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50 pages 1 hour read

Emma Törzs

Ink Blood Sister Scribe

Fiction | Novel | Adult | Published in 2023

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Prologue-Part 1, Chapter 8Chapter Summaries & Analyses

Part 1: “Mirror Magic”

Prologue Summary

Joanna Kalotay remembers finding her father, Abe, dead in the grass beside their driveway with a book she didn’t recognize in his hand. She hadn’t realized at the time that the book was the cause of his death, but she was struck by the divergence from his “cardinal rule” of not “letting a book outside the safety of their home” (1). While it is not revealed until later in the novel, the book is an immortality spell that is keeping Library founder Richard Maxwell alive and is equipped with a “vampire” defensive spell that drains the blood of anyone who attempts to tamper with it. Joanna finds a note addressed to her, in which her father apologizes, tells her not to let her mother—Cecily—into the house, and asks her to keep the book safe.

Part 1, Chapter 1 Summary

In Antarctica, Esther thinks about the fact that she should have left three days previously, based on her father’s last instruction to her: Move every year on November 2 to avoid being found by the people who killed her mother. However, her relationship with Pearl gives her a reason to stay, so Esther continues with her life in the station as new scientists and workers arrive for the summer season. She becomes worried when she smells yarrow, an herb she recognizes from her childhood, and sees dried blood that can’t be removed on all the public mirrors in the station. These are signs that one of the new arrivals has brought a book and has been doing magic.

Part 1, Chapter 2 Summary

Having lived in their Victorian house alone since her father’s death, Joanna prepares to attempt to write a book, copying the text of an old spell. While she’s been experimenting with different types of blood and moon states, she knows it won’t work and gives up. She notices the postcards from Esther on the fridge and thinks about having begged her sister to come home after their father’s death two years earlier and the fact that they haven’t spoken since Esther refused. With a violent family history caused by Abe’s mission to keep magical books safe—including the “murder” of Esther’s mother, Isabel, and a 1939 raid on Abe’s grandparents in Budapest—Joanna understands her father’s paranoia. She undertakes her nightly ritual of setting protective wards on the collection of 228 magical volumes stored in the basement. She reflects on the book that killed Abe. While she originally thought it was had been given to him recently, she later found that he’d had it her whole life, based on a record of his attempts to destroy it, which ended with “Curious what will happen if I add my own blood to the mix [...] Worth a try tomorrow” (31).

Part 1, Chapter 3 Summary

Joanna goes into town, collecting postcards for herself and Cecily from Esther that inform them of Esther’s plans to stay in Antarctica another season. Joanna visits her mother in the general store she manages, and Cecily is upset by the news about Esther. When Cecily asks to come over that evening, Joanna remembers the note with her father’s last request—not to let her mother in—and the circumstances under which Cecily left Abe after she attempted to burn the books. They instead arrange for Joanna to visit Cecily’s house the next day.

Part 1, Chapter 4 Summary

Esther feels anxious after seeing the traces of magic on the mirrors. After reading a paragraph of a Spanish novel by Alejandra Gil—a prized possession that belonged to her mother and that she’s in the process of translating—Esther realizes the blood and herbs are mirror magic. She attempts to communicate through the mirror, asking who is on the other side. In response, items emerge through the mirror: a note instructing her to return to Joanna, as the family is in danger, and a bloodied manila envelope. The envelope contains a passport and plane tickets for Esther, under an assumed name, to Burlington, the airport nearest her childhood home; a vial of blood; and a note saying, “this is the path. It will provide the natural next step” (63), which is the translation of the Gil novel’s title.

Part 1, Chapter 5 Summary

Nicholas, the Scribe of a London Library, attends an event to launch a magical commission: the production of an 1869 vintage of wine created by Nicholas’s ability to write magic. Nicholas is frustrated by his limited freedom; he is under the care of his uncle, Richard Maxwell, and Richard’s partner, Dr. Maram Ebla. Nicholas’s bodyguard, Collins, has to shoot someone to prevent an assassination attempt on their drive home. Nicholas thinks he notices a bee in the car but tells himself he must be mistaken. Later in the novel, he realizes that the bullet had been fired by Collins, after a spell to turn bullets into bees had been enacted. Rather than an assassination attempt, it was his uncle’s attempt to scare him into staying in line.

Part 1, Chapter 6 Summary

Esther struggles with the decision of whether to trust whoever communicated with her through the mirror and use the plane tickets. The last time she hadn’t left a place on time, a man with a gun arrived immediately, and she and her then-boyfriend were saved only because of a fire alarm going off. Worried that Pearl will get hurt this time, she makes plans to leave on the next cargo plane. Returning to her room, she meets Pearl, who tells her she’s come to drop off some soup, but Esther soon realizes that the Gil book has been taken and that the culprit could only have been Pearl.

