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60 pages 2 hours read

Tahereh Mafi

This Woven Kingdom

Fiction | Novel | YA | Published in 2022

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Part 1Chapter Summaries & Analyses

Part 1, Chapter 1 Summary

The protagonist, Alizeh, is a Jinn: a supernatural being with origins tied to fire. She lives in a world that has witnessed brutal conflicts between Jinn and humans, the latter of whom are referred to as “Clay.” An uneasy peace now exists between the two groups due to the Fire Accords, which impose strict limitations on the Jinn’s use of their natural abilities. Alizeh works as a seamstress and is crafting a gown for the illegitimate daughter of the Lojjan ambassador. Despite being a talented seamstress, she deliberately downplays her abilities to avoid suspicion and backlash from those who might attribute her skills to supernatural powers.

She reflects on her past, recalling a distinct coldness in her body and a particular incident from her childhood where she was severely cold and sought warmth from a hearth. Despite the dangers of her unique condition, she miraculously survived, though her parents faced fatal consequences. Currently, she works for the grand estate of Duchess Jamilah of Fetrous and is grateful for the shelter it provides. However, her status as a Jinn creates tension with her employer, Mrs. Amina, who gives Alizeh minimal privileges, questions her ability to read, and demands that she conceal her true nature and heritage. Mrs. Amina also requires Alizeh to cover her face with a “snoda,” a mask that marks her as a lower-class member of society. In order to survive, Alizeh must constantly navigate the various aspects of her complex identity in a society that harbors deep prejudices against her kind.

Part 1, Chapter 2 Summary

Alizeh is a servant in a large estate; she lives in a small, meticulously cleaned room that was once a storage closet. Although wearing the snoda marks her as being of a lower class, it also gives her a sense of anonymity that she values. Late at night, she often prepares for bed, she feels an ominous presence and experiences a paralyzing fear of darkness. Despite her fear, however, she is meticulous and orderly in her personal space and strives to create a sense of home in her small room. One night, she suddenly senses a more tangible presence. The devil, who has haunted her since birth, appears now as an eerie figure. He communicates through riddles, and the current one is about a man with snakes on his shoulders. Despite her desperate pleas for him to stop, the devil’s voice is inescapable. As she struggles, a new figure appears: a young man, human but strangely different, with an intense, captivating appearance. As this man reaches out to touch her lips, Alizeh screams.

Part 1, Interlude Summary: “In the Beginning”

Iblees (the Devil) and his people, the Jinn, were once the dominant beings on Earth. Originally celebrated and elevated, Iblees becomes a symbol of disgrace after his fall from grace, which dramatically impacts all of the Jinn. His descent to Earth marks a calamitous turning point for the Jinn; his world, once vibrant and thriving, descends into chaos as celestial bodies turn against them due to their association with Iblees, whom the universe sees as an enemy of the All-Powerful. This shift results in Earth being cast into an icy exile of perpetual night, setting off a series of catastrophic events that decimate the Jinn’s civilization, including floods and freezing temperatures. Despite this devastation, the resilient Jinn survive, their fiery nature sustaining them through an otherwise unbearable and dark existence. They subsist on water, enduring until the arrival of beings of clay—humans—who are foretold to inherit the world. The re-emergence of the sun heralds the rise of these new beings, and it painfully scorches the Jinn, who had adapted to the cold and dark. In the end, the Jinn withdraw to remote cold regions and attempt to blend into the fabric of the world, surrendering Earth to humans and living in a bitter, poignant reminder of their past glory and the ever-present shadow of Iblees.

Part 1, Chapter 3 Summary

Alizeh prepares hastily for her day, prioritizing her professional commitments over her personal comfort despite lacking proper winter attire. The commissioned gown she has made is due for delivery, and payment is expected. The cold, snowy morning paints a serene yet chilling backdrop as she steps out into a seemingly magical world. She lives a grounded, laborious life that contrasts starkly with her parent’s wishes and her early upbringing. Her adherence to cleanliness is vital, stemming from her parents’ teachings and her essential connection to water.

When she is attacked by a desperate, knife-wielding boy, she demonstrates both her physical strength and her emotional empathy by disarming him, sparing his life, and suggesting a place where he might find food. Later, she encounters the mysterious, well-dressed man from the previous night, who seems to have been watching her. This man, whose clothes indicate that he is wealthy and well-connected to elite circles, triggers alarm within Alizeh. She perceives an ominous connection between this stranger and the unsettling, devilish whispers that have haunted her life. These whispers have historically heralded significant and often tragic changes in Alizeh’s life, and this reality adds to her fear. The chapter ends with Alizeh fleeing in terror.

