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58 pages 1 hour read

Soman Chainani

A World Without Princes

Soman ChainaniFiction | Novel | Middle Grade | Published in 2014

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Part 2, Chapters 19-24Chapter Summaries & Analyses

Part 2, Chapter 19 Summary: “Two Days Left

Sophie, as Filip, is exhausted, having spent the night searching for the Storian. Sophie brings Tedros an apple, but the battered prince smacks it from her hand. Hort helps “Filip” win the first three challenges. The teachers allow Tedros to starve because they believe he’s hiding the Storian. Sophie brings him more food, but Aric catches them and blames Tedros. Filip defends Tedros, blocking Aric’s attempt to beat the prince. After Aric leaves, Filip threatens to kill Tedros himself if he doesn’t eat. Meanwhile, Agatha is worried about Sophie. She sees Yara leaving the dean’s office, catching the door before it closes. In the office, Agatha finds a hidden map with red circled around parts of the forest. She also finds a letter outlining the Trial’s rules and regulations, as well as the directions for producing Merlin’s spell.

Part 2, Chapter 20 Summary: “One Step Ahead”

Tedros eats while Filip interrogates him about the Storian’s location, and Tedros mentions that no one’s seen Tristan for days. In addition, Tedros claims, the pen reflects its master’s soul, which is why he’s so fearful that Sader will acquire it. Sophie realizes that Tedros thinks he deserves a happy ending. Tedros tells Filip he heard Agatha’s wish, that she wanted him to, and that he’s angry it was a lie. Tedros assures Filip that Sophie is evil, as she ruined Agatha. Sophie wonders why a girl can’t have the love of both her prince and her best friend, and Tedros says it’s because a person can only be loyal to one person. Filip suggests that Sophie needs Agatha more than Tedros does, but Tedros believes each person has only one true love.

Agatha and the witches try to figure out what Sader was doing with Merlin’s spell. Dot wonders if the Dean sent a girl into the boys’ school, suggesting this girl could have hidden the Storian to make sure the Trial goes on. Agatha suggests Beatrix because the invisibility cape was under Beatrix’s bed. That night, Agatha dons the cape and goes to investigate the circled area on Sader’s hidden map. Suddenly, a swarm of blue butterflies attacks, tearing her cape apart. She realizes the dean planted the map, and she finds Yuba’s den incinerated. Agatha looks up to see the dean, smiling at her office window.

Filip takes Tedros to a balcony overlooking the Blue Forest and asks the prince how he can sentence two girls to death. Tedros says there’s always three in a fairy tale, including the true love and the villain: Agatha made him the villain when she lied about Sophie in the tower. They talk about their parents, and Filip says he’d “do anything to see [his mother] again” (347). Sophie’s mother was Vanessa, which means butterfly. Filip cries, and Tedros comforts him.

Part 2, Chapter 21 Summary: “Red Light”

Agatha tells the witches that Sader knows what they’ve been doing, but she’s confident Sophie will find the Storian. In class, Sader takes her students into her own story. In her memory of 10 years earlier, Sader wears red butterflies and teaches in the School for Good while her brother teaches in Evil. August jealously attacks her, and she vows to return after his death. However, Agatha knows this version is a lie. She finds a secret passage in Sader’s memory, and August Sader appears, telling Agatha it’s part of the memory his sister hides. In the first real memory, the dean confronts the School Master, telling him her brother is lying. She assures him that she is loyal and the true love he’s sought. He tells her to prove it. In the next memory, Lesso confronts the dean about meddling in students’ stories, and Sader reveals her knowledge of Lesso’s son, hidden in the forest. In the third memory, the School Master tells August that he’ll have to teach his sister’s classes when she’s evicted. August promises him that his true love is not from their world. The next memory shows the dean’s eviction. The School Master pulls a wisp of blue smoke from his heart and places it in Sader’s, turning her butterflies blue and ensuring she’ll be able to return if he’s made a mistake. When Agatha returns to the present, she accuses Sader of trying to bring the School Master back, and Sader knocks her out.

