robin receives her first note from Strike

Epigraph:

Nine in the third place means:

A halted retreat

Is nerve-wracking and dangerous.

• Hexagram 33 (Retreat), BOC

Lindsay:

The retreat is over and it’s about to get REAL!

Pools:

The “nerve-wracking and dangerous” part DEFINITELY fits this chapter! Particularly Robin having to stop what she’s doing and hide on the ground in the nettles while Lin and Will are RIGHT THERE. I really liked this line from the hexagram: “The power of the dark is ascending. The light retreats to security, so that the dark cannot encroach upon it”. And isn’t that EXACTLY what happens when Robin retreats to the woods, to read Strike’s note?? She is the light, and he is her security; he’s fortifying her against the darkness of the UHC.

 

PART 3

Epigraph:

Chien/Obstruction

OBSTRUCTION means difficulty.

The danger is ahead.

To see the danger and to know how to

Stand still, that is wisdom.

• Hexagram 39 (Obstruction), BOC

Lindsay:

I definitely remember my feelings when I read this epigraph for Part 3 because it made me very nervous for Robin! But I love what this epigraph is saying about standing still being wisdom because, in regards to Robin, it’s growth from the last book imo. Robin is very careful with how she goes about this… so much so that she realizes at some point that she’s going to have to ruffle more feathers if she wants to get the goods! But yeah…danger is coming. It feels very ominous. 

Pools:

Yes, you’re so right! This is ominous AF! We’re getting into the meat of the investigation now, with Robin fully immersed at the Farm, and Strike on his own outside facing difficulty after difficulty. Obstructions to progress are going to abound, and danger! But we know that our favourite detectives will be able to overcome them. Eventually. 

 

CHAPTER 37

Chapter Summary: Strike starts to notice something off about Littlejohn and Pat, and drives to Norfolk

Epigraph:

Through resoluteness one is certain to encounter

Something.

Hence there follows the hexagram of COMING TO MEET.

• Hexagram 44 (Coming to Meet), BOC

Pools:

For some reason the “Something.” being on a line of its own here really tickles me, I don’t know why! I think that this hexagram might refer to the Pat and LJ situation – Coming to Meet is the one about darkness “unexpectedly obtruding from within and below” which to me definitely hints at LJ being a saboteur, and Strike’s resoluteness in noticing and questioning everyone about his behaviour! He knows that *something* is there, and he’s going to keep poking at it til he figures it out.

Lindsay:

Yeah, maybe that’s why the “Something” is written that way because it’s still unknown and could be anything.

 

CHAPTER 38

Chapter Summary: Strike interviews Alexander Graves’ parents and his sister Phillipa

Epigraph:

Six at the top…

Not light but darkness.

First he climbed up to heaven,

Then he plunged into the depths of the earth.

• Hexagram 36 (Darkening of the Light), BOC

Lindsay:

I think this is speaking about Alexander Graves and the idea that he climbed up to heaven or went pure spirit within the cult and then plunged into the depths of the earth, or died and was buried. 

I also thought that ‘first he climbed up to heaven’ could be referencing him literally going upstairs to hang himself but I think both interpretations work. 

Pools:

Oooh I love that interpretation! The visual of “climbing up to heaven” being literally going upstairs is so creepy and excellent. I mean, not excellent for anyone in the BOOK but excellent in a purely symbolic, literary sense. The hexagram says, “here a man of dark nature is in a position of authority and brings harm to the wise and able man.” It’s certainly right about a man of dark nature being in a position of authority and bringing harm! This is very Wace – and this whole chapter is a narrative of how Allie’s light was darkened – first by mental illness, then by Mazu, then by Wace. He wasn’t able to escape this fate. But I think that this epigraph is also suggestive of what will happen to Wace, in the end – because the lines speak to evil containing its own downfall; the dark may be superior now, but it will always fall.

Lindsay:

I love that idea. I’m always here for evil meeting its downfall! 

 

CHAPTER 39

Chapter Summary: Robin is forced to write a letter to Rowena’s fake sister Theresa, declaring her membership to the UHC

Epigraph:

Six in the fourth place means:

The finest clothes turn to rags.

Be careful all day long.

• Hexagram 63 (After Completion), BOC

Lindsay:

It just feels like it’s speaking to the deterioration of everything, including Robin’s preparations for going undercover. She’s starting to feel like her plans are unraveling and she’s realizing the places where she isn’t prepared and now she has to be really careful about the things she’s doing. 

Pools:

I think you’re right about this. It feels like a very clever reference to the preparations she made *literally* including fine clothes! But the fine clothes are gone and she’s in rags (aka tracksuit) now; like you said, she needs to be very careful to not be hurt by the holes in her preparations.

 

CHAPTER 40

Chapter Summary: Strike gets an update about his uncle Ted’s health, and does more background research on Cherie Gittins

Epigraph:

…the most sacred of human feelings, that of

reverence for the ancestors.

• Hexagram 16 (Enthusiasm), BOC

Lindsay:

This is a very sweet epigraph for this chapter because it’s all about Strike’s feelings for Ted, right? It’s clear he loves his uncle and wants to do the right thing and feels guilty for the things he hasn’t done. 

Pools:

Completely agree that this is about Strike loving and caring for Ted, and his guilt for where he feels he’s failed.

Lindsay:

I think it’s also possible that this could be about Joan, as well. There’s the part where it says that Strike had “paused in his pacing to contemplate the strip of sea just visible from Ted’s back garden. Joan’s ashes had been strewn there from Ted’s old sailing boat and some irrational part of him sought guidance from the distant, glittering ocean.”

Pools:

This moment is so beautiful. Yes. I love this particularly because Ted and Joan aren’t technically Strike’s literal ancestors – but they’re the ancestors (parents) of his heart.

 

CHAPTER 41

Chapter Summary: Robin writes Strike about the Revelation meetings, and notices tension between Becca and Emily Pirbright

Epigraph:

One is courageous and wishes to accomplish one’s

Task, no matter what happens.

• Hexagram 28 (Preponderance of the Great)

Lindsay:

I think this might be directly speaking about Robin telling Strike in her letter that she isn’t ready to leave yet and obviously it’s taking a great amount of courage to remain there. There’s a part at the end of the chapter where she rips up the notes and releases them underneath the gate and onto the road and feels jealous of these scraps of paper as the wind takes them away. So clearly, she wants to leave but we know Robin- she wants to stay to finish what she’s there to do. 

Pools:

Yes, absolutely agree! Robin is so incredibly courageous and dedicated. Also, the sentences right after this in the judgement blew my mind! It continues: “This leads into danger. The water rises over one’s head. This is the misfortune. But one incurs no blame in giving up one’s life that the good and the right may prevail. There are things that are more important than life.”

Yes… the water definitely does rise over one’s head! But I love the conclusion that “There are things that are more important” not just because it’s also a great Chenford moment, but because for Robin, yeah. She takes these risks because for her, the pursuit of justice IS more important. Also, this hexagram is all about how starting with caution and laying strong foundations when undertaking great endeavours is important, so very appropriate.

 

CHAPTER 42

Chapter Summary: Robin discovers an important piece of physical evidence after dropping off her letters

Epigraph:

Nine in the fifth place means:

A melon covered with willow leaves.

Hidden lines…

The melon, like the fish, is a symbol of the principle

Of darkness.

• Hexagram 44 (Coming to Meet), BOC

Lindsay:

I think what this is talking about are the pictures that were hidden. So it seems like the melon is representing the pictures but I find it interesting that this is saying that the melon is a symbol of darkness like the fish because a symbol of a fish is like Mazu’s fish pendant. So I feel that symbols of darkness come from both Abigail and Mazu in this chapter. We see Abigail’s cruelty through the photos, although we don’t know it’s her yet, and we see Mazu’s cruelty when she punishes some young girls. 

Pools:

Yes, such a good reading! This is that same hexagram from one of the Charlotte chapters, about darkness coming unexpectedly from below, and being represented by the feminine principle. Which 100% makes sense in terms of Mazu, but maybe should have been a hint that it was a woman who was behind the creation of the polaroids? Well, a girl actually. The judgement even says, “pictured here in the image of a bold girl who lightly surrenders herself and thus seizes power”….. Indeed.

Lindsay:

Ohh yes! I love it when there are clues in epigraphs. Of course, this one you have to go digging, but it’s still fun!

 

CHAPTER 43

Chapter Summary: News of Strike’s affair with Bijou makes its way into an issue of Private Eye

Epigraph:

Six in the fourth place means:

Entangled folly brings humiliation.

• Hexagram 4 (Youthful Folly), BOC

Lindsay:

This one is pretty easy to interpret! Strike’s stupidest entanglement is about to bring him humiliation! 

Pools:

I’m laughing that this hexagram is entitled “Youthful Folly” because the man is 41 years old and still out here being an idiot lol. Youthful folly is not reserved solely for the young!

 

CHAPTER 44

Chapter Summary: Strike meets with Bijou about the story about them in the press

Epigraph:

A man must part company with the inferior and

superficial. The important thing is to remain firm.

• Hexagram 17 (Following), BOC

Lindsay:

Another one that is pretty straightforward. Strike is firmly parting company with Bijou who is inferior and superficial..and a whole lot of other things! 

Pools:

Good for him.

Lindsay:

And for me, this epigraph very clearly referring to Bijou in that way tells me that Strike is in the right at this point of this Bijou issue. As I’ve said, he has responsibility here, but that does not minimize the bad behavior on Bijou’s part. 

It’s interesting to me that this hexagram is concerned with how to acquire a following, that is how to be the superior man that other people are willing to follow – because we’ve just seen Dev give Strike a heads up about this, because Strike has surrounded himself with a team of good people; but his behaviour has put that team at risk (and he’s risked losing some of their respect too – he can tell Dev thinks he’s been an idiot, and he’s glad that Robin isn’t witnessing his fuck up). “If he throws himself away on unworthy friends he loses connection with people of intellectual power who could further him in the good”. 

 

CHAPTER 45

Chapter Summary: Robin speaks with Penny Brown

Epigraph:

But every relationship between individuals bears

within it the danger that wrong turns may be taken…

• Hexagram 54 (The Marrying Maiden), BOC

Lindsay:

Ok, so this is the chapter where Robin tries to confide in Penny, the teenager with the green hair, in order to try and get some information but it backfires when Penny is offended and ends up telling Mazu! 

Pools:

This is the first time we’ve gotten this hexagram I believe, and it is interesting because it’s about a young girl who marries, and I think it’s very much framing Penny’s entrance into this cult as a twisted, destructive kind of marriage to Wace and his principles, in which she is completely lost as her own person. One of the line judgments says this: “A girl who is taken into the family, but not as the chief wife, must behave with special caution and reserve. She must not take it upon herself to supplant the mistress of the house, for that would mean disorder and lead to untenable relationships.”  and isn’t that just what Penny is doing here? She’s terrified of offending the “chief wife”, so much so that she goes to her to tattle on Robin.

 

CHAPTER 46

Chapter Summary: Robin begins to struggle with the church’s indoctrination

Epigraph:

An individual finds himself in an evil environment to

Which he is committed by external ties.

But he has an inner relationship with a superior

Man…

• Hexagram 23 (Splitting Apart), BOC

Lindsay:

Ok…this is going down as my favorite epigraph of the book so far! We’ll have to see how it compares to others as we keep going but for now, this is in the top spot!

Robin has found herself in an evil environment…but she has an inner relationship with the superior man, Strike! And, as we all probably know, this is the chapter where Robin first starts pretending to talk to Strike in her head in order to keep herself grounded and focused and it’s the only thing that helps her think straight- pretending to talk to him. 

This is one of the sweetest things in this book…and there’s a lot of sweet things in this book! 

Pools:

Yess! I absolutely LOVE that this directly speaks to the Strike that’s living in Robin’s head, keeping her sane in the face of the UHC’s evil. Bravo. No notes.

Oh except one, the judgement for this one says: “The inferior, dark forces overcome what is superior and strong, not by direct means, but by undermining it gradually and imperceptibly, so that it finally collapses”  which is a very accurate depiction of the way the UHC is attacking Robin right now! They’re trying to undermine her – but Strike is shoring her up. He’s bracing her against all the pressure/

 

CHAPTER 47

Chapter Summary: Strike receives an alarming call from both Tasha Mayo and Charlotte

Epigraph:

Nine at the beginning means:

When ribbon grass is pulled up, the sod comes with it.

• Hexagram 11 (Peace), BOC

Lindsay:

This is a really good one! When you pull up grass, the sod comes with it meaning…you get to the root of the problem. This is when Strike tells Charlotte that the two of them were never friends and, while I think they have many roots of many problems, that’s a key piece that has to be there in a relationship and they never had that. 

I just think it’s so sweet because implying that the root of the problem with Strike and Charlotte was that they were never friends and contrasting that with Strike and Robin who are BEST friends…JK Rowling has taken the time to build and deepen that friendship which is going to not the root of a problem but the foundation for the rest of their relationship.

Pools: 

Wow that is a really good interpretation, I love it! It would seem ironic that this hexagram is about peace and harmony, when the phone calls in this chapter are anything but peaceful! But it’s like you said – he’s gotten to the root of the problem now, and this final break with Charlotte is going to lead him to peace in the end, finally.

Lindsay:

We’ll talk more about what I think this phone call does for Strike, but I do think there’s some peace in this call for HIM. 

 

CHAPTER 48

Chapter Summary: Strike receives an update on Bigfoot from Dev, and does more research on Cherie Gittins

Epigraph:

… the inferior man’s wickedness is visited upon himself.

His house is split apart. A law of nature is at

work here.

• Hexagram 23 (Splitting Apart), BOC

Lindsay:

This is the first time we get an ‘inferior man’ epigraph and I’m not trying to be petty…which is a lie of course I am…I had so wanted this to be about Murphy when I first read this book. But no, I think we have a few options for inferior men in this chapter! 

Biggest one and I think probably most likely is Bigfoot. This is a Bigfoot heavy chapter where Dev gets the evidence that he needs against him and Bigfoot’s wife is thrilled. So that really fits here where his own wickedness is catching up to him and his house is split apart because now Mrs. Bigfoot is going to file for divorce and get her settlement. 

Another man mentioned in this chapter although very briefly is Jonathan Wace. Strike sees a poster with Wace at the beginning of the chapter and his wickedness definitely catches up to him later and his house is split apart. So maybe this is a hint of what’s to come for him. 

There’s also LJ because we find out Strike has sent Shanker’s friends to do surveillance on him so it’s possible that whatever he’s up to will catch up to him. 

And then there’s Barry Saxon at the end of the chapter- who is Abigail’s ‘friend’ or acquaintance. This actually doesn’t apply to him because we now know that he’s telling the truth. But we were all set up to not believe him and with a chapter full of inferior men, I think that’s also priming us to not trust him. So, if this epigraph is at all speaking to him, I think it’s a red herring. 

Having said all that, I think Bigfoot is the most likely inferior man here. 

Pools:

I think they can ALL be the inferior man at  the same time, for sure! But agreed – I have a special disgust for Bigfoot, I’m not gonna lie. His behaviour is a slander to the noble cryptid for which he’s named.

 

CHAPTER 49

Chapter Summary: Strike interviews Barry Saxon

Epigraph:

Nine in the third place means…

A goat butts against a hedge

And gets its horns entangled.

