Kingdom of the Wicked

“Cooking was magic and music combined. The crack of shells, the hiss of pancetta hitting a hot pan, the metallic clang of a whisk beating the side of a bowl, even the rhythmic thwack of a cleaver against a wooden cutting board. I adored each part of being in a kitchen with my family.”

Emilia’s view that “cooking [is] magic” introduces her love of food and cooking that links values associated with magic and humanity to Emilia’s character development. The mention of music and use of descriptive sounds creates a richer image of the actions described.

“Vittoria gathered blood oranges, limoncello, red wine, and a bottle of prosecco. I watched from the island as she methodically added everything to a pitcher. A cup of this, a splash of that, a few sugared peels–potions and perfumes were where her magic shined brightest, and it often translated to drinks. It was one of the few times she was entirely serious, and I loved watching her get lost in pure happiness.”

This quote describes two important traits about Vittoria and Emilia respectively: Vittoria is a skilled potions witch, and Emilia has a deep respect for her sister’s craft. Showing Vittoria’s potion skills through her cocktail preparations anchors witchcraft in the human realm, illustrating that magic is not just the supernatural abilities possessed by non-human. Showing Emilia’s reverence toward her sister creates an important emotional link in advance of Vittoria’s murder.

“The day after we laid my sister to rest, I sat alone in our room, an unopened book in my lap. [...] I used to cherish peaceful days like this, when my town was out being adventurous and I was adventuring with a favorite character. A good book was its own brand of magic, one I could safely indulge in without fear of getting caught by those who hunted us. [...] Stories made everything possible.”

As Emilia grieves the loss of her sister, she reflects on the changing circumstances. Her desire for escapism reveals her natural instinct to reject the pain of grief. The reference to books as magic introduces another thematic interpretation to the question of what constitutes magic: action or experience.

“The polizia tied my sister’s murder to the two other girls. Apparently they also had their hearts ripped out, but there were no suspects or leads. They swore it wasn’t for a lack of effort on their part. But after the initial meetings, they stopped coming by our home and restaurant. They stopped asking questions. Young women died. Life resumed. Such was the way of the world, at least according to men.”

This quote highlights the feminist themes through Vittoria’s murder, which exemplifies the disproportionate violence against women. The human police are inadequate, suggesting that not only are the circumstances of Vittoria’s murder supernatural, but also that humans are willing to ignore possibilities that violate logic or challenge their values. The police search for a suspect relies on tangible evidence, which is Emilia’s primary obstacle in her own investigation, and the police are less motivated to solve the murders of women than men.

“Salty spray raged up over the cliff, prickling the exposed skin on my arms and neck. Maybe the water was mirroring my mood. Or maybe it sensed the darkness of the rolled parchment tucked beneath my arm. I certainly could. Witches were connected to the earth and channeled its powers into their own. I wouldn’t be surprised if the sea was wary of what was coming—the dark power I was about to unleash upon our realm.”

The vivid descriptions used in this quote create a rich world around Emilia, a common world-building technique in the fantasy genre. The claim that “witches [are] connected to the earth” also reveals the relationship between the natural and supernatural worlds. Emilia’s readiness to read the ocean as an omen echoes Nonna Maria and the foreshadowed prophecy.

“A pale tattoo had appeared on his formerly bare left forearm. Double crescent moons laying in a circle of stars. For a moment, he looked like he could hardly comprehend that I’d managed something so impossible. Honestly, I wasn’t sure why he and I now had matching tattoos, either, but would rather die than admit that to him. It must be the cost of the dark magic I’d used to summon him.”

The tattoos Emilia and Wrath share are a symbol of their marriage bond, though Emilia mistakenly assumes otherwise. Her assumption represents her naïveté and distrust of Wrath. The imagery of the tattoos references magical symbols relating to both demons and witches.

“Hair on the back of my neck stood on end as a man emerged from the darkness. His hair was black silk, and his eyes were an animal-like green. No human had eyes that color, and the strange, glittering luccicare surrounding him indicated what I already suspected: Malvagi. I wasn’t sure why, but I let go of my amulet and subtly tucked it into my bodice.”

During her first encounter with Envy, Emilia is uncertain of his identity. This mysterious introduction is reminiscent of Wrath’s summoning and engages with the mysterious nature of the Wicked. The description overtly distances Envy from humans, highlighting his untrustworthiness and deception to come.

“There’s no written documentation on what [the Horn of Hades] is, or how it works exactly. My aunt thinks part of the curse included removing or blocking our memories. She also believes that’s what really happened to old Sofia Santorini; that her scrying session unveiled something about the curse it wanted forgotten.”

Claudia tells Emilia what she knows about the Horn of Hades. The mystery surrounding the Horn of Hades partially relies on the grammatical inconsistency between “Horn” as a singular noun and abstract concept and the two cornicello amulets as a pair of concrete items with a single purpose. Claudia’s description of the curse grants agency to it, indicating that the curse is a powerful and dynamic force.