Meanwhile, Tedros eats breakfast, and no one stops him because they’re scared of Filip. Hort gets mad when he learns that Filip defended Tedros. Later, a teacher tells Tedros and Filip to stop “flirting,” and they separate awkwardly. Hort wants to continue sabotaging Tedros, but Filip refuses. Filip outsmarts them all in the final challenge and is allowed to select a friend to join in the Trial, and Filip realizes Hort expects to be chosen. Tedros makes his case, though, saying he’s never felt as loyal to anyone, boy or girl, than he feels to Filip, who is what a “real” boy should be. Filip chooses Tedros, then sees a red flare at the girls’ castle.

Part 2, Chapter 22 Summary: “Last One In”

Agatha dreams of Tedros. She tells him that she fell for him when Sophie rejected him last year, when she saw the hurt in his face. He feels her description makes him sound “like a girl” (377), but she claims that it’s what made her love him. She likes his combination of vulnerability and strength. When Agatha wakes up, she learns the Trial already started. She sees the list of nine girls who are fighting, including Sophie. The dean taunts Agatha, saying Agatha’s ideas are usually wrong. When Agatha sees the list of boys in the Trial, she realizes Sophie is still Filip and will return to herself any second. Agatha enters the Trial.

Part 2, Chapter 23 Summary: “Death in the Forest”

Sophie learns Agatha is in the Trial, and she suggests that Filip and Tedros hide under a bridge. Tedros wants to find the girls, though, and he accuses Filip of talking like a girl. They climb a tree to gain a better view. Sophie tells Tedros he isn’t a villain and cannot really want to kill two girls, and emotion overwhelms him. Tedros says the girls’ death is the “only happy ending left” (391). Sophie realizes that he sounds like a villain. She wants to hide but knows she must protect Agatha. Meanwhile, Agatha believes Sophie will hide under the bridge, so she mogrifies into a cat and moves in that direction. She finds the witches and tells them Sader is trying to revive the School Master, realizing she doesn’t know who the villain of this story is. Hester and Anadil force Agatha to search for Sophie. Dovey wants Lesso to intervene, but Lesso says it will void the Trial. When Hester appears before them, bloody and injured, Lesso goes. Agatha begins to connect the dots—the uniform under the bed, the spirick marks on Sophie’s wrist, the pink spell—and she questions Sophie’s loyalty.

Filip asks Tedros if he’s ever killed and describes how murder changes the aggressor. No matter how good one tries to be, one can never escape the shadow of one’s choice. Tedros sees Filip’s face getting smoother, and Sophie realizes the spell is ending. In the chaos, they find Yara, her windpipe cut; she changes into Tristan before their eyes. He says Sader let him stay in the girls’ school as long as he kept the Storian hidden for her. Tristan recognizes Sophie, and he tells her he hid the Storian inside her fairy tale. Tedros realizes that Tristan died because he just wanted to get away from the boys who made fun of him. Tedros ponders the reason he keeps wishing Filip were a princess. Filip asks him to promise to let Sophie and Agatha go, and Tedros agrees if Filip promises not to leave the kingdom. Tedros believes Filip is the only thing keeping him good. Sophie as Filip continues to press for the promise, but Tedros catches her hand and leans in for a kiss. This is how Agatha finds them.

Part 2, Chapter 24 Summary: “Villains Unmasked”

Agatha confronts Sophie, but Tedros defends “Filip.” Agatha accuses Sophie of trying to kiss Tedros and send her home, as well as attacking them in the tower. Tedros is confused as he watches Filip and Agatha argue. Finally, he defends Filip, but Filip transforms into Sophie. Tedros feels everything is a lie, but Agatha reassures him that her love isn’t. Lesso appears, and Agatha goes to Tedros; they glare at Sophie, realizing the Trial is happening because of her. Flares go off to signal the Trial’s end due to Lesso’s interference; now it’ll be war. Lesso tells Agatha to kiss Tedros as a swarm of blue butterflies carries her away. 