• Hexagram 34 (The Power of the Great), BOC

Lindsay:

This image is making me think of someone who has tried to fight something bigger than they are and end up stuck and not knowing how to escape… I think on my first read, I was thinking that Barry or Baz was the goat and Strike was the hedge…meaning he’s trying to go up against Strike and then loses, but now that we know that he IS telling the truth, I think the hedge is actually Abigail. He’s entangled in this mess. 

Pools:

Ooh! I love this double meaning, because yes! Barry’s horns are definitely entangled in Strike’s superior man-ness – but Strike hasn’t realized how much his own horns are entangled in his biases about Abigail. Just goats stuck in hedges all the way down. But part of this line judgement definitely resonates with Baz for me: “Whereas an inferior man revels in power when he comes into possession of it, the superior man never makes this mistake.”  Barry does revel in the power he believes he has over Abigail, in all the “dirt” he has on her and his ability to stalk and threaten her. He is very different from Strike, who sees that behaviour for what it is. We just saw what Strike does when he has power over a woman – with Bijou, in an earlier chapter. He did what he had to do to protect himself, and then he walked away. He has none of this vicious desire for revenge. Because he’s superior man.

 

CHAPTER 50

Chapter Summary: Robin learns more about the church’s concept of spirit bonding, and speaks to Will Edensor

Epigraph:

Six at the beginning means:

When there is hoarfrost underfoot,

Solid ice is not far off.

• Hexagram 2 (The Receptive), BOC

Lindsay:

This seems like another way of saying ‘where there’s smoke, there’s fire’ and this is one of the more anxiety-inducing chapters for me because it’s hinting at the really bad things that are about to come for Robin. We get the spirit bonding lecture and the CLEAR signs that Taio is expecting sex from Robin, we get the beginning of Robin being ‘in trouble’ happening here for not donating money, and we get Robin coming to the conclusion that she has to get in more trouble if she wants to accomplish anything. So…very scary epigraph and chapter. 

Pools:

Absolutely, 100%. I know it’s probably not a thing but I found it so neat that this hexagram is The Receptive, which is made up of double Earth trigrams – and she’s working the vegetable patch (the earth!) for the first time at the farm! VERY appropriate choice.

But seriously, how ominous is the judgement for this line: “When the first hoarfrost comes in the autumn, the power of darkness and cold is just at its beginning. After these first warnings, signs of death will gradually multiply, until, in obedience to immutable laws, stark winter with its ice is here.” NO THANK YOU! I do not want Winter to be Coming! Let’s skip straight to spring (the rescue chapters)

Lindsay:

Winter is Coming! Ha, that’s all this cult needs- those creepy ice people from GoT- I don’t remember what they’re called. 

Pools:

The White Walkers lmao… yeah the LAST thing Robin needs right now is them showing up!

 

CHAPTER 51

Chapter Summary: Strike speaks with Murphy about the possibility of guns at Chapman Farm

Epigraph:

Nine at the top…

There is drinking of wine

In genuine confidence.

No blame.

But if one wets his head,

He loses it, in truth.

• Hexagram 64 (Before Completion), BOC

Lindsay:

Is this talking about alcohol? Drinking of wine but if one wets his head, he loses it? Could this be foreshadowing? Because neither of them drink too much. 

Pools:

I’m intrigued by this possibility! The judgement says, “If in his exuberance a man gets drunk, he forfeits the favorableness of the situation through his intemperance.” We know Strike was hoping for a drunk Murphy – but alas, completely dry heads over here.

Lindsay:

Besides that, I think this is saying that they’re meeting up for a common goal and not blaming each other but really…not so much. They’re inside thoughts are not as cordial. 

Pools:

Lol you’re not wrong!There is definitely no genuine confidence between them. The hexagram as a whole urges caution and deliberation – I think both men are quite cautious here, but Strike does later regret toying with Murphy a bit in this meeting, doesn’t he? Or he thinks it might turn out to have been a mistake? Maybe this hexagram was a warning to him not to have TOO much fun torturing the man.

Lindsay:

Yeah, although it doesn’t come to anything, so I’m going to enjoy the toying. 

 

PART 4

Epigraph:

K’un/Oppression (Exhaustion)

There is no water in the lake:

The image of EXHAUSTION.

Thus the superior man stakes his life

On following his will.

• Hexagram 47 (Exhaustion), BOC

Lindsay:

I think for these part epigraphs, we’re definitely supposed to apply the superior man to both Strike and Robin. The image of exhaustion fits completely with Robin who we see in the start of the next chapter is more physically exhausted than we’ve ever seen her and this carries on a bit. But of course, I think there’s also the emotional exhaustion of everything she’s facing taking a toll. And then there’s Strike- I don’t really think he has any physical exhaustion going on, but Part 4 is the biggest emotional Part for Strike because Part 4 ends with the death of Charlotte. But both Strike and Robin are pushing forward through all the different kinds of exhaustion they’re facing. 

Pools:

Yes, absolutely. This hexagram is all about adversity, and how to make it through – unsurprisingly, it advises that “there is nothing a man can do but acquiesce in his fate and remain true to himself. This concerns the deepest stratum of his being, for this alone is superior to all external fate.” and that is exactly what both Robin and Strike are going to have to do to make it though what’s coming up next for them! 

 

CHAPTER 52

Chapter Summary: Robin’s demotion starts to take its toll on her

Epigraph:

Nine in the second place means…

There is some gossip.

• Hexagram 5 (Nourishment), BOC

Lindsay:

This is a really easy one- Shawna is like walking gossip. 

Pools:

Yeah this isn’t very cryptic, is it lol!

Lindsay:

Also, how interesting that this comes from a hexagram titled Nourishment when this is the chapter where we see Robin at a very weak physical point. We read that she’s not getting the nourishment she needs, but I guess this kind of nourishment is the information she receives from Shawna. 

Pools:

Yes! Very much so. This hexagram is all about waiting, because nourishment will come in its own time – it can’t be rushed. To be strong in the face of danger means waiting for that moment to come. Also, this specific line judgement says: “The danger gradually comes closer… He who stays calm will succeed in making things go well in the end.” Danger is DEFINITELY coming closer for Robin at the end of this chapter!

 

CHAPTER 53

Chapter Summary: Robin endures a Revelation meeting

Epigraph:

A yang line develops below two yin lines and

Presses upward forcibly.  This movement is so violent

That it arouses terror…

• Hexagram 51 (The Arousing / Shock, Thunder), BOC

Lindsay:

I think this is speaking to the Revelation session Robin is about to endure. It’s forcible, it’s violent, it arouses terror. It also speaks directly to the moment where the stage tilts- the movement that arouses terror of the pool. 

Pools:

Yes, this!! I should also note that this hexagram represents the eldest son, “who seizes rule with energy and power” – and WHO do we find lurking at the edges here, waiting to take his chance? That’s right, Taio.

Lindsay:

Ew

 

CHAPTER 54

Chapter Summary: Taio attempts to spirit bond with Robin

Epigraph:

Six in the second place

Difficulties pile up…

He wants to woo when the time comes.

The maiden is chaste,

She does not pledge herself.

• Hexagram 3 (Difficulty at the Beginning), BOC

Lindsay:

Obviously, I mostly hate this epigraph because this is talking about Taio trying to force Robin into sex when she doesn’t want it! However, it also kind of makes me think of the other time an epigraph talks about wooing- which is the chapter after the rescue scene where it talks about Strike NOT wooing at that time, right? 

Kenz:

Yes! It’s the one where they shared a bed. 

Lindsay:

There are just so many little instances like this that prove that while Strike is flawed, he is definitely the superior man and a good man. (A man…)

Pools:

I love the parallel you’ve drawn here, because the line that’s been cut out of this hexagram is “He is not a robber” – because of course Taio very much IS a robber!! But which line was left in Strike’s hexagram? That’s RIGHT: “He is not a robber, He will woo at the right time.” So. I think this is a deliberate juxtaposition, telling us which man we can trust and which one we can’t. (Although it’s not really like we need the hexagram to tell us that, lol…)

Lindsay:

I know but still!! Especially because both chapters have to do with the potential of something sexual- Taio forcing Robin into sex vs Strike worrying he’s taking advantage of her just by sharing a bed. 

 

CHAPTER 55

Chapter Summary: Strike receives a call from Jacob Messenger’s brother and gets threatening voicemails from Charlotte

Epigraph:

Heaven and earth do not unite…

Thus the superior man falls back upon his inner

worth

In order to escape the difficulties.

• Hexagram 12 (Standstill / Stagnation), BOC

Lindsay:

I really like this one! I think this is talking about the difficulties and allegations Strike faces in this chapter when it comes to Charlotte. All of the horrible things she’s accusing him of- he can’t let it bother him or be held hostage to her threats to spread lies anymore. He has to fall back on his inner worth and who he really is. And I like the implication that who he is is good, not what Charlotte is saying he is. 

Pools:

Beautiful. Yes. No notes, it’s a perfect interpretation!

 

CHAPTER 56

Chapter Summary: Strike interviews Jordan Reaney

Epigraph:

Six at the beginning means:

Even a lean pig has it in him to rage around.

• Hexagram 44 (Coming to Meet), BOC

Lindsay:

Very clever to put a mention to pigs in this epigraph- we already know that Jordan Reaney has nightmares about pigs so that’s a little nod to their importance in the crime being tied to Reaney, but I think this is also just referring to the deep anger and rage we see in this man. He is very quick to anger, he’s dangerous, and this interview fills him with rage. 

Pools:

Yes, absolutely agree! The part about “even a lean pig” – Reaney is literally lean of course (gaunt) but he’s also metaphorically lean – in that he basically has nothing; no freedom, choice, he’s a prisoner etc. But even in his constrained, starved position – he can rage.

(Also the little nod to “lean” with Strike being almost at his goal weight in the beginning of the chapter lol! Of course, he’s the lean Superior Man.)

And of course, this is the hexagram we’ve seen a bunch of times, specifically in reference to Charlotte and Mazu – the dangerous feminine principle emerging unexpectedly from beneath. A sign that maybe it’s a woman that Reaney is afraid of?

Lindsay:

Ohh yes! We’ve already talked about how Abigail basically turned into Mazu without realizing it so that absolutely works. Both women have surrounded themselves with people to do their bidding but out of fear, not loyalty. Which…is another contrast between Strike and Abigail. Strike’s people are loyal and not afraid of him- even when he’s grumpy or snappy and frustrating. It’s not that way with Abigail and her people. 

 

CHAPTER 57

Chapter Summary: Robin speaks with Mazu about making a donation to the UHC

Epigraph:

Nine at the beginning…

When you see evil people,

Guard yourself against mistakes.

• Hexagram 38 (Opposition), BOC

Lindsay:

I don’t think there’s any doubt as to who the evil people are here, but I think this is interesting because I think both Robin and Rowena are guarding themselves against mistakes. The character Rowena is doing this by donating the money and telling Mazu that she’s really trying to overcome her false self and trying to improve. And Robin guards herself against mistakes by making a couple of really good judgment calls in this chapter. She backs away and pretends she didn’t overhear the conversation about Jacob and she recognizes the recording devices in Mazu’s office and doesn’t act- I had almost expected a moment here where she goes looking in Mazu’s office. I thought maybe she was going to find a gun, but she doesn’t do that because she knows she’s being watched. 

I love that Robin’s experience comes into play here with those recording devices. Because had she not used these same things, she might not have realized. Gray area for the win there. 

Pools:

Completely agree with you! Robin is face to face with an evil person here, and she does a great job guarding against mistakes! A++ for Robin here.

Also, yes I KNOW that this might be a stretch, but the description of the trigrams:

“This hexagram is composed of the trigram Li above, i.e., flame, which burns upward, and Tui below, i.e., the lake, which seeps downward. These two movements are in direct contrast…although they live in the same house they belong to different men; hence their wills are not the same but are divergently directed”

Robin (Fire!) above Mazu (lake/abyss/water!) in direct contrast? Robin and Mazu are absolutely living in the same house, and they certainly are aligned to different men – but Jo is again subverting the patriarchal foundations by pitting these two women against each other of their own accord, on their own missions – their wills are divergently directed, not because they belong to different men but because they direct their wills according to their passions (i.e. sadism/justice). 

Lindsay:

Yeah and it’s also true that the men they’re each aligned with are also in direct contrast! We’ll see that confrontation later! 

 

CHAPTER 58

Chapter Summary: Robin overhears a conversation between Becca and Emily Pirbright

Epigraph:

Two daughters live together, but their minds are not

directed to common concerns.

• Hexagram 38 (Opposition), BOC

Lindsay:

This is very straightforward. We have two sisters- Becca and Emily who are about to have a big fight. 

Pools:

It’s the same hexagram as last chapter! See above re: two women pitted against each other, and aligned to different men – Wace and Kevin.

Lindsay:

Oh interesting! So Robin/Mazu and now Becca/Emily. 

 

CHAPTER 59

Chapter Summary: Strike learns that Charlotte has been arrested for assault

Epigraph:

… to the thoughtful man such occurrences are grave

omens that he does not neglect.

• Hexagram 63 (After Completion), BOC

Lindsay:

I think there are quite a few bad omens in this chapter that Strike recognizes. So first, it’s the Franks and their kidnapping plot- Strike sees what’s happening there. Then there’s Charlotte’s escalating behavior when she’s arrested for assault and then there’s the woman who approaches Strike and almost blows his cover. 

Pools:

Absolutely. 

 

CHAPTER 60

Chapter Summary: Robin is intercepted by Lin while writing a letter to Strike

Epigraph:

Six in the third place means:

Contemplation of my life

Decides the choice

Between advance and retreat.

• Hexagram 20 (Contemplation / View), BOC

Lindsay:

I think this is very clearly Robin making a choice whether to stay or not after Lin catches her in the forest. 

I was just about to say that I wish she had left, but then I’m thinking…do I *really* want that? Not really because then we wouldn’t get you know what chapters!! 

Pools:

This one made me laugh because it’s literally… Look at your life. Look at your choices. The meme epigraph lol!

But yes, while part of us wishes Robin could just escape – the story (and the EMOTIONAL CATHARSIS!!!) need her to stay. But she is giving it serious thought in this chapter.

Also, there is a neat little easter egg in this one – the hexagram is described as following: “A slight variation of tonal stress gives the Chinese name for this hexagram a double meaning. It means both contemplating and being seen, in the sense of being an example.”

Just funny to me that Robin is literally seen while contemplating in this chapter!

 

CHAPTER 61

Chapter Summary: Strike thinks about why he was intercepted during surveillance and receives more threatening voicemails from Charlotte

Epigraph:

Nine in the third place.

All day long the superior man is creatively active.

At nightfall his mind is still beset with cares.

• Hexagram 1 (The Creative), BOC

Lindsay:

Aww, you know, Strike still needs a hug! I am still willing to offer my services.

Kenz:

So selfless! 

Lindsay:

He has so many worries right now and problems. Kind of reminds me of that line in TB where he thinks about how troubles come all at once…do either of you know the line I mean? 

Kenz:

Of course! It’s that one towards the end of chapter 42, after Charlotte texts him on Valentine’s Day, when it says “Then he closed his eyes, and like millions of his fellow humans, wondered why troubles could never could singly, but in avalanches, so that you became increasingly destabilized with every blow that hit you.” Definitely feels appropriate.