Part 1, Chapter 4 Summary

Kamran, who is later revealed to be the prince of Ardunia, witnesses Alizeh narrowly escape the dangerous situation with an assailant. When Alizeh exhibits signs of nobility and unusual poise, Kamran’s suspicion is aroused, and he believes her to be merely disguised as a maid. He notes that she wears a snoda to partially conceal her face, even though it is not customary for servants to wear this garment outside of work hours. Kamran suspects that she might be one of the spies infiltrating the empire, especially due to her unusual behavior and apparent training in self-defense. In an encounter with the young male assailant, who is far from his native region and is now severely injured, Kamran’s interrogation reveals that Alizeh not only disarmed him but offered him kindness and mercy. This unexpected twist deepens Kamran’s fascination. The chapter ends when the young assailant, overwhelmed and fearful of facing the magistrates, tries to take his own life in front of Kamran. Despite his vast experience with death, Kamran is shocked and deeply affected by this act. He finds a pristine handkerchief that Alizeh used earlier, further solidifying his belief that she is a remarkably clever and skilled individual, likely a spy. Feeling a storm of emotions, including shame, Kamran is left pondering Alizeh’s true identity and his responses to these dramatic events.

Part 1, Chapter 5 Summary

Prince Kamran is deeply troubled by the politically charged backdrop of the Ardunian Empire, which is on the brink of a water crisis due to diminishing groundwater and contentious access to the Mashti River through southern neighbor Tulan. Driven by anger since his father’s death and freshly returned from a duty tour that exposed his country’s disconcerting realities, Kamran is becoming increasingly paranoid. He is consumed by violent fantasies and is resistant to introspection about his emotional turmoil. Despite his cold exterior, there is a complex, tense dynamic between Kamran and his minister, Hazan, who serves as both a confidant and a bold critic of Kamran’s decisions. This tension escalates when Kamran suspects a servant girl (Alizeh), possibly of Jinn heritage, to be a spy from Tulan: a suspicion that Hazan challenges, but Kamran staunchly defends. The relationship between Kamran and Hazan is further strained when Hazan candidly compares Kamran to his late father, prompting Kamran to instinctively draw his sword. Amidst this personal and political turmoil, the chapter ends with Kamran’s mother urgently calling for him. Her summons suggests impending familial conflict or significant news, but Kamran is so lost in thought that he initially fails to hear her.

Part 1, Chapter 6 Summary

Alizeh endures a particularly challenging day. First, the Lojjan ambassador’s housekeeper underpays her for a dress commission, suggesting that she might not be paid in full unless the dress pleases Miss Huda. Struggling with cold and fatigue, Alizeh feels belittled and rejected after her confrontation with the housekeeper. Later, at Baz House, Alizeh is entranced by the banter of the other servants, revealing her unfamiliarity with such social dynamics due to her sheltered upbringing. Despite her attempts to blend in, Alizeh’s accent and manner of speech draw unwanted attention, and Mrs. Amina, the housekeeper, suspiciously questions her education and upbringing. Following a harsh reprimand, Alizeh is given the immense task of cleaning all 116 rooms in Baz House, a grueling chore with a faint promise of permanent employment.

Part 1, Chapter 7 Summary

Meanwhile, Prince Kamran faces his grandfather, King Zaal, and is confronted for his actions involving the dying street boy. Despite the public acclaim he earned for his benevolent act, Kamran’s behavior stirs doubts among the Seven Houses’ nobility regarding his future reign. King Zaal, sensing his own impending death and the imminent threat of war, stresses the need for stability and the essential trust of the nobility. To regain this trust, Kamran must present himself with decorum, host a ball, and engage with the influential Seven Houses. However, beyond these immediate gestures, the king emphasizes the deeper necessity for Kamran to marry and produce an heir, ensuring both the continuity of his lineage and the security of Ardunia in these uncertain times. Recognizing the weight of his duties, Kamran pledges his unwavering commitment to the empire’s future.

Part 1, Chapter 8 Summary

Alizeh endures a taxing day of arduous labor, with physical pains like scalded skin, raw palms, and thoughts of the traumatic events that have occurred. Foremost in her thoughts are her memories of her recent encounters with the devil, the hooded stranger, Miss Huda, and the boy who accosted her in the street. These memories and her own bleak existence constantly plague her, and she feels that death might be her only reprieve from this grim reality. As she takes a moment to step outside, she is reminded of her past, particularly the brutal murders of her Jinn parents. She suspects that she might have been the real target of those violent acts. Amidst her fatigue and memories, there is a glimmer of hope when Mrs. Sana, the housekeeper from the Lojjan ambassador’s estate, commends her for her dressmaking skills and commissions her to make five additional dresses for Miss Huda. Overwhelmed by the rare positive turn in her life, Alizeh breaks down in tears.