“After a few minutes of wandering down side roads that spiderwebbed away from the cathedral, I stopped in front of a door with a crowned frog burned onto it. [...] I could turn back, go to Sea & Vine, and forget this nightmare. Leave princes of Hell to someone better equipped with dealing with them. Or I could try to be a little more like Vittoria. I pulled the gambling chip out from my bodice and held it against the door, praying I wasn’t following a little too closely in my sister’s footsteps.”

As Emilia emulates her sister, she draws on Vittoria’s sense of courage, linking the sisters once again. Emilia understands that it is dangerous for her to act exactly as Vittoria had, which indicates Emilia’s cautious nature. The outline of her thought process as she decides how to act exemplifies part of the bias of the first-person narration: Emilia decides how to act based only on her presumptions about Vittoria’s actions, not any understanding of their true motive.

“Last month if someone told me I’d choose to wander through forgotten tunnels beneath the cathedral alone, tracking down an ancient snake demon guarding one half of a sacred key that not only locked the gates of Hell but were actually the horns of the devil, I‘d think they needed medical attention. Emilia Maria di Carlo didn’t do danger. My sister was the adventurous one—I was satisfied with safe, clean fun.”

In this quote, Emilia’s argument that she and her sister are different shows their oppositional natures. This opposition implies that Emilia is embarking on a journey that is not “safe,” indicating that Emilia is learning about the true dangers of dealing with demons. The emphasis on the word “choose” emphasizes the thematic importance of free will and Emilia’s developing character.

“A couple streets over [from the cathedral], voices rumbled like distant thunder. Laughter followed, bold and boisterous. Palermo was a city that worshipped the night as much as it basked in the glory of the day. Festivals, feasts—there always seemed to be some occasion worth celebrating, especially with food and drink. I hoped to stop the monster bent on destroying that before it struck again.”

This quote describes Palermo and Sicilian culture more clearly, using food to ground the description and indicate Emilia’s love for her hometown. Mentions of festivity offer a contrast to the increasingly dark circumstances surrounding the characters, and the final statement of Emilia’s desire to stop the demons from destroying her city highlights the growing danger posed by the curse.

“Right before [Antonio] took [his] oath [to join the brotherhood], I swore he seemed interested in pursuing a romance with me. He’d stop by Sea & Vine, offer to walk me home and linger outside my door. A few times I was convinced he was working up the nerve to steal a kiss. He’d chatter nervously about his favorite books. Vittoria would waggle her brows and slip inside, leaving me alone with him, but he never closed the distance between us. And none of that mattered now.”

Emilia comes to terms with her loss of romantic feelings toward Antonio, indicating that her romantic feelings toward Wrath are growing. Describing Antonio before he joined the brotherhood offers unreliable insight into his character, as the description is framed around Emilia’s feelings toward him. Portraying Antonio as shy lessens suspicions toward his character as a suspect in the murder investigation.

“Throngs of people elbowed their way through the busy marketplace, but still managed to give Wrath a wide berth. I wondered if they sensed his otherness and just didn’t know what to make of it. There was a quiet assurance about him—a confidence in himself and the space he occupied. Men and women paused in their gossiping, their gazes tracking him as we passed by. Some appreciatively, some with open distrust and scorn.”

Many descriptions of Wrath highlight his inhuman qualities, creating an intangible sense of his immortality. Wrath’s confidence is at odds with the idea that demons do not belong in the human realm. The awe with which the others regard him breaks down the barriers between human, witch, and demon interaction, placing all of these creatures in the same realm, though not as equals.

“Wrath opened his eyes and turned to me, his irises glowed bright gold in the dark. There wasn’t anything human in them, and I realized he’d been keeping this part of himself under lock and key. Some claimed the Wicked were angels before they committed unforgivable sins, and were cast out of heaven. Now I understood how those stories started—Wrath’s gaze blazed with heavenly fire. He was wrathful justice: pure, swift, and completely unforgiving.”

This quote offers much insight into Emilia’s changing views about the Wicked. As she separates fact from fiction regarding the warning stories she has heard from Nonna Maria, Emilia signals that she is changing as a character. This description also furthers Wrath’s character development, indicating his self-control and ability to deceive.

“One steaming plate of scampi, some arancini, a platter of antipasto—stacked with prosciutto, pepperoncini, soppressata, provolone, marinated olives, and artichokes tossed with oil, vinegar, oregano, and basil—and a basket of grilled bread graced our little table. I kept waiting for the demon to pull the waitress aside and ask for warmed blood or raw innards, but he seemed content with my choices.” 

This description of food is important in the development of the symbolic linkage of cuisine to magic. What Emilia presumes to be divisive is instead a uniting factor between Wrath and her. It also contributes to the ambient setting of a traditional Sicilian life that underlies the narrative.