Pools:

I thought you might like this hexagram’s description as symbolic of Strike: “The first hexagram is made up of six unbroken lines. These unbroken lines stand for the primal power, which is lightgiving, active, strong, and of the spirit. The hexagram is consistently strong in character, and since it is without weakness, its essence is power or energy.”

 

CHAPTER 62

Chapter Summary: Strike interviews the Heatons, who are the witnesses from the day Daiyu died

Epigraph:

Nine in the second place…

To bear with fools in kindliness brings good fortune.

• Hexagram 4 (Youthful Folly)

Lindsay:

This is getting the award for funniest epigraph- this is hilarious. Calling the Heatons fools is so appropriate. I don’t think they’re bad people, but I do think they’re very foolish. Starting with inviting friends over to an interview about a murder investigation and then the way they behaved throughout the whole thing…fools, all of em! But Strike is kind and smiles along and it brings him good fortune in the form of information that ends up really helping him solve the Daiyu mystery. 

Let this once again be a lesson to us to not ignore what the annoying people have to say! 

Pools:

There’s definitely a lesson here about tolerating idiots! I’m laughing at this hexagram being Youthful Folly, and where it says that folly is not an evil when you’re young… given that the Heatons are in their sixties, I think they’re well out of the acceptance zone for folly. (Actually, now that I think of it, the little aside about Leonard being excited for Brexit when he spends half the year in Spain and just relied on access to healthcare there for a broken leg… a peak demonstration of folly past one’s youth bringing about evil) 

Lindsay:

I had a look at my I Ching decks and I thought the Cake deck said something interesting about ‘the inexperienced person seeks an experienced teacher. The teacher does not seek the student, who must approach with humility.’ 

This kind of reminds me of Strike having to seek out the Heatons to learn about what happened that day, but having to do it with humility even though in his head, he’s probably thinking…these fools. 

 

CHAPTER 63

Chapter Summary: Strike thinks about Daiyu’s death in light of the Heatons’ interview

Epigraph:

The heart thinks constantly. This cannot be changed,

But the movements of the heart – that is, a man’s

thoughts – should restrict themselves to the immediate

situation. All thinking that goes beyond this only

makes the heart sore.

• Hexagram 52 (Keeping Still, Mountain), BOC

Lindsay:

This epigraph is beautiful and sad. In this chapter, we see Strike struggling to focus on the case because of the things that are weighing heavily on his heart: Robin and Charlotte. I love the way this says the heart thinks constantly because it really portrays that even while Strike distracts himself with the case, his mood is so low because he can’t turn his heartache off. And of course, by the end of the chapter, his thoughts finally do go back to Robin and Charlotte and, just as the epigraph says, it makes his heart sore. 

I need something to make his heart soar, not sore!

Pools:

You are so right, and this really is beautiful. It brings me back to the Grey’s Anatomy epigraphs in IBH, with their anatomical descriptions of the heart that worked metaphorically to describe his feelings…

This hexagram is about the difficulty of achieving a quiet heart. There’s one line in it that really speaks to what’s coming up soon for Strike, to me: “When a man has thus become calm, he may turn to the outside world. He no longer sees in it the struggle and tumult of individual beings, and therefore he has that true peace of mind which is needed for understanding the great laws of the universe and for acting in harmony with them.” Is that not the exact moment that’s coming up for him in chapter 64!

 

CHAPTER 64

Chapter Summary: Charlotte is found dead, and Strike has a serious moment of introspection at St. John the Baptist church

Epigraph:

Nine in the third place…

Darkening of the light during the hunt in the south…

One must not expect perseverance too soon.

• Hexagram 36 (Darkening of the Light), BOC

Lindsay:

Alright, I have a small essay for this one! So this one stumped me a little at first, but I found it to be really touching the more I looked into it. The hexagram talks a bit about hiding away your own light during difficulties in order to prevail. It says that perseverance “must dwell in inmost consciousness” My cake deck says, “The work should be done in secret…thus strength is reserved and future success is more likely” and my header deck says “When no one is looking, who are you?” 

This, to me, is talking about the way Strike handles Charlotte’s death. It’s very private and very personal, but not in the loner way we might have seen from him in the earlier books where he just avoids everyone and everything including his own thoughts. He does do the processing and the introspection that is needed, but it is a private thing for him and I think in this case, it was what he needed. 

In the actual BoC, the part that comes right after this passage seems appropriate even though it’s not perfect. It says: “While the strong, loyal man is striving eagerly and in good faith to create order, he meets the ringleader of the disorder, as if by accident, and seizes him. Thus victory is achieved. But in abolishing abuses one must not be too hasty. This would turn out badly because the abuses have been in existence so long.”

I feel like that could have been written about Strike and Charlotte’s relationship – he seeks order, we know this, but he met the ringleader of disorder when he met Charlotte. This is flipped though because instead of order seizing disorder and achieving victory, she seized him.

And then…abuses being in existence so long. We all know that’s true. He wasn’t hasty about abolishing these abuses, but instead I think we are seeing him finally heal from the abuses he suffered that have caused him so much pain- from Charlotte and from Leda. 

Pools:

Well, you’ve written exactly what I would have said, even down to picking out and analyzing the same quote that I had in my clipboard lmao!! So well done, brava, I absolutely agree! This is about introspection in a time of darkness, about maintaining inner strength and prevailing.

Kurt:

Strike and Charlotte’s on-again-off-again relationship was always characterized by sudden, dramatic, and often violent changes, so I like what you’ve said here. Strike is steady, meaning “rock solid” and sober-thinking here. Emotional at some level, but measured and reserved. As I read it, “darkening of the light” connotes death and “the hunt in the south” suggests soul-searching. 

 

PART 5

Epigraph:

K’uei/Opposition

Above, fire; below, the lake:

The image of OPPOSITION.

Thus amid all fellowship

The superior man retains his individuality.

• Hexagram 28 (Opposition), BOC

Lindsay:

I really like the idea of the superior man retaining his individuality. Of course, we’ve said before that in these Part Epigraphs we think both Strike and Robin are the superior man and it’s fitting! They’re both going through some struggles here where it might be easy to lose yourself a little, and they’re facing opposition. In this part, we see Taio becoming a little suspicious of Robin and Becca trying to frame her with the fish pendant and Strike is still dealing with the Bijou drama and the papers saying he illegally bugged Honbold’s office.

So all this opposition they’re both facing but they stay true to themselves and get through it. 

Pools:

Yes, absolutely agree. This is a short part, but there are a lot of different clashes with people here (Strike and Midge get into it over Mayo in this one, too!). The advice that this hexagram gives is: “Here the important thing is to avoid mistakes. We must not try to shake off these evil men by force; this would give rise to real hostility. We must simply endure them. They will eventually withdraw of their own accord.” I think that they both do a pretty good job of enduring and avoiding mistakes here… the one dangerous moment is Robin pushing Will, which appears to backfire on her – but in the end, it wasn’t entirely a mistake, because Will does have goodness inside him: “When opposition begins to manifest itself, a man must not try to bring about unity by force, for by so doing he would only achieve the contrary, just as a horse goes farther and farther away if one runs after it. If it is one’s own horse, one can safely let it go; it will come back of its own accord. So too when someone who belongs with us is momentarily estranged because of a misunderstanding, he will return of his own accord if we leave matters to him.”

 

CHAPTER 65

Chapter Summary: Robin goes to Norwich with the UHC, and Emily goes missing

Epigraph:

The line is yielding and stands between two strong

lines; it can be compared to a woman who has lost

her veil and is consequently exposed to attack.

• Hexagram 63 (After Completion), BOC

Lindsay:

My first thought is that this is talking about Robin answering to her real name. She’s lost the veil of Rowena and is exposed now, she’s compromised. But I also think about Emily. The fact that she started to leave but couldn’t follow through puts her in a really dangerous situation because she would have been severely punished had Robin not been there to come up with a cover for her- she was also exposed to attack. 

But I’m wondering if there’s something more here with the two strong lines that will help explain this better. 

Pools:

I think you’re right and that they are both definitely exposed to attack! The line thing is talking about the changing Yin in the second place; the trigram represents the middle daughter. I think in this context, it is about these women who are stuck between solid lines – the masculine threats and control of Wace and Taio. But the hexagram notes that though the woman is exposed, the attacks will not harm her, because she is correct; it counsels patience and waiting. So I think this is a little hint that Robin does make the right choice in staying!

 

CHAPTER 66

Chapter Summary: Robin finds Emily and gets information out of her about Becca and Daiyu

Epigraph:

DECREASE combined with sincerity…

It furthers one to undertake something.

How is this to be carried out?

One may use two small bowls for the sacrifice.

• Hexagram 41 (Decrease), BOC

Lindsay:

Do you think the two small bowls here are directly referencing the two collecting tins? The one Robin has that she opens and takes money out of to put in Emily’s almost empty one? 

Pools:

Ooh that’s a really neat interpretation of the image! I like it!

Lindsay:

But in general, it furthers Robin to undertake the burden of helping Emily. It causes her a lot of trouble later on, but is crucial when Emily later confides in her. 

Pools:

Absolutely. The theme of the hexagram is that of decrease below and increase above; that is, the person at the top benefits from the loss of the person below, and how this can be accomplished without the entire structure collapsing. I think this is particularly relevant to the thoughts Robin has about how she could help Emily escape, but it would put her at great risk; she chooses not to act in this way, and brings Emily back – but it’s clear that this action, though possibly exposing Emily to more harm, serves the larger good, both for Emily and for the world as a whole: “To render true service of lasting value to another, one must serve him without relinquishing oneself”. Robin helps Emily here, but without exposing herself.

 

CHAPTER 67

Chapter Summary: Strike looks into Charlotte’s funeral and speaks with Jacob Messenger

Epigraph:

It is not I who seek the young fool;

The young fool seeks me.

• Hexagram 4 (Youthful Folly), BOC

Lindsay:

There are a lot of people seeking Strike in this chapter. The woman who works for Patterson is spotted outside the office, Jacob Messenger calls and so does Amelia.  

You might be able to argue that these attempts are all foolish- whatever Patterson is up to is definitely foolish, Jacob Messenger’s attempt to get Strike to do a reality show is also very foolish and hilarious! And then there’s Amelia. I wouldn’t call her a fool, but I think we know from the epilogue that she came to the conclusion to destroy the note and not show Strike on this trip she’s about to go on so this attempt at contacting him here was probably still done with the intention to show him the note- arguably a foolish choice. 

Pools:

I think that this is a good interpretation, there are definitely foolish attempts to seek out Strike here! The actual context of the hexagram doesn’t really help here – it’s about the proper way for a student to seek a teacher. 

I suppose if we’re interpreting this very literally, it could apply most to Jacob – he is a fool, and not the Jacob that Strike is looking for; but it turns out that he is very interested in seeking out Strike for his own foolish purposes….

 

CHAPTER 68

Chapter Summary: Jonathan Wace visits Chapman Farm with American recruits

Epigraph:

Nine in the second place means:

The abyss is dangerous.

One should strive to attain small things only.

• Hexagram 29 (The Abysmal / Water), BOC

Lindsay:

I think the abyss, in this case, is referring to Chapman Farm itself. It’s now becoming an even more dangerous place for Robin since she is now a little under suspicion after what happened with Emily and striving to attain small things must refer to her list of things she wants to accomplish before she leaves. 

Pools:

Absolutely agree! She’s having to walk very, very carefully now.

 

CHAPTER 69

Chapter Summary: Robin encounters Jiang while searching for the hatchet in the tree hollow

Epigraph:

In dealing with persons as intractable and as difficult

to influence as a pig or a fish… one must first rid

oneself of all prejudice and, so to speak, let the psyche

of the other person act.

• Hexagram 61 (Inner Truth), BOC

Lindsay:

I think this is all about how Robin deals with Jiang in this chapter. She does rid herself of prejudice and pretends to like and admire him and she’s able to manipulate him by saying all the things he wants to hear.

Pools:

Absolutely! And this chapter is so important for what happens later, because it’s this conversation that brings Jiang onto Robin’s side just enough for her to later escape – “When a door has thus been opened, the force of one’s personality will influence him. If in this way one finds no obstacles insurmountable, one can undertake even the most dangerous things, such as crossing the great water, and succeed.”

 

CHAPTER 70

Chapter Summary: Strike meets up with Bijou, receives some important phone calls, and learns Pat’s real age

Epigraph:

Thus the superior man pardons mistakes

And forgives misdeeds.

• Hexagram 40 (Deliverance), BOC

Lindsay:

Well, there are a couple of mistakes in this chapter Strike could forgive but I like to think this is primarily talking about Pat’s confession! 

Pools:

Agreed! The judgement says, “A thunderstorm has the effect of clearing the air; the superior man produces a similar effect when dealing with mistakes…when failings come to light, he does not dwell on them; he simply passes over mistakes… just as thunder dies away. He forgives… just as water washes everything clean.”  I thought the image of the storm and the cleansing water was interesting here, with Pat’s tears and considering the general water themes.

The hexagram itself says that this is the point at which obstacles begin to be resolved; the superior man is not yet out of the woods, but this is the turning point where everything that has been stressing Strike out is going to start to be solved.

 

CHAPTER 71

Chapter Summary: Robin speaks with Will while making dinner and notices him beginning to doubt the UHC

Epigraph:

Even in the midst of danger there come intervals of

peace…

If we possess enough inner strength, we shall take

advantage of these intervals…

• Hexagram 5 (Waiting / Nourishment), BOC

Lindsay:

I think this might be talking about these moments of clarity Will is starting to show where his true self comes through. We see in this chapter that he’s having moments of doubt and Robin will use this to her advantage.

Pools:

Yes, I think so!  And it might just be that I enjoy cooking, but the image of standing chopping a pile of onions with someone very much feels like a literal moment of peace to me… also, very clever that this chapter takes place in a kitchen and the hexagram is Nourishment!

 

CHAPTER 72

Chapter Summary: Robin witnesses the result of Lin’s attempts to terminate her pregnancy

Epigraph:

Nine in the third place…

The woman carries a child but does not bring it forth.

Misfortune.

• Hexagram 53 (Development / Gradual Progress), BOC

Lindsay:

This is clearly talking about Lin using the plants to end her pregnancy and I wasn’t sure if she had succeeded, but I think the epigraph does tell us that she did. 

 

CHAPTER 73

Chapter Summary: Robin has an encounter with Jonathan Wace

Epigraph:

We find ourselves close to the commander of darkness…

• Hexagram 36 (Darkening of the Light), BOC

Lindsay:

This is pretty straight forward- JW is the commander of darkness and we do find ourselves close to him…

Pools:

Yup. The hexagram says: “here a man of dark nature is in a position of authority and brings harm to the wise and able [wo]man” and that is exactly what is happening here.

 

CHAPTER 74

Chapter Summary: Robin witnesses Barclay removing her letters from the rock

Epigraph:

Nine at the top means…

Perseverance brings the woman into danger.

The moon is nearly full.

• Hexagram 9 (The Taming Power of the Small), BOC

Lindsay:

I think this is saying that Robin deciding to stay in this chapter is going to bring her to danger and the moon is nearly full means that we’re almost there. 