Suddenly, the School Master’s tower crashes through the trees toward the trio, and Sader appears from a cloud of butterflies while holding Agatha’s storybook. Though Sophie is still beautiful in person, she’s an ugly witch in the book. Sader says Sophie is the real villain, and Tedros says she’ll always be Evil. As Sophie transforms into a witch, Agatha feels both pity and anger. She kisses Tedros, though Sophie pleads with her. The Storian begins to write “The End,” but Sader stops it. Sophie changes back into her beautiful self. Sader reminds Sophie of her wish for her mother, and Agatha realizes Sader is using Sophie to revive the School Master. Sophie will do anything to bring her mother back. Sader reaches into her heart, pulling out the blue wisp and, as Sophie makes her wish again, her mother appears. Her mother says it’s time for Sophie to find her true love, that Sophie must kiss her and not break the kiss. Sophie does as she says, and her mother’s ghost turns into the young School Master, restored to life. When Sophie finally looks at Agatha, she has a pang of regret before she spots Agatha’s hand in Tedros’s. Sader dies, and the School Master takes the Storian. When he lets it go, it rewrites the end of the book. Both castles turn black, and Agatha begins to fade. She begs Sophie for help, but Sophie says simply that Agatha didn’t choose her. The School Master goes to kill Tedros, but Agatha grabs his hand. They vanish, and Sophie and the School Master float up to his tower.

Part 2, Chapters 19-24 Analysis

In this section, the closing events reinforce The Fiction of Traditional Happy Endings by showing how these “endings” can be rewritten and how some apparent “ever afters” are characterized by a mixture of emotions. Despite Agatha and Tedros’s kiss, Sader stops the Storian from writing their ending and gives Sophie a chance to try for her own happy ending. When Agatha chooses Tedros over Sophie, she does so with a mixture of “pity and anger” for her former friend (422). Such feelings do not sound happy, despite Agatha getting her wish to be with Tedros. This moment underscores the idea that fairy-tale conclusions are rarely as neat or fulfilling as they claim to be. The emotional cost of Agatha’s decision—her guilt over Sophie’s pain—complicates the idea of a perfect resolution. Rejected, Sophie listens to the dean, but even after her mother’s ghost transforms into the real, powerful School Master who chooses Sophie, “Sophie shook her head, heart breaking. Agatha was right … she had to stop this, she had to disavow this Evil, she had to take all of this back” (430). Like the description of Agatha, this is not a picture of a girl who feels confident that she is making the choice that will lead to her happiness. The uncertainty and regret Sophie experiences at the peak of her supposed triumph reflect the deeper instability of so-called “Good” and “Evil” choices, demonstrating that even the most defining decisions rarely lead to clear-cut outcomes. 

Both Sophie and Agatha experience regret, doubt, and indecision regarding their trust and loyalty to one another, undermining the idea of an unproblematically happy ending. Further, Sophie’s wish is to be with her mother, Vanessa, and this is not what transpires; her mother’s ghost, or something conjured by Sader to seem like it, stays for only a moment before the School Master materializes. Thus, Sophie doesn’t truly get her wish, and, at some point, she is likely to realize this. Even when wishes come true, they do so in altered, corrupted forms, reinforcing that the traditional fairy-tale promise of fulfillment is an illusion. Further, when Agatha kisses Tedros, she “felt her heart floating, time expanding, fear crumbling to ash, as if at last she found her Ever After, as if at last she’d found an ending that couldn’t be taken away” (423-24). But it can be taken away, and it is when Sader prevents the Storian from writing it. Ultimately, then, the power to write endings lies with the Storian and whoever controls it, not with the girls or their wishes. This moment exemplifies how societal forces—represented by the Storian—dictate what stories are allowed to be written, emphasizing how external powers often override personal desires, even in supposed fairy-tale resolutions. It is this lack of real agency that has made first the females, then the males, so unhappy in this magical society.

