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    Fantasy

    The Priory of the Orange Tree

    by Shannon, Samantha
    “The Priory of the Orange Tree” by Samantha Shannon is an epic high fantasy novel set in a divided world where dragons and ancient threats loom. The story follows multiple protagonists, including Queen Sabran IX of Inys, who must produce an heir to secure her queendom, and Ead, a secret mage sworn to protect her. Meanwhile, in the East, dragonrider Tané grapples with loyalty and destiny as an ancient enemy, the Nameless One, stirs. The narrative weaves political intrigue, mythology, and feminist themes across continents, blending European and Asian-inspired lore. At 848 pages, it’s a standalone tale of magic, war, and resilience, praised for its intricate world-building and diverse characters.
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    The Priory of the Orange Tree

    Forty-Five

    by Shannon, Samantha

    The chap­ter opens on Feath­er Island, where Tané and Elder Vara wit­ness the after­math of a dev­as­tat­ing earth­quake. The beach­es are flood­ed, and an eerie silence hangs over the land. The schol­ars dis­cov­er the body of a young Sei­iki­nese drag­on washed ashore, its scales dulled by mist and birds. The elders con­clude the drag­on was boiled alive by the sea—an unnat­ur­al and omi­nous event that leaves the com­mu­ni­ty in shock. Tané, deeply dis­turbed by the sight, strug­gles to com­pre­hend the impli­ca­tions of such a hor­rif­ic omen.

    As the schol­ars mourn the dragon’s death, Elder Vara sum­mons a sur­geon, Doc­tor Moy­a­ka, to exam­ine Tané’s old injury. Tané is ini­tial­ly reluc­tant, rec­og­niz­ing the name Moy­a­ka as con­nect­ed to a painful past involv­ing threats to her drag­on. Elder Vara reas­sures her, reveal­ing he and the High Elder know about her exile from Sei­i­ki. Despite her dis­com­fort, Tané agrees to the exam­i­na­tion, deter­mined not to appear child­ish. The encounter with Moy­a­ka stirs mem­o­ries of her trau­mat­ic expe­ri­ences in Ginu­ra, adding to her emo­tion­al tur­moil.

    Doc­tor Moy­a­ka, a prac­ti­tion­er of Sei­iki­nese and Men­tish med­i­cine, exam­ines the lump on Tané’s side, diag­nos­ing it as a bone spur. She pro­pos­es a minor pro­ce­dure to con­firm her assess­ment. Tané, who has longed for numb­ness since arriv­ing on the island, accepts a pain-reliev­ing drug. The smoke induces a dream­like state, tem­porar­i­ly eas­ing her shame and grief. As Moy­a­ka begins the pro­ce­dure, Tané’s phys­i­cal dis­com­fort is dulled, but the emo­tion­al weight of her past lingers.

    The chap­ter high­lights Tané’s inter­nal strug­gle as she grap­ples with her exile, the trau­ma of her past, and the unset­tling dis­cov­ery of the dead drag­on. The unnat­ur­al death of the drag­on serves as a har­bin­ger of dark­er forces at work, while Tané’s inter­ac­tion with Moy­a­ka under­scores her unre­solved pain. The island’s schol­ars, mean­while, remain in a state of col­lec­tive mourn­ing, their world shak­en by both nat­ur­al dis­as­ter and super­nat­ur­al omens. The chap­ter ends with Tané caught between phys­i­cal relief and emo­tion­al vul­ner­a­bil­i­ty, hint­ing at deep­er con­flicts to come.

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    FAQs

    • 1. What was the most shocking discovery on Feather Island after the earthquake, and why was it considered an ominous sign?

      Answer:
      The most shocking discovery was the body of a young Seiikinese dragon that had washed ashore. This was considered an extremely ominous sign because dragons, being gods in this world, cannot drown—they are one with water. The elders concluded the dragon had been “boiled alive by the sea itself,” which was described as deeply unnatural. The text emphasizes that “no omen could be more sinister,” suggesting this event represents a fundamental disruption of natural order and foreshadows greater calamities to come (pages 480-481).