Pools:

Yes, absolutely this. The judgement for this line says, “Success is at hand… This has come about through the accumulation of small effects produced by reverence for a superior character. But a success thus secured bit by bit calls for great caution. It would be a dangerous illusion for anyone to think he could presume upon it. The female principle, the weak element that has won the victory, should never persist in vaunting it—that would lead to danger. The dark power in the moon is strongest when the moon is almost full.”

 

CHAPTER 75

Chapter Summary: Strike discovers the real reason for Littlejohn’s odd behavior

Epigraph:

Thus the superior man controls his anger

and restrains his instincts.

• Hexagram 41 (Decrease), BOC

Lindsay:

This is definitely speaking to Strike controlling his anger with LJ and restraining from his instinct to fire him immediately! 

Pools:

Yes definitely! This hexagram (we’ve seen it before) is the one that’s about the transfer of wealth/power from below to above, and that’s sort of what’s happening here – Strike is taking the power back from LJ. He’s putting him in his place and getting control back.

The judgement for this line says “The lake at the foot of the mountain evaporates. In this way it decreases to the benefit of the mountain, which is enriched by its moisture. The mountain stands as the symbol of a stubborn strength that can harden into anger. The lake is the symbol of unchecked gaiety that can develop into passionate drives at the expense of the life forces.” and that’s kind of a good image for this yeah? The lake as LJ – his “gaiety” (gambling) has become an obsession that’s gotten him into trouble; he’s now evaporated after being caught, and Strike (stubborn strength hardened into anger!) is enriched by the knowledge he’s willing to give up.

 

CHAPTER 76

Chapter Summary: Robin finds a way to get Will alone and talk to him about his UHC beliefs

Epigraph:

Here every step, forward or backward, leads into

danger.

Escape is out of the question.

• Hexagram 29 (The Abysmal / Water), BOC

Lindsay:

I’m pretty sure the first time I read this epigraph, I let out an actual UGH!! We all know what this means. Robin is in all kinds of danger and she can’t escape. 

Pools:

And we’re back to The Abysmal too. That is NOT a good sign at all, I don’t think. The bit right after this says “Therefore we must not be misled into action, as a result of which we should only bog down deeper into the danger; disagreeable as it may be to remain in such a situation, we must wait until a way out shows itself.” which… well, Robin does NOT follow this advice. She acts… and it definitely does put her in more danger. But at the same time, it’s also the thing that saves Will, so… she fought the abyss and won!

 

CHAPTER 77

Chapter Summary: Robin speaks with Jonathan Wace after her altercation with Will and sees a manifestation of Daiyu

Epigraph:

Six at the top…

Bound with cords and ropes,

Shut in between thorn-hedged prison walls…

Misfortune.

• Hexagram 29 (The Abysmal / Water), BOC

Lindsay:

I think this is reemphasizing Robin’s inability to escape. She’s not literally bound with cords and ropes or inside prison walls, but there’s people everywhere and they’re all a danger to her. 

Pools:

AGAIN with The Abysmal! You’re 100% right, this feels so straightforward to me.

 

PART 6

Epigraph:

K’an/The Abysmal (Hexagram 29)

Forward and backward, abyss on abyss.

In danger like this, pause at first and wait,

Otherwise you will fall into a pit in the

Abyss.

Do not act in this way.

Lindsay:

This is our last Part in the cult, guys!! We’re almost there!!!! Woohoo!

Falling into a pit in the abyss does make me think of the bottomless pool, but maybe this is also just talking about waiting for the right time to leave? Pause and be cautious. 

Pools:

Two Abyss chapter epigraphs leading into a whole ass Abyss PART epigraph… I think we should all be very worried. I think you’re right about the advice it’s giving Robin – she’s trying frantically to figure out a way to escape in this whole part, but needs to wait for the exact right moment. And even then she gets dragged down into the pit… but she survives it, and the “way out shows itself”

 

CHAPTER 78

Chapter Summary: Strike meets up with Andrew Honbold QC

Epigraph:

In the life of man… acting on the spur of every

caprice is wrong and if continued leads to humiliation.

• Hexagram 31 (Influence / Wooing), BOC

Pools:

This hexagraph is generally concerned with courtship and marriage – the relationship between man and woman. It represents “the weak above, the strong below, and their powers attracting each other”. I think that this line is speaking to both Honbold and Strike – Honbold has run after his caprice, pursued his heart to Bijou – and that has not turned out well for him, and he’s been humiliated (even if he doesn’t know the extent of it…). Strike briefly did the same thing – but he’s realized his mistake, and strengthened himself, and how he’s exerting his quiet strength to “woo” Honbold to his side, and repair the damage done. It’s very Superior Man of him IMO.

 

CHAPTER 79

Chapter Summary: Strike listens to the Dictaphone tape with Farah Navabi’s interview with Kevin Pirbright

Epigraph:

Six in the third place means:

One is enriched through unfortunate events.

• Hexagram 42 (Increase), BOC

Lindsay:

Lots of unfortunate events happening… This is probably mostly talking about the recording since that’s what takes up the bulk of the chapter. It was an unfortunate recording, and unfortunate for Kevin…it ends up helping Strike??? 

Pools:

Yes, I think you’re correct there! The judgement elaborates, “A time of blessing and enrichment has such powerful effects that even events ordinarily unfortunate must turn out to the advantage of those affected by them.”  This recording was unfortunate for Patterson, the whole situation was unfortunate for Kevin, it’s unfortunate for Strike that Patterson Inc’s incompetence have left him with this mess of a recording that needs deciphering… but in the end, the whole solution to the mystery is on here! This is a dark time in the book generally – but everything that’s happening here is ultimately going to lead to the good ending we get.

 

CHAPTER 80

Chapter Summary: Strike receives an update from Dev that the plastic rock they use to communicate with Robin is gone

Epigraph:

External conditions hinder the advance, just as loss

of the wheel spokes stops the progress of a wagon.

• Hexagram 9 (The Taming Power of the Small), BOC

Lindsay:

I think this is talking about things happening out of your control that stop you from moving forward. So Strike and Lucy can’t really move forward yet with a plan for Ted because they don’t have all the information yet and Greg’s being Greg and then Strike’s plans to interview Cherie and for Dev to have picked Robin up are completely thrown off when Robin doesn’t turn up to the rock. 

Pools:

Yes, definitely, agreed. I think there’s a little pointer here towards the conflict between Greg and Lucy too – right after this line, it says “We do not yet heed this hint from fate, hence there are annoying arguments like those of a married couple”. The married couple is definitely arguing, and I’m annoyed (by Greg)!

 

CHAPTER 81

Chapter Summary: Robin attends the Manifestation of the Drowned Prophet and nearly drowns

Epigraph:

The upper trigram K’an stands for the Abysmal, the

dangerous. Its motion is downward…

• Hexagram 3 (Difficulty at the Beginning), BOC

Lindsay:

I think ‘its motion is downward’ is talking about the pool pulling her under. 

Pools:

Yes, I think you’re right! It’s interesting that this is the “Difficulty at the Beginning” hexagram, because we are nearly at the end of her time in the cult – but I think that speaks to the cyclical nature of the I Ching, because the end of the cult is the beginning of the next part, with Robin raining the thuner down on this place, and one of the lines from this hexagram speaks to that I think: “The situation points to teeming, chaotic profusion; thunder and rain fill the air. But the chaos clears up. While the Abysmal sinks, the upward movement eventually passes beyond the danger. A thunderstorm brings release from tension, and all things breathe freely again.”

 

CHAPTER 82

Chapter Summary: Robin is interrogated by Jonathan, Mazu, Taio and Becca and put inside of a box for punishment

Epigraph:

The trigrams Li, clarity, and Chên, shock, terror, give

the prerequisites for a clearing of the atmosphere by

the thunderstorm of a criminal trial.

• Hexagram 55 (Abundance / Fullness)

Lindsay:

Robin basically faces a trial in this chapter where Wace is the judge and jury and we have Becca, Mazu and Taio all watching as well. He interrogates her about Will and Emily and condemns her to her punishment. 

Wace also says that the punishment will purify her…it seems like clearing of the atmosphere fits with that. 

Pools:

Yes, this hexagram feels like it’s a “From the POV of the UHC” kind of thing. It’s “Abundance” – they definitely feel like thye have it all, like they’re in full control of the situation. They’re at their peaks But, as the hexagram says…  “ the fact that development has reached a peak suggests that this extraordinary condition of abundance cannot be maintained permanently.”

 

CHAPTER 83

Chapter Summary: Strike receives a call from Midge, and waits for Robin outside Chapman Farm

Epigraph:

Nine in the fifth place…

In the midst of the greatest obstructions,

Friends come.

• Hexagram 39 (Obstruction), BOC

Lindsay:

I think there are a couple layers to this one. First and foremost, Robin is currently facing her greatest obstruction during her time in the UHC, which doesn’t feel like a strong enough word for what she’s actually facing, but her friend (her best friend) has come for her. 

Kenz:

And thank fuck for that!

Lindsay:

But I also see this as Strike facing a great obstruction here where he doesn’t know what’s happened to Robin or what to do and Midge is there on the other end of the phone. She offers him company, if he needs it and they both apologize. Both Strike and Robin have friends there for them in this very dark moment. 

Pools:

Completely agree! 100%. Just as a fun side note, the image for this hexagram says: “a dangerous abyss lying before us and a steep, inaccessible mountain rising behind us.” Which is just where Robin is – an abyss right in front of her that she’s being forced into, and her mountain of a man waiting for her but she can’t get to him!  

 

CHAPTER 84

Chapter Summary: Robin is charged with taking care of a dying child named Jacob

Epigraph:

Six in the fifth place…

Persistently ill, and still does not die.

• Hexagram 16 (Enthusiasm), BOC

Lindsay:

This seems clear that this is about Jacob…although there’s something about it that makes me think of the UHC as a whole. It’s been this horribly sick place for so long and hasn’t died…yet. 

Pools:

This one does seem very straightforward, I agree. I was looking for other meanings in the hexagram itself – the meaning of the Enthusiasm hexagram as a whole seems to relate very much to Wace’s control over the members of the UHC, and the feelings of devotion he inspires… the judgement for this line reads, “A man is under constant pressure, which prevents him from breathing freely. However, this pressure has its advantage—it prevents him from consuming his powers in empty enthusiasm. Thus constant pressure can actually serve to keep one alive.” Which seems kind of relevant to this chapter, when we think about how Robin is at her lowest point, the moment where she is so afraid that she’s ready to comply and seek approval – but it’s at this point that she sees the embodiment of that ILLNES you’re talking about at the heart of the UHC – and the pressure that puts on her is what lets her snap out of the spell of compliance…

 

CHAPTER 85

Chapter Summary: Strike receives intel from Shanker about Jordan Reaney’s phone call

Epigraph:

Patience in the highest sense means putting brakes

On strength.

• Hexagram 64 (Before Completion), BOC

Lindsay:

I think this is saying that Strike could break through that fence, storm the castle, throw his weight around, punch anyone who gets in his way until he finds Robin, but that might actually put her in more danger if she was hidden away and he couldn’t get to her…he has to be patient and keep waiting.

Kenz:

What a pity, keeping all of that strength held back. (I would like to see it!!) 

Pools:

I too would like to see it, Kenz! But yes, you’re right. He’s got to wait. Right after this, the hexagram says, “Therefore he must not fall asleep and lose sight of the goal. If he remains strong and steadfast in his resolve, all goes well in the end.” Which is actually pretty funny to me, because there is no risk of him falling asleep lol!

 

CHAPTER 86

Chapter Summary: Robin speaks privately with Emily and gathers important information from her

Epigraph:

Six in the fourth place means:

Waiting in blood.

Get out of the pit.

• Hexagram 5 (Waiting / Nourishment), BOC

Lindsay:

The idea of waiting in blood feels so appropriate for being in the UHC and what Robin has witnessed. I don’t know if this is going to make sense, but the phrase ‘having blood on your hands’ when someone is guilty comes to mind and Robin has been waiting in and has been a witness to their guilt, at one point literally waiting in Lin’s blood. And now, she’s seeing Jacob, which she thinks is the most horrific thing she’s seen and in this chapter is when she knows it’s time to get out. It’s time to go. It’s time to run. 

Pools:

Get out of the pit! I cheered when I read that, that is a direct command to Robin! The judgement for this line: “The situation is extremely dangerous. It is of utmost gravity now—a matter of life and death.” Very accurate! (Although how horribly ironic that this is the “Nourishment” hexagram when she’s being forced to sit next to a child that this place is ltierally starving to death… “the gift of food comes in its own time, and for this one must wait” it’s not coming for Jacob 

 

CHAPTER 87

Chapter Summary: Strike and Robin reunite and she escapes from the cult – we’re finally here!!

Epigraph: 

Nine in the fourth place means:

Then the companion comes,

And him you can trust.

• Hexagram 40 (Deliverance), BOC

Kenz:

“And him you can trust” – Could I melt any more over this epigraph?! How appropriate for the chapter where Strike rescues Robin.

Lindsay:

Yeah, I cheered to myself when I read this for the first time. I could have cried with the relief I felt reading this epigraph because I knew they were about to be reunited. That Robin was about to escape and that this nightmare was over. 

But it’s just so perfect. He is her companion, her partner, her best friend and it’s him she can trust. It takes me back to the part of TB that I know I’m always going on about, but her thinking of him in Leamington Spa and how she could trust him on the big things. Strike is a good man. He has flaws, but so does Robin. And he’s an absolute saint compared to these men! An angel!

Kenz:

Absolutely! Though you could say…He’s not a saint any more than she is, but he’s a good person. :’) 

Lindsay:

Also, how perfect is it that the name of this hexagram is Deliverance? 

Pools:

So perfect! The hexagram reads, “Here the movement goes out of the sphere of danger. The obstacle has been removed, the difficulties are being resolved”  and “Just as rain relieves atmospheric tension, making all the buds burst open, so a time of deliverance from burdensome pressure has a liberating and stimulating effect on life.” The image is of thunder over water – and the feeling of a thunderstorm relieving pressure feels SO accurate to me for this moment.

 

CHAPTER 88

Chapter Summary: Strike takes Robin to a hotel room

Epigraph:

KEEPING STILL means stopping.

When it is time to stop, then stop.

• Hexagram 52 (Keeping Still, Mountain)

Lindsay:

I think this has to do with stopping at the hotel. There’s a part where Robin thinks that she had assumed they’d be driving back to London, but Strike points out that if she needs the police, they need to stop. And they both need to sleep…in the same bed. Holding hands for a bit.

Pools:

Yes, definitely! I think it can also symbolize Strike’s caring towards Robin here – the image is of the mountain, and the problem it addresses is how to achieve a quiet heart and tranquil state. I’m thinking of Strike just holding Robin for several long minutes – not pressing her for information, just keeping still for her (her mountain!) and slowly bringing her to a place of calmness in that way…

 

CHAPTER 89

Chapter Summary: Robin speaks the local police officers and shares the events of the last week with Strike

Epigraph:

Six in the fourth place means:

Grace or simplicity?

A white horse comes as if on wings.

He is not a robber,

He will woo at the right time.

• Hexagram 22 (Grace), BOC (This is actually from Hexagram 22 – Grace) Cheers!

Kenz:

HE WILL WOO AT THE RIGHT TIME!! Y’all. Fuck me, this epigraph is great.