Another element that challenges the nature of traditional happy endings is The Confluence of Heroism and Villainy, that a combination of these qualities imbues each character, and anyone can become a hero or a villain depending on circumstance and perspective. At times, Sophie seems like the villain, but then it’s the dean, or Tedros, or even Agatha. Each character, except perhaps Sader, has moments of heroism as well. Talking to Filip, Tedros laments, “The moment Agatha hid Sophie in my tower, the moment Agatha attacked me, she made me the villain” (345). He resents Agatha for putting him in this position when he just wants to be “good” and to have the ending he’s been promised. However, he later credits “Filip” for making him good, just as Sophie has long credited Agatha for making her good. This layering of influence reveals that heroism and villainy are not inherent qualities but are instead relational; one person’s hero can be another’s antagonist, depending on who is telling the story. The irony, of course, is that Sophie is Filip, and the relational source of Filip’s goodness is Agatha, meaning that Tedros’s goodness still derives from Agatha. Thus, Agatha wonders, “Who would end up the villain?” (394). No character is either completely villainous or heroic; each one has moments of both, and this is what allows Sophie’s feelings for Tedros to return despite thinking he is the villain of her story. Even the Storian writes, “The villain had been hidden all this time” before it is clear who the villain actually is (420). The idea of a hidden villain suggests that villainy is a constructed identity, one that shifts based on perception rather than any fixed moral failing. Sophie thought she was “doing Good” when she prevented Agatha’s wish in the tower and believed Tedros was their villain. Then, when Sophie changes into an ugly witch, she seems like the villain of the story. However, when Sader stops the Storian from writing “The End” after Agatha and Tedros’s kiss, the dean seems like the villain. This repeated shifting of antagonistic roles underscores the novel’s interrogation of how individuals and societies label people as “Good” or “Evil,” reinforcing the arbitrariness of those distinctions. It isn’t until the School Master returns that he is revealed as the villain, though it seems likely that his path to villainhood will be revealed in future installments of the series and nuanced.

Just as heroism and villainy can exist within the same person, and their relationship is fluid and changing, The Fluidity of Gender is affirmed by Sophie’s experiences as Filip. To the other students, Tedros says of Filip,

He isn’t like us princes—rash and uptight and with our heads up our bums. He’s honest and sensitive and thinks a lot and has real feelings. Boys never have real feelings … at least not ones that they don’t toss off or hide. But he’s a boy in the way a real boy’s supposed to be, built of honor, valor, and heart (372).

Tedros identifies “Filip’s” differences from the other boys, but he declares Filip to embody the qualities that a “real boy” should have. Ironically, the idealized masculinity Tedros describes—one that blends strength with emotional depth—is performed most convincingly by a girl. This suggests that gender attributes are social constructs rather than innate truths. Gendered qualities are not fixed and innate but, rather, prescribed by a society that seeks to stabilize power dynamics and sexual roles. Sophie’s ability to seamlessly assume male-coded authority—while still retaining her core personality—further reinforces how performative gender roles are within the world of the novel. This is why Tedros is so confused by his attraction to Filip and why he alternately fights it and tries desperately to understand it. The heteronormativity of the traditional fairy tale—in which a prince and princess join lives—is shown to be a social preference rather than a sexual imperative. The discomfort Tedros experiences when he finds himself drawn to Filip suggests that desire itself is shaped by learned expectations; he struggles not because he is inherently opposed to liking Filip, but because it contradicts his internalized rules about whom he is supposed to love.

The final moments of the novel solidify its central critique of predetermined destinies and rigid moral binaries. Sophie and Agatha’s separation, though seemingly a natural consequence of Agatha choosing Tedros, represents something far more profound: the impossibility of reconciling competing visions of happiness within a single narrative. Agatha’s departure with Tedros does not result in the immediate fulfillment she once imagined, and Sophie’s union with the School Master, though framed as her “true love” moment, carries an undercurrent of manipulation and loss. The death of Sader, the architect of this upheaval, removes one agent of control, but her influence lingers in the structures she helped enforce. Meanwhile, the School Master’s return signals a return to an older power structure, but one now informed by the upheaval that preceded it, suggesting that cycles of oppression, war, and rewritten histories are bound to continue. Even as the Storian rewrites the ending, it is clear that there is no true conclusion—only an ongoing struggle over whose story is allowed to be told. The novel thus rejects the idea that fairy tales provide fixed, unalterable “ever afters” and instead argues that stories—and the lives within them—are fluid, shaped by power, perception, and the choices that individuals make, even when those choices come at great personal cost.

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