“My foot caught in a cobblestone, and I couldn’t stop morbid curiosity from taking over as I caught myself against a building and tossed a glance over my shoulder. I was ready to freeze from unrelenting horror as Death cornered me, its maw open wide, ready to devour me bones and all, but nothing was there. I warily glanced around. No demon lurked behind fluttering clothing. No wet-nosed snuffs broke the silence. The complete and utter unnatural silence.”

As Emilia flees the Aper demon, her expectations about the beast’s actions are subverted. She anticipates a relentless chase but instead finds the Aper demon uses the same deceptive tactics as the other demons. The capitalization of “Death” personifies and emphasizes its importance as a governing factor in her life.

“I wondered about those nights I thought I’d felt someone watching as I drifted into sleep. It was unsettling and invasive, having private moments become a spectacle for prying eyes. All the times I’d gotten dressed, or collapsed in grief. Emotions raw and unchecked because I thought I’d been alone. I glanced out the window, wondering if someone was out there now, watching this latest horror unfold.”

Demons have invaded Emilia’s personal space yet again, symbolizing the deterioration of the gates of Hell. Her uncertainty in the face of invasion highlights the intimate connections people form with their belongings and home. Just as when Vittoria is murdered and Emilia feels that malevolent forces took her sister from her, she feels the same about the loss of Vittoria’s belongings.

“A powerful, glittering magic filled my veins. I was angrier than I’d been in a while. And maybe it was that fierce anger that made me decide to forget about finding my cornicello. There were twelve other witch families living secretly in Palermo. Any number of them could try and stop the demons from our world. And yet, no one had. Maybe I would be more like my twin. I’d dance and laugh and forget the world was a lonely, scary place for a few hours. [...] Tonight I wanted to pretend things were normal.”

Emilia describes feeling attracted to Lust’s enticing mirage on the beach. This quote begins with a description that explains the intangible sensations witches use to practice their powers. The notion of giving up appeals to Emilia in the face of Lust’s influence because giving up is much easier than pursuing the truth.

“‘Angelus mortis. He’s coming and going, and is a cunning thief who stole the stars and drank them dry. He will take you. You’re already gone. In the end, you choose. But he’s also chosen. I’ll mourn. I am mourning. Like leaves on the wind.’ Claudia plucked what I could only assume were imaginary leaves from the ground, and blew them from her palm. ‘The angel of death claimed you. Changed you. You are here, but not there, there is where you will be, your life is ended. Same but different. For eternity.’’’ 

After Claudia’s scrying fractures her mind, her omens appear nonsensical, but they explain and foreshadow the ending of the book. To Emilia, who does not know she will marry Pride yet, the warnings are not helpful, which is similar to her earlier interpretations of Nonna Maria’s warnings.

“‘[Wrath] loves a good challenge. It’s the war in him; makes him want to conquer and win at any cost.’ [Envy] took another sip of wine, his attention straying to my neck. ‘It will be hard for him to give you up when the time comes. But he will. Do not delude yourself into thinking you matter to him. We princes of Hell are selfish creatures. We do not suffer the same range of sentiments as mortals, and those born to this peculiar realm. You are standing between him and something he’s sought for a very long time. In the end, he will choose himself. As we all do.’” 

Envy reveals to Emilia the truth that Wrath is looking for a soul to earn his freedom from Hell, which implies that Envy knows the value of this information and is using it to bargain. To the Wicked, information is currency, yet his character’s unreliability makes Emilia doubt these claims.

“Nonna cupped my face tenderly, her brown eyes watering. ‘Love is the most powerful magic. Above all else, remember that. It will always guide you where you need to go.’”

Nonna Maria’s motivations always center on familial love, suggesting that love is the most important governing factor in decision-making and actions alike. Her suggestion that love “will always guide” Emilia foreshadows a more positive future, suggesting that good events can transpire when approached with loving intent.

“Wrath said I had a choice—I could either be a victim or a victor. And, much as I was loath to admit it, he was right. Others would always be out there, trying to knock me down, to tell me who I was or who they thought I should be. People carved words into weapons often, but they only had power if I listened to them instead of trusting myself.”

Emilia internalizes this lesson as the most important one she gained from Wrath. This allows her to find the confidence to act and prevent the prophecy from being fulfilled. To frame Emilia as a “victor” rather than a “victim” not only illustrates her character’s agency, but it also highlights that she is newly aware of her agency.

“A door near the end of the hallway was slightly cracked open in invitation. I took the last few steps and paused beside it. It very well could be a trap, but the whispers had turned frantic now. I needed to see what was in there. I inched closer, pulse pounding, and pushed the door a bit wider. From the outside, the room looked empty. Looks were often deceiving.”

As Emilia is enticed into a room that is a trap laid for her, she performs a final naive act. The “whispers” she hears are another description of the pull of magic that guides her to the spell book. The warning that “looks can be deceiving” has been true already in this book, especially regarding Wrath and Antonio who is about to be revealed as the murderer.