      2. How does the chapter portray Tané’s emotional state and her relationship with her past?

      Answer:
      Tané is depicted as deeply traumatized and haunted by her past. She experiences visceral grief upon seeing the dead dragon, shuddering and turning away when she “could bear it no more.” Her interaction with Elder Vara reveals she carries shame about her exile from Seiiki, feeling “stripped naked” when learning others know her secrets. The chapter shows her seeking escape through Doctor Moyaka’s painkilling drug, which provides temporary relief: “the weight of her shame evaporated” as she finally breathes easy. This illustrates her ongoing struggle to reconcile with her history (pages 481-483).

      3. Analyze the significance of Doctor Moyaka’s examination of Tané’s side injury. What does this reveal about both characters?

      Answer:
      The examination scene reveals multiple layers of characterization. For Tané, it demonstrates her internal conflict—she initially refuses treatment due to her traumatic association with the Moyaka name (linked to someone who threatened her dragon), but ultimately complies to avoid embarrassing Elder Vara, showing her respect for authority. For Doctor Moyaka, her professional demeanor (“traced the shape of the lump”) contrasts with Tané’s anxiety, highlighting generational differences in handling trauma. The bone spur itself becomes symbolic—a physical manifestation of Tané’s long-buried pain, now being brought to light just as her emotional wounds resurface (page 483).

      4. What does the chapter suggest about the broader political situation in Seiiki through the conversation about the Fleet of the Tiger Eye?

      Answer:
      The brief exchange about the Fleet of the Tiger Eye reveals ongoing instability in Seiiki. Doctor Moyaka mentions there have been no attacks since Ginura (where Tané experienced trauma), but ominously states “they will soon return,” implying cyclical violence. The reference to the “Golden Empress being emboldened” suggests rising authoritarian threats. This political tension forms a backdrop to Tané’s personal struggles, connecting her exile to larger societal conflicts. The conversation also establishes Feather Island as relatively insulated from these mainland troubles, making it both a refuge and place of isolation for Tané (page 482).

    Quotes

    • 1. “Gods could not drown. They were one with water. Finally, the elders had concluded that this dragon had been boiled. Boiled alive by the sea itself. Nothing was more unnatural. No omen could be more sinister.”

      This quote captures the shocking discovery of a dead dragon on Feather Island, revealing the unnatural horror of a water-bound creature being killed by the sea itself. It marks a pivotal moment of dread and foreshadowing in the chapter, signaling that fundamental natural laws are being violated.

      2. “I know your last days in Seiiki were unhappy, Tané. I also know how hard it is to let go of the past. But on Feather Island, you must let go.”

      Elder Vara’s gentle admonition to Tané reveals both her troubled history and the chapter’s theme of confronting one’s past. This moment shows Tané’s internal struggle and the tension between her trauma and the need to move forward in her new life.

      3. “The smoke rubbed her throat raw. When it reached her chest, it blew a dark, sweet comfort through her blood, and her body was half feather and half stone, sinking as her thoughts grew light. The weight of her shame evaporated.”

      This vivid description of Tané’s medicinal experience powerfully conveys her emotional release and temporary escape from her burdens. The poetic language captures both physical sensation and psychological relief, marking a rare moment of peace in her otherwise troubled existence.

      4. “The Golden Empress is emboldened.”

      This brief but ominous statement by Doctor Moyaka references the growing threat in Seiiki, connecting Tané’s personal struggles to larger political tensions. It serves as both a reminder of the world beyond Feather Island and foreshadowing of future conflicts.

    Quotes

    1. “Gods could not drown. They were one with water. Finally, the elders had concluded that this dragon had been boiled. Boiled alive by the sea itself. Nothing was more unnatural. No omen could be more sinister.”