Lindsay:

Yeah, I know there’s a lot to talk about with this one. The thing that I like the most about this is the same as you, Kenz. He will woo at the right time. Even though it’s quite obvious in the chapter, I think this is telling us that Strike sharing a bed with Robin in this chapter- he doesn’t do this with any romantic intentions here. Yes, he’s in love with her, but it’s clear to me that he is mostly concerned about her well-being and her comfort. He would never use this moment to further what he wants romantically with her because she’s so vulnerable. He is being her support and her friend here- and a very good one. 

I really like the line ‘he is not a robber’ in this context because it feels like to try to woo in this moment would be to steal affection from her that she’s not willing or able to give just now because of her emotional state. But…you know who kind of does do this when reunited with Robin? Yeah, not to be a Murphy hater, but I think he does woo by saying he loves her when she’s a bit vulnerable and in doing so, he does steal or rob that ‘I love you too’ response, right? 

Any ideas about ‘grace or simplicity’? 

Pools:

Well, the hexagram is about Grace meaning beauty of form, elegance; this line advises that when there is doubt, it is better to seek simplicity – the judgement says “one finds peace of mind in a true relationship with the friend who courts him. The winged horse is the symbol of the thoughts that transcend all limits of space and time” Which I think is speaking very much to the solid, simple friendship and support that Strike is providing for Robin in this chapter.

Lindsay:

I know you’ll want to talk about the white horse, Pools! 

Pools:

I do!! Because I totally agree with your point about the “robber” – this is not the right time for wooing. But do you know what IS the right time for wooing?? I’m certain that it’s at the end of the book, that opportune moment where Robin is about to leave – and Strike, after wooing, goes to sit in The Flying Horse! I just think it has to be significant, the connection between this epigram about correct wooing and the horse on wings. Right? If we don’t get any time skip at the beginning of THM… I think there’s a possibility that Robin might find Strike at The Flying Horse.

 

PART 7

Epigraph: 

Fu/Return – Hexagram 24 (The Turning Point)

Going out and coming in without error.

Friends come without blame.

To and fro goes the way.

On the seventh day comes return.

It furthers one to have somewhere to go.

Pools:

I think that this one is very clear! It’s quite literally the turning point of the novel, the big shift where Robin has left the farm to rejoin the outside world, and she and Strike can work together to take down the UHC! Like it says: “The time of darkness is past. The winter solstice brings the victory of light.” The lines are speaking to a time of natural movement, discarding the old and bringing together the likeminded friends. Just as they are doing in this part!

 

CHAPTER 90

Chapter Summary: Strike meets with Sir Colin for an update on the case

Epigraph:

Now is the time of struggle.

The transition must be completed.

• Hexagram 64 (Before Completion), BOC

Lindsay:

I think this might be speaking to the update Strike gives to Colin Edensor. Now that they’ve completed the first part of their investigation and Robin is no longer at Chapman Farm, they still have a struggle on their hands and a big one. They have to transition to the next phase of the investigation and it’s not going to be easy. 

Pools:

Yes, agreed. The judgement for these lines speaks of making oneself strong in resolution, preparing for a fierce battle, and “Now is the time to lay the foundations of power and mastery for the future.” They’re gearing up to take down the UHC.

 

CHAPTER 91

Chapter Summary: Robin’s parents visit, and Strike calls to debrief about the case

Epigraph:

Nine in the fourth place means:

Joyousness that is weighed is not at peace.

• Hexagram 58 (The Joyous, Lake), BOC

Lindsay:

Ohh I think this is speaking to Robin’s parents (probably more Linda than Michael) trying to force relaxation and cheerfulness on Robin. She’s not relaxed! She’s not cheerful! This is not peace for Robin. 

Pools:

Yes, absolutely. It’s not what she truly wants or needs.

 

CHAPTER 92

Chapter Summary: Robin is invited in for questioning by the police

Epigraph: 

The power of the inferior people is growing.

The danger draws close to one’s person; already

there are clear indications…

• Hexagram 23 (Splitting Apart), BOC

Lindsay:

Ohh this is a good one! You know when Strike is driving Robin away from the UHC and she’s afraid they’ll come after her, he tells her that they have no authority outside of the farm and that’s sort of true up until now where they’ve flipped her report about Jacob against her and now the people with authority (the police) are coming for her so, in a way, the UHC’s power over Robin is growing. 

Pools:

Yes, it’s definitely about the UHC coming after Robin! This hexagram is appropriate, since it’s about dark forces attacking not directly, but by undermining the foundations to make the house crumble. We see the start of the UHC’s methods here, and it isn’t a direct attack – they’re using the police and the internet, not coming after Robin themselves.

Lindsay:

A direct contrast to what Abigail does!

 

CHAPTER 93

Chapter Summary: Strike receives several phone calls and interrupts the attempted kidnapping of Tasha Mayo

Epigraph: 

The seeds are the first imperceptible beginning of

movement, the first trace of good fortune (or misfortune)

that shows itself. The superior man perceives

the seeds…

• Hexagram 16 (Enthusiasm), BOC

Lindsay:

This epigraph kinda messes with you a bit. I think it’s probably about the Franks and Strike had been able to see the seeds being planted of what they were going to try to do and because of that they receive good fortune when they catch them at it, right? But that little ‘or misfortune’ in parenthesis could give the impression that what this epigraph is talking about is something bad- in which case, wouldn’t be catching the Franks because that’s good, but something to do with Robin. Does that make sense or am I all over the place? 

Pools:

No that makes sense – Strike catching the Franks being the result of seeing the seeds. I was thinking this could also relate to all the phone calls he takes, from Fergus about Wikipedia, from Prudence about Flora – these are the first little rumblings of something, and we don’t know yet whether the results are going to be fortunate or unfortunate!

Also, this is the hexagram that’s previously been associated with Wace, who inspires enthusiasm  in his followers – and it’s nice to contrast that to Strike in this chapter, who manages his subcontractors and client to catch these guys, and it’s because they trust him enough to follow his plan.

 

CHAPTER 94

Chapter Summary: Strike and Robin visit a pub to discuss the allegations against her

Epigraph: 

There are secret forces at work, leading together

those who belong together. We must yield to this

attraction; then we make no mistakes.

• Hexagram 45 (Gathering Together), BOC

Kenz:

Tell me these two are soulmates without saying they’re soulmates.

Pools:

Yes! Yield to each other! YIELD TO THE ATTRACTION!

Lindsay:

I can’t EVEN with this epigraph!! Strike and Robin weren’t supposed to be hanging out at a pub together tonight, but outside forces brought them together. Where they belong! This is a very clear instruction to both of them from the I Ching: yield to your attraction. 

I find that last bit very interesting where it says ‘yield to this attraction; then we make no mistakes’ because both Strike and Robin have made some very serious romantic mistakes in the effort to ignore their attraction to each other and this is saying not to do that anymore. Of course, Robin is about to make a huge one in the next chapter. 

 

CHAPTER 95 

Chapter Summary: Murphy tells Robin he loves her and Strike and Robin share important case updates

Epigraph: 

The undertaking requires caution… the dark nature

of the present line suggests that it knows how to

Silence those who would raise the warning.

• Hexagram 43 (Break-through / Resoluteness)

Lindsay:

I think that this epigraph could be a clue. The bulk of this chapter is Strike and Robin driving to interview Cherie so I think that’s the undertaking that requires caution and someone in this chapter (Abigail) knows how to silence her- Cherie who could raise a warning or tell them what really happened. 

Pools:

I absolutely agree, this one is a clue – the “evil that is to be rooted out” (from the commentaries) appears in this chapter, and can silence Cherie. 

 

CHAPTER 96

Chapter Summary: Strike fires Littlejohn

Epigraph: 

Punishment is never an end in itself but serves

Merely to restore order.

• Hexagram 4 (Youthful Folly)

Lindsay:

I think this is probably talking about punishing LJ by firing him and restoring order to the agency. 

Pools:

Yes, absolutely. This firing was necessary to fix the agency (although I will say… that Strike is definitely enjoying the punishment as an end in itself here. Just a bit. But you know what, he’s earned it. He can have a little fun punishing LJ. As a treat). Also, note that this is the “youthful folly” hexagram – but LJ’s folly cannot be excused by youth. He’s just an idiot.

 

CHAPTER 97

Chapter Summary: Strike and Robin interview Cherie Gittins

Epigraph: 

K’an represents the pig slaughtered in the small sacrifice.

• Hexagram 63 (After Completion), BOC

Lindsay:

You know what I think is really fun and definitely done on purpose? This epigraph mentions a pig and obviously we’re about to meet Cherie/Carrie so the reference to a pig is tying her to the crime and to Daiyu’s death, but remember that the epigraph for the Jordan Reaney interview, chapter 56, ALSO referenced a pig. That one said ‘even a lean pig has rage in him…’ 

So I definitely think that Jo picked pig related epigraphs for both of these people as clues that they were each involved. 

Pools:

Goddammit, you’re totally right. Really wish I’d have picked up on this earlier!

Lindsay:

Sadly, this also does seem to warn us about Cherie’s fate. She’s going to end up being the one slaughtered or sacrificed. 

Pools:

Yes, this is very foreboding. I think this hexagram, after completion, can also represent Cherie’s life a bit – because it says, “For it is just when perfect equilibrium has been reached that any movement may cause order to revert to disorder.” Cherie has a stable, happy life. She has managed to escape what happened at CF for all these years – but the smallest thing can bring the whole thing tumbling down.

 

CHAPTER 98

Chapter Summary: Strike and Robin debrief about their interview with Cherie

Epigraph:

K’an means something deeply mysterious…

• Hexagram 16 (Enthusiasm), BOC

Lindsay:

I think this is just Strike and Robin talking about how mysterious everything surrounding Cherie is and what she said in their interview with her. 

Pools:

It’s that Enthusiasm hexagram again, the one that’s represented Wace’s control over his followers before! Is this maybe a hint that there’s another Wace behind what Cherie did?

Another interesting thing here is that this bit is from the Commentaries on 16, and it’s referring to the nuclear trigrams. So remember when we broke down the I Ching, each hexagram has two trigrams (groups of three lines) that combine to form the hexagram? Those are called the primary hexagrams, and for enthusiasm they are Thunder above, and Earth below. But there are also the nuclear trigrams, made up of the middle four lines and overlapping. So lines 2, 3, 4 are one nuclear trigram, and lines 3, 4, 5 are the other. See? These nuclear trigrams represent a hidden theme that impacts the primary hexagram – a theme within a theme. So what this line is referring to is the nuclear trigram K’an – and which one is K’an? That’s right. Water: The Abysmal. The full bit that this is taken from: “The nuclear trigram Kên is a door, and the nuclear trigram K’an means something deeply mysterious; this leads to the idea of the temple of the ancestors.”

So let’s say that this hexagram generally represents Wace, the commander leading his armies through enthusiasm; but here, it’s referring to the secret hidden inside Wace, the door to something deeply mysterious/dangerous. He is the ancestor in the temple; and it’s his descendant who is the answer to the mystery in this chapter.

 

CHAPTER 99

Chapter Summary: Murphy and Robin watch the interview with Becca about the allegations against Robin

Epigraph: 

This line is the representative of the evil that is to be 

rooted out.

• Hexagram 43 (Break-through / Resoluteness)

Lindsay:

I think this is referring to Becca. She is literally the representative of evil here, representing the UHC in this real world setting with the police. 

Pools:

I think you’re definitely right about this! Especially because this line continues, “the dark nature of the present line suggests that it knows how to silence those who would raise the warning. However, its kind must not be tolerated; otherwise it is to be feared that from the neglected solitary yin line, evil will sprout forth as from a seed.” And that’s just where we end the book with Becca – with Robin’s fear that she will begin the whole evil cult again.

This hexagram also refers to the time when inferior people gradually begin to disappear… and we’re starting to see more cracks in the Robin/Murphy relationship from here on…

 

CHAPTER 100

Chapter Summary: Strike discovers that Cherie Gittins has been found dead

Epigraph:

Nine in the second place means: 

Dragon appearing in the field.

• Hexagram 1 (The Creative), BOC

Lindsay:

This one is a little trickier. When I think of the image of a dragon appearing in a field, it feels far off to me. There’s a danger, but it’s not quite reaching us yet. And maybe that’s what’s happening with Abigail trying to break into the office with a gun and Cherie’s death. I don’t know. What do you think? 

Pools:

This one is tricky. In the I Ching, the dragon represents not danger, but the dynamic, arousing, creative force. In this hexagram, the dragon is the symbol for the great man – and this line specifically refers to the great man beginning to manifest his power and distinguish himself. It’s a positive sign.

Which clearly doesn’t make much sense with what is going on in this chapter! So I have to assume that this line was chosen more for the symbolism it would hold for a Western audience, where the dragon would be seen more as danger appearing (Abigail trying to break into the office; the revelation that Cherie is dead). Which is a convoluted way of saying, yeah I think you’re right. 

Also, we later learn that the field where the UHC buries all of the bodies is the Dragon Meadow… so a sign of another death that appears to have been caused by the UHC?

 

PART 8

Epigraph: 

Kuai/Break-through (Hexagram 43)

One must resolutely make the matter 

known

At the court of the king.

It must be announced truthfully.

Danger.

Pools:

This part covers everything up through the moment Strike solves the case and figures out who killed Daiyu! It’s a pretty eventful part – including a ton of stuff with Will, Strike going to the big UHC event, and the car chase. I think this just refers to their efforts to get at the truth, people like Flora and Will speaking up, and the threat that their mysterious stalkers pose. 

 

CHAPTER 101

Chapter Summary: Strike and Robin hold a team meeting

Epigraph: 

Nine in the third place means…

Awareness of danger,

With perseverance, furthers.

Practice chariot driving and armed defence daily.

• Hexagram 26 (The Taming Power of the Great), BOC

Lindsay:

To me, this feels like the team getting together here. They’re aware of the dangers and they’re practicing their defense. 

Pools:

Yes, I think so. It’s a sort of gathering the troops, preparing to do what needs to be done. But the “practice chariot driving” is a cute little hint to what’s coming up later with the car chase!

 

CHAPTER 102

Chapter Summary: Strike helps Robin cope with her feelings of guilt after Cherie’s death

Epigraph:

Inquire of the oracle once again

Whether you possess sublimity, constancy, and perseverance;

Then there is no blame.

• Hexagram 8 (Holding Together / Union)

Lindsay:

I think this is talking about Strike trying to reassure Robin that what happened to Cherie isn’t their fault. There is no blame. 

Pools:

I love the use of this hexagram here, because the whole theme of it is finding strength in a union with others – it says, “What is required is that we unite with others, in order that all may complement and aid one another through holding together.” 

Lindsay:

I have to say though, the mention of the oracle makes me laugh because in this chapter, they go to the Bar Italia and, if you remember, they went there in TB and were talking all about Talbot’s notebook and astrology and interview Amanda White over the phone. It’s the chapter where we get the line “If you look carefully…you might just see an asteroid passing through the house of bollocks.” 

Pools:

I love this! And he tells Robin that her feeling like she’s an agent of infection for the church is bollocks in this chapter too. Strike’s place of speaking truth to nonsense is Bar Italia.