Part 1 Analysis

As the initial chapters of This Woven Kingdom unfold, Mafi uses mythological themes to provide a context that facilitates the interpretation of the ensuing events in the novel. For example, the chapter titled “In the Beginning” resonates with the profundity of creation myths, particularly those within Islamic culture. These myths aren’t merely tales of the world’s inception. Instead, they are reflections on existence and purpose that are designed to help members of a specific culture to construct and understand their own role within the greater cosmos. Central to the creation myth presented in the novel is the narrative of “the fall,” which denotes an archetypal theme that pervades various mythologies and religious traditions. The “fall” typically represents a descent from an idealized, sometimes divine or pristine state into a lesser, often troubled or flawed condition. The motifs linked to a fall often revolve around themes of disobedience, pride, temptation, and exile. Prominent examples include the Biblical fall of Adam and Eve, the descent of the Greek god Prometheus after stealing fire for humanity, the fall of Lucifer in Christian tradition, and the fall of Iblis in Islamic tradition. In the context of This Woven Kingdom, the story of Iblees directly reflects this archetypal fall. Just as many “fall” narratives involve one figure’s defiance of a supreme authority or cosmic order, Iblees’s arrogance leads to cataclysmic consequences for himself and for his entire race.

Although often understood to describe a distant, literal past, creation myths are not static; they evolve and interact dynamically within evolving contemporary contexts and are constantly shaping and being shaped by cultural, social, and individual forces. In other words, creation myths are not confined to the past but instead represent lessons about creating and acting that remain relevant to any given culture’s present moment. For example, within the context of Mafi’s novel, the fall of Iblees and its implications for the Jinn race intertwine personal responsibility with collective consequences, emphasizing the profound impact of individual choices on broader societies. Because Iblees’s actions profoundly affect the long-term well-being of the Jinn people, the myth portrays an interconnected world in which moral choices of an individual determine the fate of many. After the fall, beings often face exile or must adapt to new, harsher conditions. The Jinn, who were once the rulers of Earth, are cast into perpetual darkness and must ultimately surrender their dominion to the ascendant human race. Much like the Christian concept of humans who are born into original sin, the Jinn are born into this fallen state, which manifests in feelings of rage, as well as the harsh social realities caused by prejudice and discrimination. As the narrative states, “The Jinn who endured against all odds were plagued always by a rage trapped in their chests” (22). Some fall narratives explore the possibility of redemption, while others focus on continued suffering. In this narrative, the Jinn’s continued existence, which is overshadowed by the ever-present reminder of Iblees, signifies a state of continued penance. Thus, Mafi introduces the ongoing theme of Divine Unity and Earthly Division.

In Islamic thought, the creation story surpasses a mere account of the world’s physical manifestation to delve instead into the moral and ethical constructs that underpin human behavior. By placing such a foundational chapter at the narrative’s commencement, Mafi sets the tone for an exploration of origins, purpose, destiny, thereby introducing the interplay of Intuitive Morality Versus Engineered Rationalizations. Alizeh’s upbringing, shaped by her parents, is rooted in empathy. While they were alive, they constantly reminded her that invisible suffering has just as profound an effect as suffering that is plainly apparent and insisted “always upon the greater good, the essential quality of compassion” (29. They further entreated her to “feel,” stating, “The shackles worn by your people are often unseen by the eye. Feel […], for even blind, you will know how to break them” (29). Alizeh’s parents therefore ingrained in her the principle of compassion, teaching her to feel and empathize with the plight of others, irrespective of her personal position or status. Thus, Alizeh’s personal philosophy of intuitive compassion stands in direct contradiction to the cold, engineered rationalizations of societal mores, which often sound pious on the surface while serving more nefarious aims. (King Zaal’s actions later in the story will make this opposition even more apparent.) In these early chapters, however, Alizeh’s sense of morality is most aptly demonstrated when she is confronted by the young boy with a knife and chooses to exercise compassion even in the face of an imminent threat to her safety. Although she incapacitates him, she does not harm him further than is necessary. Her decision to both spare him and also to offer him help showcases her deliberate internalization of the lessons her parents taught her. The boy’s baffled “Shora?” (“Why?”) is answered with two revealing lines: “Bek mefem” (“Because I understand”) and “Bek bidem” (“Because I’ve been you”) (31). These lines that indicate Alizeh’s commitment to answer life’s moral challenges with continued compassion despite intense hardship, thus reflecting Mafi’s exploration of Coauthoring Goodness in a World Predestined by “The Fall.”

The indifference of passersby to the altercation between Alizeh and the boy showcases societal apathy and hints at the novel’s multifaceted treatment of the omnipresent issues of prejudice and discrimination. In this scene, the people’s indifference to Alizeh’s situation speaks to a hierarchical morality in which some lives are deemed less valuable. The boy’s decision to threaten Alizeh is not merely an individual act of aggression; it can be interpreted as a reflection of larger societal issues. This moment is therefore indicative of a wider breakdown of societal norms, for the boy’s actions reflect the desperation with which people can act when pushed to their limits. Thus, Mafi uses this aspect of world-building to provide a broader commentary on morality. Moreover, the altercation also raises questions about the currents of morality inherent in human nature, for the question of whether the boy is inherently evil, or whether his actions are the result of larger systemic influences is ultimately left unresolved. This duality, which is often explored in literature, delves deeply into the roots of morality to question whether all humans are innately good, innately evil, or merely molded by their surroundings.

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