54 pages • 1 hour read
Content Warning: The source material uses outdated language regarding psychological conditions and mental distress. This is only replicated in quoted material in this guide.
Fourteen-year-old Mona arrives at her aunt’s bakery in the morning and discovers the dead body of a girl on the floor by the ovens. The dead girl is not much older than Mona. She wonders if the girl slipped and hit her head on the ovens, then speculates that the girl was murdered. Finally, she runs for her Aunt Tabitha, who lives above the bakery. She is confident that her calm, competent aunt will know what to do.
Aunt Tabitha sends her husband, Uncle Albert, to fetch a constable and then asks Mona to make some sweet buns for the constables. Mona does as she is told. Then, to keep busy and maintain a sense of normalcy, she goes down to the basement to feed her sourdough starter.
Mona’s sourdough starter is called Bob, and it is alive because Mona possesses a minor magical ability that only works on bread and dough. When she first started working for her aunt at the age of 10, she was tasked with feeding flour to the starter, but she messed up and the starter dried up. In a panic, she shoved her hands into it and ordered it to live. Thus, Bob became alive enough to move its bucket across the basement floor and even eat rats. Still, the bakery has the best sourdough bread in the city.
Two constables arrive and are surprised by the dead girl in the kitchen, despite Uncle Albert’s explanation. The constables call for the coroner, and Aunt Tabitha sends Mona to explain to their regular customers that they cannot open right now.
Mona speaks with several customers, who provide commentary about the situation. One old lady complains that no one is safe anymore and notes that “little Sidney [...] went missing just last week” (13). Another customer insists that the boy probably ran away to sea. A third customer says that Sidney was a “magicker” (13) like Mona, and as sailors are superstitious of magic, he likely did not go to sea. Mona distracts everyone from the tense conversation with gingerbread men.
One of Mona’s skills is using her bread magic to bring gingerbread men briefly to life. She notices that these little men have different personalities depending on the ratios of ingredients. She brings a cookie to life and asks it to dance. The crowd smiles and laughs and then finally breaks up. Then Mona releases the magic, and the dancing gingerbread man goes back to being a regular cookie. She walks back into the kitchen, where she is accused of murder.
Mona stares at the new man in the bakery, who has just accused her of murder. Aunt Tabitha introduces him as Inquisitor Oberon, and Mona realizes he is a high-level member of the Council who works for the Duchess. Oberon claims that the dead body has a taint of magic. He calls Mona a wizard (though she refutes this, saying she has a minor ability that works only on bread), and concludes that Mona is the one who killed the girl. Mona laughs in shock at the ridiculous leap of logic, while Aunt Tabitha objects. Oberon ignores them and orders the constables to take Mona to the palace for questioning.
On the carriage ride to the palace, Mona reflects. She decides this is not the worst day of her life—the worst being the day her parents died—but it is the second worst. She also realizes that prisoners are usually taken to jail. It is unclear why she would be taken to the Duchess. The Duchess rules the city of Riverbraid, which is one of many city-states in the land, each of which has its own government, army, and laws.
Oberon orders guards to take Mona to a small waiting room until the afternoon audience with the Duchess. After a long wait, Oberon returns to take her to the audience. She asks him what is happening and where they are going, and he simply tells her that a judge will decide her guilt.
The audience chamber is a slightly large, utilitarian room. At one end, a middle-aged, pudgy woman with tired eyes sits in a padded chair. Mona recognizes her as the Duchess. Several officials sit near her, including a “ratty little man” in a purple robe who appears to be the judge, and another man in saffron-colored clothes that Mona recognizes as Lord Ethan, the Golden General.
Lord Ethan is famous. He is a powerful wizard, has won several major battles single-handedly, and defeated a raiding party of Carex mercenaries. He is also handsome, with blonde hair and warm brown eyes. Mona is so smitten that she does not at first realize that Oberon and the judge are speaking. Finally, she realizes that Oberon is claiming that Mona was found standing over the body. She corrects him, saying that she found the body. From the conversation, Mona surmises that the girl in the bakery is one of several recent murders in Riverbraid.
Suddenly, the Duchess speaks. Oberon looks startled, and Mona suspects that the Duchess does not usually do anything but watch the proceedings. The Duchess asks Mona about her family. Mona explains that her parents are dead, she works for her aunt and uncle, and she lives in a small apartment above the glassblowers. Then, the Duchess asks if Mona is a wizard. Mona denies this, saying she is “not a real wizard” (34) because she can only magic bread. Finally, the Duchess gently suggests to Oberon that in his “understandable zeal [...] to get to the bottom of this rash of murders” (35), he has mistakenly arrested an innocent girl. She orders them to release Mona and dismisses them. As Mona leaves, Lord Ethan looks up and smiles at her.