 

CHAPTER 103

Chapter Summary: Robin and Strike meet Will at the office

Epigraph: 

In this hexagram we are reminded of youth and folly…

When the spring gushes forth, it does not know

at first where it will go. But its steady flow fills up the

Deep place blocking its progress.

• Hexagram 4 (Youthful Folly)

Lindsay:

Is the spring mentioned here youthful folly? The way I’m reading this is that youthful folly springs up and doesn’t know where to go. So I’m thinking back to Will being a young man, in his early 20s and starting out at University only to be sucked into the UHC. But now this spring has filled up and its progress is blocked. So he’s out, but he’s still not quite sure where to go, but he gets an answer in this chapter with Pat. 

Is that going too deep? It could just be that Will has been foolish and, at this point, he doesn’t have anywhere to go until that path is blocked and Pat takes over? 

Pools:

No, you’re right about the image! The spring of water is the youth, and the key to success is the water continuing to flow until it fills the abyss and spills over to find its way. This hexagram talks a lot about youthful folly isn’t necessarily an evil; it just requires that one seeks out the right teacher. Will has, for a long time, been following the wrong teacher – but now he’s escaped, and sought out Strike and Robin; and they are the experienced guidance who will bring him to a better place, and help him back onto the right path.

 

CHAPTER 104

Chapter Summary: Robin and Strike debrief

Epigraph: 

There are dangers lurking… pay especial attention

to small and insignificant things.

• Hexagram 62 (Preponderance of the Small), BOC

Kenz:

Paying special attention to small and insignificant things – aka reading a JK Rowling novel 101, lol

Lindsay:

Originally, I wondered if there was going to be some small clue in this chapter pointing towards Abigail, but I don’t really think that’s what’s happening. These lurking dangers are probably the car that Robin notices is following them. 

Pools:

Yes, I agree that this is about them being followed – there’s a bit that Jo cuts out with the ellipses here, the full quote reads: “There are dangers lurking for which they are unprepared. Yet such danger is not unavoidable; one can escape it if he understands that the time demands that he pay especial attention to small and insignificant things.” Obviously she just kept what she thought was necessary, but I think that the fact she specifically cut you “for which they are unprepared” makes sense, because actually… they are pretty prepared! Robin especially has been preparing ALL HER LIFE to absolutely kick ass in a car chase and save everyone’s lives. Strike is prepared with extra security. They are absolutely equal to protecting themselves from this danger.

 

CHAPTER 105

Chapter Summary: Strike and Robin give an update on the case to Will’s family

Epigraph:

Conflict within weakens the power to conquer danger

without.

• Hexagram 6 (Conflict), BOC

Lindsay:

This is a great epigraph for this chapter! The conflict within the Edensor family is weakening not only Strike and Robin’s ability to do the job they’d like to do and protect everyone from this threat that’s now following them, but it’s also weakening their ability to rebuild their family. 

Pools:

It absolutely is perfect here! The judgement that this line is from advises that “If a man is entangled in a conflict, his only salvation lies in being… ready to come to terms by meeting the opponent halfway. To carry on the conflict to the bitter end has evil effects even when one is in the right, because the enmity is then perpetuated.” This too really speaks to how James and Ed are acting in this chapter – neither are willing to see any other perspective, both pushing what they think is right until they end up shouting at each other (and Robin’s poor blouse ends up as collateral damage! They need to listen to what the I-Ching is telling them, but they aren’t. Luckily, the next direction of the judgment is being followed:  “It is important to see the great man, that is, an impartial man whose authority is great enough to terminate the conflict amicably or assure a just decision.” Sir Colin is the wiser, cooler head prevailing over his sons here, and he puts his foot down to end this. (Something of which the I-Ching would approve, since the patriarchal family structure with the powerful father at the head is the essential foundation of an ordered society in its philosophy)

 

CHAPTER 106

Chapter Summary: Robin and Prudence discuss Flora Brewster over dinner 

Epigraph: 

It is true that there are still dividing walls on which

we stand confronting one another. But the difficulties

are too great. We get into straits, and this brings

us to our senses. We cannot fight, and therein lies

our good fortune.

• Hexagram 13 (Fellowship with Men), BOC

Lindsay:

I really like this one. Robin and Prudence are on dividing walls in this chapter, confronting each other. But their argument never gets out of hand, they keep the respect for eachother so they don’t end up really fighting and all of this leads them to good fortune. 

Pools:

Yess, this is so good! This hexagram is called Fellowship with Men, and it is very much concerned with men in the specific – women aren’t relevant to this hexagram, because in the I-Ching’s conception of the world women aren’t supposed to have a universal fellowship – their place is in their father or husband’s home, not in public society. (One of the favourite tools of patriarchal control, by the way – isolating women from each other so that they cannot build strength in alliances with other women. This is why consciousness raising groups were so important, we need to bring them back.) Anyway, this is why I like so much that Jo uses it in an argument between two women, because again she’s flipped it! Once again she’s taken a text embedded with a patriarchal view of society, and said to hell with that, basically. She’s made Robin the Superior Man – the judgement says that “to bring about this sort of fellowship, a persevering and enlightened leader is needed—a man with clear, convincing, and inspiring aims and the strength to carry them out.” and isn’t that exactly Robin in this chapter?? 

 

CHAPTER 107

Chapter Summary: Robin talks to Strike about her dinner with Prudence

Epigraph: 

Nine at the beginning means:

Waiting in the meadow.

It furthers one to abide in what endures.

No blame.

• Hexagram 5 (Waiting / Nourishment), BOC

Lindsay:

I think this might be about Strike’s reaction to finding out about Robin’s dinner with Prudence. She thought he was going to be angry, but there’s no blame because what she did furthers them in their investigation. 

Pools:

Oh, interesting interpretation! I was a bit confused about this one, because this hexagram is about patience and biding one’s time, knowing that success will come eventually (just like rain from the clouds will eventually nourish the soil). And I’m still not quite sure, but I think the judgement from this line maybe helps me – it says, “The danger is not yet close. One is still waiting on the open plain. Conditions are still simple, yet there is a feeling of something impending. One must continue to lead a regular life as long as possible. Only in this way does one guard against a premature waste of strength”. After reading this part, I felt like maybe this is referring both to Tasha in the clinic, needing to be patient and bide her time in order to find Lin – and also Strike, sitting in his office knowing that someone is outside watching him – but not going out to confront him or anything; just waiting until he has more information, until the time is right. Maybe?

Lindsay:

I could see the waiting bit of this fitting with that, but I still think the bit about there being no blame and it furthers to abide in what endures speaks more to me about their conversation about what happened with Prudence and Strike not being mad…but I don’t know, maybe there are different ways it fits. 

 

CHAPTER 108

Chapter Summary: Robin interviews Rufus Fernsby

Epigraph: 

…one must move warily, like an old fox walking over

ice… deliberation and caution are the prerequisites 

of success.

• Hexagram 64 (Before Completion), BOC

Lindsay:

This has to be talking about how Robin has to walk on eggshells with this ridiculous man!

Pools:

Yes, absolutely! But I love the full version of this proverb (because Jo has cut bits out to fit it in), which is: “The caution of a fox walking over ice is proverbial in China. His ears are constantly alert to the cracking of the ice, as he carefully and circumspectly searches out the safest spots. A young fox who as yet has not acquired this caution goes ahead boldly, and it may happen that he falls in and gets his tail wet when he is almost across the water.” One, because foxes are SO cute and the idea of a little fox puppy getting his tail wet… I want to see the funny little video on tiktok. But more importantly, Robin is the old fox here, not the young one. This is speaking specifically to the expertise she has, to her experience – she knows she needs to be careful with this guy because she is fully mature in her professional life now. She is no longer the junior partner, she is a fully realized Sherlock and her instincts and experience pay off in her knowing how she needs to approach this asshole.

 

CHAPTER 109

Chapter Summary: Strike tells Robin about his plan to speak with Jonathan Wace

Epigraph: 

…there are annoying arguments like those of a married

couple. Naturally this is not a favourable state of things…

• Hexagram 9 (The Taming Power of the Small), BOC

Kenz:

Aww, she’s comparing them to a married couple! You’re really lucking out with all of the really good epigraphs the past couple of episodes, Pools.

Lindsay:

Yeah, this epigraph made me smile. I knew it meant we’d be getting an argument, but it’s very true, isn’t it? We joke when we say that they’re so married, but they act like it! Especially this argument, which they’ve had so many times about safety. It’s not as bad as they have been in the past, but it’s very married of them to have this same argument all the time. 

Pools:

I was SO excited that I got to read this one, because you know I am absolutely a sucker for anything that frames these two as married. GodHusband and GodWife, it’s legal now remember. Ilsa made sure of it.

But so much yes to what you said Lindsay, the fact that they KEEP HAVING this EXACT SAME ARGUMENT is very married of them. But there really are kind of two arguments in this chapter, and they switch sides for them – Robin argues that it’s dangerous for Strike to go to the super service, Strike argues that it’s dangerous for Robin to use public transport and be out working alone. They’re both arguing to try and keep the other safe.

Lindsay:

Aw, I didn’t even realize they had this reversal here! Robin arguing to keep Strike safe is sweet. 

 

CHAPTER 110

Chapter Summary: Strike attends the UHC meeting

Epigraph: 

Nine in the fifth place means:

Flying dragon in the heavens.

It furthers one to see the great man.

• Hexagram 1 (The Creative), BOC

Lindsay:

I’m interpreting this in two ways. One, you can think of the great man as JW in the way that the Wizard in The Wizard of Oz was a great man- just by reputation, but actually a fraud. And it will further Strike to get this confrontation. 

OR Strike could be the great man. Flying dragons in the heavens could mean that you’re about to enter all this UHC nonsense and if you can see through it all if you look at the great man, Strike. 

I tend to think it’s the first one though. Wace is a fraudulent great man. Just like there’s no real flying dragon, there’s no great man on the stage….just one in the audience. 

Pools:

Eyyy it’s the dragon again! We just got a dragon one from this hexagram recently, didn’t we? But I do think that this one is about Wace – all of these people are going to see who they think is a great man. But this line is second from the top – the whole hexagram moves from the bottom, where the dragon lies hidden, then emerges, begins to fly, reaches the peak of the heavens (as here) – but then in the final line comes the fall: “Nine at the top means: Arrogant dragon will have cause to repent.” The hexagram, like the I-Ching in general, shows the rhythms of nature – and that anything which soars up will eventually come down. Wace is at his peak of arrogance and self-assurance at this point – he believes that nothing can touch him. But he is WRONG, and like Icarus flying too close to the sun (Strike) his wings are going to melt and he is going to crash. 

 

CHAPTER 111

Chapter Summary: Robin arranges a meeting with Will and Flora

Epigraph:

… the second place may be that of the woman,

active within the house, while the fifth place is that of

the husband, active in the world without.

• Part 2 Summary, BOC

Lindsay:

I think this is pretty literal that Robin is working inside the office and Strike is out at the UHC service. Although…let’s talk about how, again, this makes them married! He’s the HUSBAND.

Kenz:

I love when Jo does us a favor and calls him Robin’s husband so we don’t have to. She knows, lol. 

Lindsay:

It’s really very thoughtful of her. 

Pools:

This one is interesting because it’s not from a specific hexagram, but rather from the explanation of how the structure of the hexagrams works at the end of book two – specifically, it’s talking about the “place” of each line and what it generally means – the four middle lines being ranked in a hierarchy, with the fifth line (the line at the top, the last active line before it gets to 6) is the place of the “ruler” (fifth line is always the husband relative to the wife, who can be represented in the fourth or second places.) I mean once again this is where Rowling is playing with or transforming the inherent patriarchal philosophy of the I Ching – Robin is technically “within” – but the house is their office (their home!), a place where we see they are fully equal partners, and the place that Strike has occupied while Robin has been “without” for so much of this book. Jo has changed the meaning of “the house” and continued to show that the roles the I-Ching precsribes for men and women are, for Robin and Strike, fluid and changing; they’re not fixed into a hierarchy, they are truly complementary and equal.

 

CHAPTER 112

Chapter Summary: Strike meets with Jonathan Wace

Epigraph: 

Nine in the fourth place means:

He treads on the tail of the tiger.

• Hexagram 10 (Treading / Conduct), BOC

Lindsay:

I like this one because JW is the tiger, he’s a dangerous predator and Strike treading on his tail means he’s putting himself in danger by challenging him.

Pools:

This one is so interesting to me, because “he treads on the tail of the tiger” shows up TWICE, in those exact words, in this hexagram. The first time, it says: “A lame man is able to tread. He treads on the tail of the tiger. The tiger bites the man.” and the explanation says, “A lame man can indeed tread, but not enough to make progress. If in spite of such defects a man considers himself strong and consequently exposes himself to danger, he is inviting disaster, for he is undertaking something beyond his strength. This reckless way of plunging ahead, regardless of the adequacy of one’s powers, can be justified only in the case of a warrior battling for his prince.” I just think this is relevant because 1) Strike’s leg – the I Ching would absolutely consider him a lame man and 2) I feel like this line is Robin’s worries about Strike doing this; her fear that he’s exposing himself to danger, that Wace will harm him. (also, point 3, he’s totally a warrior battling for his wife which is basically the same thing ok)

Because ACTUALLY, the line that this hexagram is from is the next one, which says: “He treads on the tail of the tiger. Caution and circumspection Lead ultimately to good fortune.”and the explanation says, “… a dangerous enterprise. The inner power to carry it through is there, but this inner power is combined with hesitating caution in one’s external attitude.”  This line contrasts with the preceding line… “Here one is sure of ultimate success, which consists in achieving one’s purpose, that is, in overcoming danger by going forward.” – this is what is ACTUALLY happening in this chapter! Strike has the inner power, and he has the external caution (i.e. making sure not to mention anything that might incriminate someone who’s still at the mercy of the cult). Really he holds ALL the power here.

 

CHAPTER 113

Chapter Summary: Strike finds Robin sleeping in the office

Epigraph: 

… one may spend a full cycle of time with a friend of

kindred spirit without fear of making a mistake.

• Hexagram 55, Abundance

Kenz:

I don’t think I will ever tire of the epigraphs in this book that dwell on Strike and Robin’s compatibility.

Lindsay:

I know…and I love what this is saying that these two don’t need to be afraid of making mistakes in front of each other because, even if they do, it’s ok. They’re still going to trust and respect each other. 

Pools:

I love love love that this calls them kindred spirits. Because they ARE (and it speaks to my Anne of Green Gables love. Kindred spirits!!). This hexagram (and this line specifically) link together “clarity” and “energetic movement” – it says, “To bring about a time of abundance, a union of clarity with energetic movement is needed. Two individuals possessed of these two attributes are suited to each other” and like most of the “attributes” that are variously applied to Strike or Robin in these epigraphs, I feel like they both possess clarity and movement, but that the expression of each flows between them – like here, I feel like Robin’s just had a night of clarity (re: case stuff at least. Ideas about tracking down Rosie, the decision to stay in the office where it’s safe) and Strike’s just come home from energetically threatening to burn down Wace’s cult. But it’s never static, the two energies always flow and shift between them in complementary ways.  

 

CHAPTER 114

Chapter Summary: Robin and Strike speak to Will at Pat’s house

Epigraph:

What has been spoiled through man’s fault can be

Made good again through man’s work.