Part 1, Chapter 7 Summary

The morning after the attack in the car, Nicholas wakes from a nightmare, practicing his habit of reading a few pages of The Three Musketeers to calm himself. He is surprised that Collins is guarding him inside the house and is concerned by Richard and Maram’s instruction that he’ll remain trapped in the house until they investigate. Richard tells Nicholas he’ll need to write a truth spell so that they can question the staff, in spite of Maram’s protests that Nicholas should wait due to his anemia. To make him feel better, Richard presents his nephew with a book to destroy. It’s a vampire, and “anyone who added their own blood to one of these activated books was drained absolutely dry—bled, effectively to death” (105). Richard watches as Nicholas destroys it with his bare hands.

Part 1, Chapter 8 Summary

Joanna tries to tempt a stray cat inside, realizing she’s begun to associate it with making a change to her life. She remembers Esther leaving and Abe and Cecily fighting over whether to lower the wards. Joanna goes to lunch at Cecily’s house and thinks her mother seems nervous. Cecily asks again to come over, saying she doesn’t really know how her daughter lives. Joanna replies that she can’t trust her since she set fire to the books and points out that Cecily won’t tell her anything about the book that killed Abe. Cecily relents, saying she’ll finally divulge what she knows, and goes into the other room. Joanna hears buzzing and realizes that her mother is in the process of using a spell to keep her there so she can’t return home and set the wards.

Prologue-Part 1, Chapter 8 Analysis

The first section of Ink Blood Sister Scribe includes depictions of three distinct settings: The Antarctic research station, Joanna’s Vermont home, and the Library in London. The presence of magical books within three real-world settings establishes the novel’s place within the magical realism genre. Similarly, intertextuality and real-world details produce a contrast between banal elements of the novel’s realism and the presence of magical books. Törzs employs third-person limited perspective, and the narrative shifts among the perspectives of each of its protagonists—Esther, Joanna, and Nicholas—who are characterized in part by their relationship to the world around them and perspectives on their settings. This section of the novel employs perspective shifts and a focus on setting to develop the theme of Family, Estrangement, and Personal Identity.

Setting is particularly important for Joanna and Nicholas, given their situations of being largely confined to their spaces: Joanna due to her drive to continue her father’s legacy and protect the books, and Nicholas because of Richard’s “protection” of him as a Scribe. For Joanna, setting is connected to memory and her relationship with her sister and father:

The green-and-white seventies linoleum buckling here and there beneath her feet. The floor always brought her father’s voice to her mind, deep and cheerful and so terribly missed; ‘Gonna retile this soon,’ a sentence repeated so often it had taken on the cadence of ritual, but he hadn’t retiled it and no one ever would (20).

This passage characterizes Joanna’s affection for her father, as well as her sense of needing to remain in her home and in her circumstances. The idea that “no one ever would” retile the room emphasizes both her fondness for the house as-is (20), particularly in relation to her father’s memory, but also foreshadows the internal conflict she experiences between loyalty to house and books and her growing desire for change and freedom. The reference to ritual in this passage is also significant, as it foreshadows the importance of personal ritual for the production of magic.

Joanna’s sense of self and relationship to Esther is also connected to her sense of the Vermont home as the center of her experience. She thinks about a map “as a network of veins with her house at the heart. She may be swept away from time to time, might feel as if she were moving outward, but inexorably she would be drawn back, a closed cycle and not an open path” (38). The emphasis on being “drawn back” emphasizes Joanna’s feeling that she lacks choice and agency in her decision to remain in her home and role as a protector of the books. Throughout the first section of the novel, this feeling is primarily subconscious, but Joanna grows in self-awareness regarding her interest in lowering the wards and experiencing more freedom. Nicholas’s perspective on the Library entails a similar implicit sense of entrapment. During his childhood, “The house itself had become a kind of friend to him, and he spent endless hours playing games with it” (97), but it becomes increasingly oppressive as he becomes frustrated with the control Richard exerts over him: “for most of the past decade, however, the endless hallways, fussy antique furnishings, and convoluted ornateness of the walls and ceilings had not felt wondrous but gloomy, oppressive” (97). Similar to Joanna, Törzs uses an anthropomorphized representation of setting to foreshadow Nicholas’s character arc, the most important point of which is his decision to leave the Library and ultimately end Richard’s stewardship.

Törzs develops the concept of how home and distance relate to family throughout this section of the novel as well. Joanna describes wondering “how Esther conceptualized the world […] Nor could she imagine how Esther felt when she thought about home […] If she even thought of home at all” (38). This is paralleled with a section from Esther’s perspective in which her thoughts about books and magic are “inextricable from thinking about her family […] Every time Esther’s mind drifted, it drifted in one of two directions: fear, or Joanna, and oftentimes the two paths crossed” (52). In addition to the remoteness of Esther’s location in Antarctica, psychological distance from her sister is important to her character. Esther thinks about the realization that she cannot hear or read magic as a definitive turning point in her relationship with her sister: It’s “a line that became a wall as time passed, a stone wall like the ones that snaked through the forests around her childhood Vermont home” (55). Again, Törzs anchors this sense of estrangement in a physical location, the metaphor of the stone wall emphasizing the sisters’ distance.

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