Clearly infuriated, Oberon releases Mona. Mona is left outside the gates of the palace with no one to take her home, though the carriage ride was long, and the walk will be even longer. Worse yet, it begins to rain. Angry and trying not to cry, Mona begins to walk.
Mona’s walk takes six hours. The rain stops, but she becomes lost several times, at one point running into a church. However, there is a shortcut through an alley called the Rat’s Elbow, which leads to the Rat’s Nest, an area of the city known to be poor, dirty, and dangerous. Mona takes the shortcut but immediately regrets it as people watch her with suspicion from their windows and front stoops. Mona begins to panic. Then, a voice calls out and she turns to find a dead horse standing behind her.
The dead horse belongs to Knackering Molly. Mona believes Molly may be mentally unstable, though she is, like Mona, a “very minor wizard” (43). She can make dead horses walk. In a city where horses are used for travel and to pull carriages and wagons, this is useful. When horses die, they are difficult to remove from the streets. For a small price, Molly can make them walk on their own power to the rendering yards at the edge of town. She is easy to find because she rides around the city on a dead horse called Nag.
Mona reflects that some people do not like magic-folk. They are nervous around them and make signs against evil. In some city-states, wizards are forced to register with the government or live in separate ghettos. However, that does not happen in Riverbraid. Even if it did, Knackering Molly would ignore it all anyway.
Mona tells Molly about the dead girl and what happened at the palace. Mona mentions Lord Ethan, and Molly warns her that government wizards are dangerous, especially for minor wizards like them. Rumor has it that the army recruited Molly when she was young and forced her to raise dead horses (or perhaps even dead people) to fight during a war, and “she came back crazy” (47). This may explain her suspicion. Molly also warns Mona to be on the watch for “the Spring Green Man” (49). Then, they reach the bakery, and Molly leaves without explaining what she means.
The first seven chapters of Wizard’s Guide quickly establish nearly all the important elements of the narrative, from the point-of-view and tone to the characters and the setting, as well as some themes and symbols. The first chapter opens with a hook with the line: “There was a dead girl in my aunt’s bakery” (1), which immediately creates tension. The first chapter also establishes the point-of-view and tone, as presented through the protagonist Mona’s first-person narration. This first-person POV maintains a wry, darkly humorous tone throughout the novel, which is indicative of Mona’s general attitude.
Then, the early chapters shift to introducing the rest of the narrative elements. In quick succession, these chapters introduce the primary and secondary characters, including not only important supporting roles like Aunt Tabitha, Knackering Molly, and the Duchess but also the two antagonists, Inquisitor Oberon and the Spring Green Man (though the latter is at first only revealed through rumor and warning). The only major character not introduced in this first section is Spindle, who will appear in Chapter 8. These quick introductions neatly provide necessary details about each character. In particular, the contrasts and comparisons between the three adult women in Mona’s life (Aunt Tabitha, Molly, and the Duchess) offer early hints toward the theme of The Obligations Associated With Power. This theme is centered on the argument that those with power, whether that be social authority (Aunt Tabitha), magical ability (Molly), or governmental rule (the Duchess), have an obligation to care for those without power (Mona). Early in the proceedings, Mona believes that these women with power can and will take care of her. This faith is shaken later in the novel.
In addition to the primary and secondary characters, the first seven chapters also provide extensive detail on the setting and world-building of the narrative. This includes an explanation of the Riverbraid, a city-state among many city-states, each with its own ruler, society, and laws, as well as a primer on the way magic works in this world. This is all vital information necessary to understand the plot developments that appear later. Moreover, Mona’s focus on magic, comparing her minor ability as a “magicker” (a colloquial term for those with magic that implies weaker or less useful abilities) to “real wizards” (34) like Lord Ethan (i.e., those with undeniably powerful abilities). The motif of Mona’s repeated phrase that she works with bread, “just bread” (34) first appears in Chapter 5, signifying both her own feelings of inadequacy and her misconception of talent. This is the first hint toward the theme of Leveraging One’s Talents, which becomes a major focus in the second half of the novel. Just as Mona views her own ability as minor and useless, she also views Knackering Molly’s ability as minor. This misconception becomes ironic in the conclusion, as Molly is ultimately the savior of Riverbraid.
The final chapter in this section also introduces the theme of Difference and Prejudice. Mona reflects on how Riverbraid differs from other places in that wizards don’t have to publicly register with the government or experience segregation from the common folk. Wizards in this world experience prejudice akin to marginalized groups in the real world. While the extent of this theme will be pushed further as the novel progresses, it also isn’t quickly addressed by Mona’s narration. Mona’s day-to-day in Riverbraid is peaceful—so much so that the topic of discrimination against “magickers” isn’t something that she often feels the effects of. However, she is learning that she is not immune to this prejudice and that she belongs to a larger community in danger of harm.
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By T. Kingfisher