• Hexagram 18 (Work on What Has Been Spoiled / Decay), BOC

Lindsay:

I don’t think we’ve had this hexagram yet, have we? It doesn’t seem familiar. 

Pools:

We definitely haven’t, this one is brand new!

Lindsay:

I think this is most likely about Will. He’s made a lot of mistakes by joining the UHC and then all of the things he did while there, but he’s doing what he can in his currently limited way to make up for it. 

Pools:

Yes, I totally agree that this is Will. And more generally also that Strike and Robin working together can bring down this great evil that Wace has built – they can make good. The advice given is to “not recoil from work and danger” – very relevant for all three of them considering what’s coming in a couple chapters!

 

CHAPTER 115

Chapter Summary: Robin and Murphy have a fight about her spending the night at the office

Epigraph: 

At such times when hidden divergences in temper

Make themselves felt and lead to mutual misunderstandings,

We must take quick and vigorous action

To dissolve the misunderstandings and mutual distrust.

• Hexagram 59 (Dispersion / Dissolution)

Kenz:

I sure wish Robin and Murphy’s relationship would dissolve, lol.

Lindsay:

I feel like this epigraph is a really sugar coated epigraph for this chapter- it would almost feel more appropriate for an argument between Strike and Robin where they truly dissolve a misunderstanding. 

I think Murphy is appeased in this chapter, but mostly because Robin lies to him both outright that Strike is dating someone AND by omission that there isn’t reason to be jealous. 

Pools:

100% that Robin, by lying to Murphy to appease him, is NOT following the advice of this epigraph! And that does NOT bode well for their relationship – the advice that this line is giving is that it is necessary to actually overcome disunion at the beginning – disperse the clouds before they bring storm and rain. But Robin isn’t doing this – and so that storm is going to eventually show up and rain down on her (and that relationship is going to dissolve like the Wicked Witch of the West! Sugar MELTS) *Please see Outtakes 2 for The Running Grave when Pools realizes that the Wicked Witch of the West is not made of sugar!*

 

CHAPTER 116

Chapter Summary: Strike receives a phone call from Midge about Lin

Epigraph: 

Nine at the beginning means:

Hidden dragon.

Do not act.

• Hexagram 1 (The Creative), BOC

Lindsay:

I think this is about the hidden car that ends up following them at the end of the chapter. I imagine that the whole time they’re in the office, that car is just sitting there, waiting for them to leave. 

I wonder how much time Abigail is putting into following them. It seems like a lot of work! 

Pools:

It must really be cutting into her gym hours. She’s gonna lose all her gains!

Lindsay:

If we wanted to stretch this (and we usually do) we can say that there’s another hidden dragon (or hidden danger) coming in regards to Robin contemplating all the Murphy stuff because that is going to come and bite her. 

Pools:

I’m laughing because we just had that epigraph with a tiger. Crouching Tiger, Hidden Dragon. Lol

But yes – that hidden car is a DANGER! But also, perhaps Strike advising Midge to just stay close to the spa, and not go in to rescue Lin?

But again, in the I Ching the symbolism of the dragon is totally different from ours. Where we see danger, the I Ching actually states that the “hidden dragon” is “a great man who is still unrecognized. Nonetheless he remains true to himself. He does not allow himself to be influenced by outward success or failure, but confident in his strength, he bides his time.” Which, given the opening of the chapter, I can only interpret as representing Strike (and Robin’s love for Strike that she’s deliberately hiding from herself) biding his time, waiting for the right moment (to declare his love, of course)

Lindsay:

I do think we’re meant to read these dragon ones out of context and see the danger though. 

 

CHAPTER 117

Chapter Summary: Robin and Strike interview Flora with Will and Prudence

Epigraph: 

K’an represents the heart, the soul locked up within

The body, the principle of light enclosed in the dark – 

That is, reason.

• Hexagram 29 (The Abysmal / Water), BOC

Lindsay:

This seems like it’s all about Flora. Her heart and soul are trapped, her light is enclosed in the dark… I’m stumped by the ending though. Is it that reason is what finally sets that final bit free? 

Pools:

Completely agree that this is about Flora (or possibly also about Will) – what it’s saying (I believe) is that “the principle of light” is Reason. At least, that’s what the Yin-Yang dichotomy says – Yang is light, energy, the creative (masculine) force, representing heaven (and, though it doesn’t say it explicitly, given the nature of patriarchal binaries I’m going to assume reason as well, as opposed to – Yin, which is the dark, receptive, passive, (feminine) – representing the earth (and the body and emotion as opposed to reason, again I assume because that’s how these binaries tend to work lol).

But Jo is divorcing this duality from the sex binary, and instead it becomes much more literal: the light and beauty of Flora’s true character buried within the darkness and fear of all her trauma. (And really, isn’t Will a bit opposite? He’s trying to use “reason” to argue Flora back into her fear – but all that does is make her stronger. Will believes that he is being 100% rational – but he isn’t, and by the end Flora has grasped onto her actual reasoning power to beat him at his own game. I feel as though I’ve trailed off into nonsense here.

 

CHAPTER 118

Chapter Summary: Robin and Strike are shot while driving with Will

Epigraph: 

In danger all that counts is really carrying out all that

Has to be done…

• Hexagram 29 (The Abysmal / Water), BOC

Lindsay:

This makes me think of what Robin does in this chapter, how she drives to get away. Robin is usually a very safe, cautious driver. She follows rules, but here…traffic laws don’t matter. All that counts is doing what she has to do to get them away. That means speeding, sharp turns that lift the BMW on its side, all the crazy cool driving she does. 

Pools:

Yeah I think this epigraph is definitely talking about the danger they’re in this chapter – and it’s fitting, because The Abysmal has been associated with so much of the danger Robin’s been in in this book! She absolutely embodies what the hexagram says water does to make it through danger – flows on and on, not shrinking from danger, staying true to herself under all conditions. This line continues, “and going forward, in order not to perish through tarrying in the danger” – Robin DEFINITELY does not tarry here, she JAMS her foot on the gas to go forward!

 

CHAPTER 119

Chapter Summary: Strike and Robin speak to the police about the shooting

Epigraph: 

Nine in the fifth place means:

Resolute conduct.

Perseverance with awareness of danger.

• Hexagram 10 (Treading / Conduct), BOC

Lindsay:

I think this is just about Strike and Robin trying to persevere and make the police aware of the danger that they’re now aware of. They’re pushing forward even though they’re not getting a ton of help.

Kenz:

And despite the fact they were both just shot at and nearly killed! 

Pools:

Yes, this is absolutely about Strike and Robin having the right conduct! And they’ve BEEN resolute about going to the police this whole time despite what SOME in this chapter seem to imply. They are absolutely taking the hexagram’s advice.

 

CHAPTER 120

Chapter Summary: Robin tells Strike about the UHC’s involvement in child trafficking

Epigraph: 

If we are not on guard, evil will succeed in escaping

By means of concealment, and when it has eluded

Us new misfortunes will develop from the remaining

Seeds, for evil does not die easily.

• Hexagram 43 (Break-through / Resoluteness), BOC

Lindsay:

Ohh this is a good one! 

Pools:

This is the PERFECT hexagram for this scene – Breakthrough is the hexagram that refers to “a breakthrough after a long accumulation of tension” and “the time when inferior people gradually begin to disappear” – and this is when they are finally having their own breakthroughs! In this chapter with the trafficking revelation that will bring down the UHC, and in the next chapter with the mystery of Daiyu’s murder. But this epigraph in particular comes from the last line of the hexagram, six at the top, where it says “victory seems to have been achieved” – but that comes with the warning in this line, where they have to be thorough and cautious. Which is just what they do in the next part.

Lindsay:

I just love the way it’s talking about evil escaping and not dying easily because that’s been the case with the UHC and with Abigail for so long now, but luckily Strike and Robin are on guard! This evil is about to face justice because of them. 

 

CHAPTER 121

Chapter Summary: Strike and Robin piece together the Dictaphone interview

Epigraph: 

Six in the third place means:

Whoever hunts deer without the forester

Only loses his way in the forest.

• Hexagram 3 (Difficulty at the Beginning), BOC

Lindsay:

I like this one because it’s basically saying that in order to do something, you need a professional. You could also say: in order to fix that toilet, you need a plumber! So Strike and Robin are hunting deer in this chapter by reviewing all the evidence they have, everything they’ve learned. But they are professionals! So by the end of the chapter, they’ve caught their deer. They know who did it. 

Pools:

I like the subtle shade that this is throwing to Patterson and Navabi – they were clearly NOT professionals, lol. But it’s appropriate that this is “difficulty at the beginning” because they are going back to the very beginning of this book – Kevin talking about what he’s suffered, and the horrors of this cult – to solve the murder.

 

PART 9

Epigraph:

Wei Chi/Before Completion (Hexagram 64)

BEFORE COMPLETION. Success.

But if the little fox, after nearly completing

The crossing,

Gets his tail in the water,

There is nothing that would further.

Pools:

This is the perfect hexagram for this part! It’s the final hexagram in the I-Ching, for the culmination of their murder investigation – they know who did it, now they just have to carefully gather the evidence to prove it. This line is warning them to be careful, like the elder fox, but it’s very promising: “The conditions are difficult. The task is great and full of responsibility. It is nothing less than that of leading the world out of confusion back to order. But it is a task that promises success, because there is a goal that can unite the forces now tending in different directions.” 

 

CHAPTER 122

Chapter Summary: Strike catches up with Robin about the case and tries to get police help

Epigraph: 

At the beginning of a military enterprise, order is

imperative. A just and valid cause must exist, and the

obedience and coordination of the troops must be

well organized, otherwise the result is inevitably failure.

• Hexagram 7 (The Army), BOC

Lindsay:

This is Strike and Robin organizing their troops. Midge is headed up to Chapman Farm (even though we don’t know why), Barclay is on some sort of job, Dev is in Birmingham, Robin is working on finding Isaac Mills and Strike is gathering all their police contacts. 

Pools:

Yup, absolutely! I should note that this hexagram emphasizes the importance of a strong leader, a superior man who “captures the hearts of the people and awakens their enthusiasm”. Just saying.

Lindsay:

Well he’s done that with me! 

 

CHAPTER 123

Chapter Summary: Strike and Robin have a meeting with their police contacts along with Flora, Will and Ilsa

Epigraph: 

Strength in the face of danger does not plunge

ahead but bides its time, whereas weakness in the

face of danger grows agitated and has not the

patience to wait.

• Hexagram 5 (Waiting / Nourishment), BOC

Lindsay:

I feel like this has to be talking about who, in this chapter, has strength in the face of danger and who is weak. 

Weakness is growing agitated and not having patience…mmmm Murphy is definitely agitated. 

Maybe not, maybe it’s just about the strength they have as this larger team where they are biding their time and plotting to take the UHC down. 

Pools:

I think that this is definitely referring to Strike and Robin (and the team!) being smart about going after the UHC, biding their time and collecting their resources – they have the discipline to succeed here. But I LOVE the connection you make with Murphy because he IS agitated! And he’s not going to get the nourishment he wants (aka Robin’s love)! (Although tbf no amount of patient waiting would work for him in this situation, but still).

 

CHAPTER 124

Chapter Summary: Robin interviews Isaac Mills

Epigraph: 

The inferior man is not ashamed of unkindness and

Does not shrink from injustice. If no advantage beckons

He makes no effort.

• Hexagram 21 (Biting Through), BOC

Lindsay:

Oh, this is very clearly about Isaac Mills. He is an inferior man because he doesn’t care about kindness or justice. He only cares if it benefits him…I hope he doesn’t get that liver. 

Pools:

Most definitely about him! Very much a straightforward explanation of his character, I don’t know that there’s even anything more to read into it lol. (Probably worth noting to those who like to look up the epigraphs that this actual part doesn’t come from the hexagram itself, but from Book 2, Part 2, Chapter Five – “Explanation of Certain Lines” – the part of the IChing where it takes a broader look at the material to explain it. But it IS referring to a specific line in hexagram 21.)

 

CHAPTER 125

Chapter Summary: Robin finds out from Strike that Chapman Farm is raided

Epigraph:

The way opens; the hindrance has been cleared

away.

• Hexagram 26 (The Taming Power of the Great), BOC

Lindsay:

It might be weird, but this kind of gets me in my feels a little bit because they’ve done it. By the end of this chapter, there’s nothing stopping them. Everything is resolved basically. The only thing left to do is to confront the baddies. 

Pools:

Yup, there’s nothing else to say! All their efforts have paid off, and the hindrance to their success – the power of the UHC – has finally been swept away.

 

CHAPTER 126

Chapter Summary: Robin decides to wait at the Rupert Court Temple alone

Epigraph: 

In the royal hunts of ancient China it was customary

to drive up the game from three sides, but on the 

fourth the animals had a chance to run off.

• Hexagram 8 (Holding Together / Union)

Lindsay:

I like that this is talking about hunting because in the chapter, it describes Becca as Robin’s prey. I’m just trying to think of how this hunting strategy fits here unless it’s talking about the possibility of Becca escaping in this chapter. We see that she’s left the temple so the possibility of her escaping is still there. 

Pools:

I think you’re right about this signifying that the chance of escape is still possible for Becca (and even Mazu) – the hexagram itself goes on to explain this, saying that the way the hunt was set up, only those animals who chose not to flee, but who entered the gate in front of the king were shot. The ones who ran off were allowed to escape. And obviously Robin is NOT letting any escape happen – she’s not the passive king waiting for the animals to cross in front of her, she’s the active huntress setting up her ambush.

Lindsay:

She’s Artemis. 

 

CHAPTER 127

Chapter Summary: Strike begins his interview with Abigail

Epigraph: 

Heaven has the same direction of movement as fire,

yet it is different from fire…

• Hexagram 13 (Fellowship with Men), BOC

Kenz:

This starts the alternating fire and water epigraphs!

Lindsay:

Ok, tell me if I’m nuts here! I think this could be talking about the similarities between Strike and Abigail but then pointing towards the differences? So they move in the same direction because they both have childhood trauma, lost their mothers, absent or neglectful fathers, etc, but they’re different. As we’ve discussed and as is obvious, they’ve chosen very different paths. 

Pools:

I can absolutely see this! Heaven is the creative force, the pure Yang, so aligning it with Strike makes absolute sense.

Lindsay:

I know we’ve talked about this idea that Strike is the fire and Robin is the water in these alternating epigraphs, but I kind of get the sense that Abigail might be the fire more than Strike is which would be ironic given she’s a firefighter! Or maybe there’s a way they’re both connected. Just throwing this out there to see how it plays out as we keep going. 

Pools:

I agree that Abigail is the fire, the confrontation with her makes up the “fire” chapters – but actually, Strike’s tactics in the first part of this confrontation are much more water than anything else – he’s using deception, passing time as he waits for the confirmation he needs – just like water slowly filling up all the cracks until it overflows and overpowers (which is really the role that Robin’s been playing for a lot of the book, which fits with the general fluidity and back-and-forth of their positions this whole book). 

 

CHAPTER 128

Chapter Summary: Robin infiltrates Rupert Court Temple

Epigraph: 

Through repetition of danger we grow accustomed

to it. Water sets the example for the right conduct

under such circumstances… it does not shrink from

any dangerous spot nor from any plunge, and nothing

can make it lose its own essential nature. It

remains true to itself under all conditions.