    This quote captures the shocking discovery of a dead dragon on Feather Island, revealing the unnatural horror of a water-bound creature being killed by the sea itself. It marks a pivotal moment of dread and foreshadowing in the chapter, signaling that fundamental natural laws are being violated.

    2. “I know your last days in Seiiki were unhappy, Tané. I also know how hard it is to let go of the past. But on Feather Island, you must let go.”

    Elder Vara’s gentle admonition to Tané reveals both her troubled history and the chapter’s theme of confronting one’s past. This moment shows Tané’s internal struggle and the tension between her trauma and the need to move forward in her new life.

    3. “The smoke rubbed her throat raw. When it reached her chest, it blew a dark, sweet comfort through her blood, and her body was half feather and half stone, sinking as her thoughts grew light. The weight of her shame evaporated.”

    This vivid description of Tané’s medicinal experience powerfully conveys her emotional release and temporary escape from her burdens. The poetic language captures both physical sensation and psychological relief, marking a rare moment of peace in her otherwise troubled existence.

    4. “The Golden Empress is emboldened.”

    This brief but ominous statement by Doctor Moyaka references the growing threat in Seiiki, connecting Tané’s personal struggles to larger political tensions. It serves as both a reminder of the world beyond Feather Island and foreshadowing of future conflicts.

    FAQs

    1. What was the most shocking discovery on Feather Island after the earthquake, and why was it considered an ominous sign?

    Answer:
    The most shocking discovery was the body of a young Seiikinese dragon that had washed ashore. This was considered an extremely ominous sign because dragons, being gods in this world, cannot drown—they are one with water. The elders concluded the dragon had been “boiled alive by the sea itself,” which was described as deeply unnatural. The text emphasizes that “no omen could be more sinister,” suggesting this event represents a fundamental disruption of natural order and foreshadows greater calamities to come (pages 480-481).

    2. How does the chapter portray Tané’s emotional state and her relationship with her past?

    Answer:
    Tané is depicted as deeply traumatized and haunted by her past. She experiences visceral grief upon seeing the dead dragon, shuddering and turning away when she “could bear it no more.” Her interaction with Elder Vara reveals she carries shame about her exile from Seiiki, feeling “stripped naked” when learning others know her secrets. The chapter shows her seeking escape through Doctor Moyaka’s painkilling drug, which provides temporary relief: “the weight of her shame evaporated” as she finally breathes easy. This illustrates her ongoing struggle to reconcile with her history (pages 481-483).

    3. Analyze the significance of Doctor Moyaka’s examination of Tané’s side injury. What does this reveal about both characters?

    Answer:
    The examination scene reveals multiple layers of characterization. For Tané, it demonstrates her internal conflict—she initially refuses treatment due to her traumatic association with the Moyaka name (linked to someone who threatened her dragon), but ultimately complies to avoid embarrassing Elder Vara, showing her respect for authority. For Doctor Moyaka, her professional demeanor (“traced the shape of the lump”) contrasts with Tané’s anxiety, highlighting generational differences in handling trauma. The bone spur itself becomes symbolic—a physical manifestation of Tané’s long-buried pain, now being brought to light just as her emotional wounds resurface (page 483).

    4. What does the chapter suggest about the broader political situation in Seiiki through the conversation about the Fleet of the Tiger Eye?

    Answer:
    The brief exchange about the Fleet of the Tiger Eye reveals ongoing instability in Seiiki. Doctor Moyaka mentions there have been no attacks since Ginura (where Tané experienced trauma), but ominously states “they will soon return,” implying cyclical violence. The reference to the “Golden Empress being emboldened” suggests rising authoritarian threats. This political tension forms a backdrop to Tané’s personal struggles, connecting her exile to larger societal conflicts. The conversation also establishes Feather Island as relatively insulated from these mainland troubles, making it both a refuge and place of isolation for Tané (page 482).

    Note