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V. E. SchwabA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Schwab uses color symbolism throughout the novel to distinguish the different Londons from one another, developing both their settings and the novel’s themes. Red London is a healthy world with a deep relationship to magic. The city is marked by the Isle, a river that is a source of magic and glows red. Schwab describes Red London in jewel tones: “[T]he crimson glow of the Isle, and the vaulting palace, doubled gold against the river’s surface in the dark” (39). It is a thriving, bustling city. In contrast to the vitality of Red London, White London is leached of life and joy. After the events of the previous trilogy, Holland brought some life back to the city: “[T]he river began to thaw, and the fog began to thin, and everything in the city got a little brighter, a little warmer. And all at once, the magic began to flow again” (5). However, Kosika finds that the land is starving and must be constantly fed with offerings of blood. The color white represents this barrenness that devours the life-giving red of blood. This symbolism foreshadows the dangerous turn Kosika’s quest to restore the country will take.
Grey London is visited only briefly in this novel, but it is where Lila originated and is a place that no longer has nor believes in magic. When Lila lives there, her eye is removed “as if it had been a poisoned thing, a spreading rot, and not a sign of strength, a marker of extraordinary power, once-in-a-generation magic” (65). When Tes is briefly trapped there, she is disturbed by the gray water of the river: “It made her shiver, to see the Isle stripped of color, a source reduced to a simple stream” (500). Schwab uses gray imagery to emphasize the soot and coal-fueled environs of 19th-century London. Finally, Black London is a smoldering remnant of a city with nothing living left. It is the source of magic but also where Osaron, the villain of the last trilogy, originated. When Kosika visits, she finds it “cold and dry and dead” (386). The black imagery represents the poisoned magic that came from that world and the threat that it might spread to other places.
Ships play a key role for several characters in The Fragile Threads of Power. Schwab uses the motif of ships to represent exploration, freedom, and transformation. Lila is the captain of the Grey Barron, named for her deceased mentor and father figure. To her, the ship represents all the things she dreamed of as a child on the streets of Grey London: “Dreams of fine knives and good coins, and more than anything, of freedom” (66). The Barron is also an important place for Kell. After he loses his power, he must learn who he is without being Antari. The ship provides a place for him to explore a new identity as a pirate named Kay and to learn to fight without using his magic.
Ships are also important places for Tes. She initially flees her abusive father by hitching a ride on Elrick’s small craft, The Good Luck. Though she is frightened, she thinks that “for the first time in years, she [is] also free,” and that night, she lets “the ship rock her to sleep” (431). The ship represents her bid for freedom. Elrick gives her a rock when she leaves, telling her to hold it if she ever needs to feel grounded. At the end of the novel, Tes finds a home on a different ship—the Ferase Stras. This floating market is the home that Tes has been seeking: “the light spilling through every curtain and doorway, the whole place rich with the promise of magic” (640). As an apprentice, it is here that she will continue to explore and transform as she learns to wield her power.
Throughout the text, the Hand is a motif representing the manipulation and deceit enacted by the powerful upon the general populace. In Red London, the shadowy organization trying to overthrow the throne uses a handprint as its symbol. It is marked on walls in graffiti and tattooed on their followers. One member describes it as a “brand, like a shadow on her ribs, as if a lover had grabbed her there, burned their hand into her skin” (26). Devotees speak of the Hand as if it is a singular force: It “holds the weight that balances the scale” and “holds the blade that carves the path of change” (26). Despite this singular metaphor, others recognize that the Hand as an organization is made up of many people with many motivations. Rhy mockingly asks one member, “Does that make you a finger? A knuckle? A hangnail?” (173). His banter points to a larger symbolic meaning for the Hand—It represents the way a few people at the top of the organization manipulate those below them. Berras, Ezril, and their co-conspirators do not care about real change or the well-being of others. They merely use the Hand organization like a glove, operating inside it so that the people do their bidding and win them the throne.
By V. E. Schwab