• Hexagram 29 (The Abysmal / Water), BOC

Lindsay:

This is a great epigraph for Robin and her bravery! Robin has grown accustomed to danger, but she’s not shrinking from it, she’s seeking it out in this chapter to confront it. 

I really like that water has been so dangerous and ominous in most of the epigraphs we’ve had so far, but this is very different. This water is not dangerous, but fearless, and persevering and powerful. Nothing is going to stop this water doing what water does. 

Like we talked about in the last epigraph, I really wanted to try and apply the fire to both Strike and Abigail, but now I’m thinking…why not apply the water to both Robin AND Mazu because we know both women have been associated with water but one good and one bad. 

This one is a little hard to apply to Mazu because it seems so genuinely GOOD, but there are a couple ways I could make it work lol The first line “through repetition of danger we grow accustomed to it.” Maybe Mazu wasn’t always this bad- maybe if she had been removed from the farm at a younger age, she wouldn’t have grown so accustomed to its danger and then began repeating it herself. 

But by the end of the epigraph, it’s too late. ‘Nothing can make it lose its own essential nature. It remains true to itself under all conditions’ And while we love that for Robin because it means that she won’t be brainwashed by this cult while she’s in its danger, for Mazu it means there really isn’t hope of changing her true evil nature. She is what she is and what she’s been for so many years. 

 

CHAPTER 129

Chapter Summary: Second part of Strike’s confrontation with Abigail

Epigraph: 

The fate of fire depends on wood; as long as there is

wood below, the fire burns above.

• Hexagram 50 (The Caldron/Cauldron), BOC 

Lindsay:

If we’re thinking of fire as a dangerous thing that burns and destroys, then this is Abigail and the wood beneath her is everything that’s helped her get away with this for so many years: her father, the people she’s manipulated and scared into compliance, whatever else you can think of that has kept Abigail out of trouble and kept this fire burning. So as long as she has that support, she’ll keep going. 

But then I think about Strike and in this instance fire is warmth, it’s light, it’s a lifesource (if you’re a survivalist-purifying water and cooking food) and for Strike, the wood beneath him would be truth, justice, the people who support and are working with him, evidence , etc. As long as he has those things, his flame will keep burning. 

And here is where I really like this idea of fire being both Strike AND Abigail because fire can be equally as devastating and destructive as it is necessary and beneficial and good but it depends on the nature of the fire. And all fire needs a support system and a way to keep burning. 

Pools:

Your comparison to Strike makes me think about the next line of the hexagram, which elaborates on the image of wood generating fire – “It is the same in human life; there is in man likewise a fate that lends power to his life. And if he succeeds in assigning the right place to life and to fate, thus bringing the two into harmony, he puts his fate on a firm footing”. Just because in the ending of this book, Strike is bringing justice – he’s putting right the fact that Abigail has been able to escape the punishment for her actions. He’s putting her fate to rights. But he also decides at the very end to take his own fate into his hands, and take action to have the life he wants. He’s going to be putting himself on firm footing, in the correct position.

 

CHAPTER 130

Chapter Summary: Robin discovers Yixin and Mazu

Epigraph:

… flowing water, which is not afraid of any dangerous

Place but plunges over cliffs and fills up the pits

that lie in its course…

• Carl Jung’s foreword to Wilhelm’s translation of the BOC

Lindsay:

This is more of Robin being fearless water. The thing is though that Robin does feel fear, but she dives in anyway, which is exactly what makes her so brave. 

If we’re looking at it as Mazu, her water overtakes and envelopes everything in its path, drowning all life and covering everything that tries to stop it…until it meets its match in Robin. 

 

CHAPTER 131

Chapter Summary: Third part of Strike’s confrontation with Abigail

Epigraph: 

As water pours down from heaven, so fire flames up

from the earth.

• Hexagram 30 (The Clinging, Fire), BOC

Lindsay:

In our last episode, I talked about how the fire felt like Strike AND Abigail to me, but this one feels much more like Strike and teaming him up with Robin’s water. Water is pouring down from heaven while fire flames up from earth…both of these give me the sense of overwhelming something else or conquering something else the way Strike and Robin are. So while Robin’s water is pouring down and dealing with Mazu in the temple, Strike’s fire is flaming up and overwhelming Abigail. And I like that idea because she’s a firefighter-she’s being overwhelmed by something that she’s been fighting for years and she’s finally not able to beat it. 

Pools:

This is a strong interpretation of the hexagram, particularly because this one is made up of two flame trigrams. The hexagram is fire, doubled.

Lindsay:

If I still wanted to apply this to Abigail, which I do, when I think of fire burning on earth but water pouring down I think of fire eventually being extinguished by the water. So Abigail’s fire is still burning- and for some reason I’m also imagining that the anger she’s feeling inside is making these flames rise higher and higher as she starts to feel more threatened- but that water is still coming for her. So in this instance, Strike could also be the water putting out these flames. 

 

CHAPTER 132

Chapter Summary: Robin confronts Mazu and Becca

Epigraph: 

Water flows on uninterruptedly and reaches its goal:

The image of the Abysmal repeated.

• Hexagram 29 (The Abysmal / Water), BOC

Lindsay:

Robin has reached her goal, or her prey! She confronts both Mazu and Becca. I really like thinking of Robin as water here because with water, nothing really can stop it flowing (assuming no one comes in and builds a dam or something) but it will keep flowing, going around whatever obstacle it faces to reach the end. 

Pools, I might have to leave it to you to explain why this includes the bit about the image of the Abysmal being repeated. 

“THE IMAGE

Water flows on uninterruptedly and reaches its goal:

The image of the Abysmal repeated.

Thus the superior man walks in lasting virtue

And carries on the business of teaching.

 

Water reaches its goal by flowing continually. It fills up every depression before it flows on. The superior man follows its example; he is concerned that goodness should be an established attribute of character rather than an accidental and isolated occurrence. So likewise in teaching others everything depends on consistency, for it is only through repetition that the pupil makes the material his own.”

Pools:

I believe that “the abysmal repeated” is referring to the fact that this hexagram is made up of double water trigrams – just as the previous chapter was double fire trigrams. Robin and Mazu are mirrored – both water, but Mazu is the dark, drowning pool and Robin is the flowing strength.

Lindsay:

Ohh ok, so this might be confirming this idea that water and fire apply to both hero and villain! Maybe? 

I guess for Mazu in this one, she has been allowed to flow uninterruptibly for so many years…I do think this one works better for Robin- Robin, as water, has now overtaken Mazu’s water.  And given that this is the last of these water ones, it makes sense that the superior water woman has won. 

 

CHAPTER 133

Chapter Summary: the final part of Strike’s confrontation with Abigail, who is arrested

Epigraph: 

Nine at the top means…

One sees one’s companion as a pig covered with

dirt,

As a wagon full of devils.

• Hexagram 38 (Opposition), BOC

Lindsay:

I would guess that this is putting Abigail as Strike’s companion, but not actually, more like his counterpart. The one he related to this whole time and now we’re seeing how he sees her now that he’s realized her true nature. She’s the one in the pig mask, covered with dirt. 

Pools:

Yes, you’re right about this one I think. They’ve been framed in as parallel characters so often in this book, but here is where their true, essential opposite natures are revealed – and that’s what the opposition hexagram is about: “although they live in the same house they belong to different men; hence their wills are not the same but are divergently directed”. Strike and Abigail may have appeared to be similar in some respects, but they could not be more different. Abigail is truly Wace’s daughter; Strike is the son of JUSTICE. Or something.

Also, the line that this is from is the same line as the “He is not a robber; he will woo at the right time” one. Just a fun note.

 

EPILOGUE

Epigraph: 

T’ai/Peace (Hexagram 11)

No plain not followed by a slope.

No going not followed by a return.

He who remains persevering in danger

Is without blame.

Do not complain about this truth;

Enjoy the good fortune you still possess.

Kenz:

This one to me says that life is cyclical and has ups and downs scattered all around it, and frames persevering through dangerous or challenging periods quite positively. Towards the end, it reads like you might as well accept that sometimes life is easy, sometimes life is hard, and often cycles back and forth but toughing it out and being grateful for what you do have rather than focusing on what’s causing you trouble or difficulty is the key to having a happy life.

Pools:

Beautifully said Kenz!

Kenz:

What a great epigraph for this epilogue!

Lindsay:

I completely agree with you! They have gone through big challenges in this book. Obviously, Robin being in the cult (that goes without saying!), but there’s also the personal growth and hardship Strike has faced in this book with Ted’s health, being without Robin, Charlotte’s suicide, watching Robin with Murphy. The last line that says ‘enjoy the good fortune you still possess’ is a reminder that there is still good out there no matter how bad things might seem. 

That obviously also works well for people in the UHC…

Pools:

Very much so! This hexagram is a very positive one – “The Receptive, which moves downward, stands above; the Creative, which moves upward, is below. Hence their influences meet and are in harmony, so that all living things bloom and prosper. This hexagram belongs to the first month (February–March), at which time the forces of nature prepare the new spring.”  Strike and Robin are the Creative and Receptive meeting – it’s time for a new spring (coincidence that the next book takes place partly in February?? NO)

And part of the explanation for these lines really speaks to Strike in these chapters to me – “As long as a man’s inner nature remains stronger and richer than anything offered by external fortune, as long as he remains inwardly superior to fate, fortune will not desert him.” I mean that says it all doesn’t it. Strike is taking control of his fate. His inner nature is strong and rich. Fortune will not desert him.

 

CHAPTER 134

Chapter Summary: Will is reunited with his family

Epigraph: 

Evil can indeed be held in check but not permanently

Abolished. It always returns. This conviction

Might induce melancholy, but it should not; it ought

Only to keep us from falling into illusion when good

Fortune comes to us.

• Hexagram 11 (Peace), BOC

Kenz:

The epigraph for the epilogue flows well into this one!

Pools:

Quite literally, because this is the explanation for the lines from the previous epigraph! It’s the same hexagram, there’s only a sentence missing between the two.

Lindsay:

I think this is speaking to Robin’s fear we see in this chapter about the UHC reforming with Becca. Evil is currently held in check right now, but it could return. What I think this hexagram is saying is don’t let that get you down, let it make you aware. Let’s learn from the evil we’ve seen so that we can spot it when it comes back around and so we aren’t fooled. 

Pools:

Agreed, that’s exactly what it’s saying – and not just that evil could return, but that it will always return, it’s inevitable – because everything always movies in cycles. But we can avoid mistakes if we remain mindful to it -which is exactly what Robin hopes for. The people pay more attention the next time someone throws up a five sided temple.

 

CHAPTER 135

Chapter Summary: Strike meets up with Charlotte’s sister Amelia

Epigraph: 

…if one is intent on retaining his clarity of mind,

Good fortune will come from this grief. For here we

Are dealing not with a passing mood, as in the nine

In the third place, but with a real change of heart.

• Hexagram 30 (The Clinging, Fire)

Kenz:

Awww, I really like this epigraph. I think it speaks to the profound, permanent, and positive changes that are coming as a result of Strike processing Charlotte’s death and all that she represented to him. The bit that mentions that “We are dealing not with a passing mood, […] but with a real change of heart” really gives me the ol’ emotional one-two, because remember that conversation S&R had while they were in Skegness in TB?  

“Well, there’s nothing wrong with wanting to be better, or different, is there?” asked Robin. “Nothing wrong with wanting to improve things?”

“Not at all,” said Strike. “But people who fundamentally change are rare, in my experience, because it’s bloody hard work compared to going on a march or waving a flag.”

Have I mentioned how proud I am of this 41 year old fictional man yet today? Because I very much am. It really has been the book of changes for the book of changes for this guy, hasn’t it?

Lindsay:

He’s exceptional! And you know what I love? That this, in particular, is talking about the romantic aspect of his life! It’s great and wonderful that he’s lost the weight and quit smoking, but that’s not the change of HEART we’re talking about here. 

Wasn’t there a Q&A where Jo talked about age and learning from grief? This is the kind of thing I think she’s talking about. Where we can change because of these hard things and losses we might face.

Kenz:

There is, and I think it was on the episode where we talk about Charlotte’s suicide in chapter 64- which is a funny coincidence, because this particular chapter has a few callbacks to it.

 

CHAPTER 136

Chapter Summary: Strike tells Robin that he’s in love with her (!!!!!!)

Epigraph: 

Confucius says…Life leads the thoughtful man on a 

path of many windings.

Now the course is checked, now it runs straight

again.

Here winged thoughts may pour freely forth in

words,

There the heavy burden of knowledge must be shut

away in silence.

But when two people are at one in their inmost hearts,

They shatter even the strength of iron or of bronze.

• Hexagram 13 (Fellowship with Men), BOC

Kenz:

This epigraph reminds me a bunch of the last bit of the final epigraph of TB!

“[…]

For as the soule doth rule the earthly masse,

And all the [service] of the bodie frame,

So [love] of soule doth [love] of bodie passe,

No lesse then perfect gold surmounts the meanest brasse.”

Now, admittedly, they’re not exactly alike but hear me out. In TB’s final epigraph, there’s an emphasis on love of another person’s soul being superior to physical attraction, much like gold is a superior metal to brass. In TRG’s final epigraph, the general gist to me seems to be that being open and honest with the right person at the right time can help you overcome any obstacle or difficulty that gets in your way (the difficulties in this case being represented by iron and bronze- I guess that’s Murphy, huh?). 

While these epigraphs aren’t exactly alike, they do seem to touch on a common theme- that this deep, almost spiritual connection that they’ve cultivated over the years being friends is not only something they need to continue to nurture, but something that’s going to be key in not only getting them together but keeping them together. 

In any case, I just find these metal mentions funny because THM seems to be all about silver!

Lindsay:

I like what you’re saying about the connection to TB because yeah, I see what you mean and, of course, we’ve been pointing out connections to TB! They’re each other’s person and in both of these really romantic final chapters, we get these very romantic epigraphs. 

I want to break this down! 

Confucius says…Life leads the thoughtful man on a 

path of many windings.

Now the course is checked, now it runs straight

Again.

This makes me think of Strike’s life as a whole. His life has led him on many winding paths, but now his course is checked and it’s running straight, meaning now he’s on the right path, he’s where he’s supposed to be. Not to say that Strike (or anyone) can’t always continue to grow, but I think in terms of the series, Strike has defeated the relationship demons he’s always had and he’s done the healing he needs to do to be with Robin, but next it’ll be Robin’s turn. 

Here winged thoughts may pour freely forth in

words,

There the heavy burden of knowledge must be shut

away in silence.

In this chapter, his thoughts pour freely in his words!! I’m less sure about the other line. Gotta think.

But when two people are at one in their inmost hearts,

They shatter even the strength of iron or of bronze.

Oh this line!! I think it’s been a really long time since JKR even tried to pretend that these two aren’t in for a happily ever after. It’s woven into everything in these books and I love when she does this with epigraphs because it’s a way she can be a little more direct with it. We’ve had a few epigraphs in this book that refer to them as husband and wife, this one that’s so romantic, even back in TB where they’re paired with Artegall and Britomart, a couple who end up married. Strike and Robin are at one in their inmost hearts and so they will shatter the things that are currently holding them back. This is one of those epigraphs that promises it’s going to be ok.