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Anne UrsuA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The narrative returns to Hazel. The moment she steps into the woods, she’s transported to another forest unaffected by the winter cold. Suddenly, she spots a grey wolf staring at her. She tells the wolf that she’s looking for her friend, describes Jack, and backs away slowly. Hazel follows a mysterious ticking sound to a grandfather clock in the middle of a clearing. She asks a pair of enormous ravens, “Do you know of a woman who looks like she’s made out of snow?” (164). The birds gesture toward a dirt path through the trees.
According to Hazel’s compass, the path heads north. She hides when a woodsman rides down the path but decides to ask him for help. Before she can draw the man’s attention, a wolf with “a thick brown and black coat and creepy blue eyes” appears and growls at her (169). The woodsman rides away, leaving behind a pair of beautiful red ballet slippers in Hazel’s size. Hazel steps on her compass to retrieve them, but the wolf glares at her so she leaves them behind and goes into the woods.
Hazel travels parallel to the path and reaches an enormous tree where three women are spinning grey string. One of the women asks the girl if her name has always been Hazel, and she feels a pang as she considers how little she knows about her origins and Indian culture. The women suggest that she’s come to this magical world to learn about herself in addition to saving Jack, but she says she only wants to find her friend. She gives the women her flashlight in exchange for information about Jack, but they’re unable to find the thread of his life. When Hazel explains that he was taken by a witch on a sleigh, the three women urge her to go home and refuse to tell her where to look.
Hazel finds a swan’s skin, and she hopes that wearing it will transform her into a beautiful bird like the characters in stories. When this doesn’t happen, she feels useless and miserable and throws the skin into a stream. Suddenly, a gaunt woman seizes Hazel and demands to know what she’s done with her skin. She mocks the girl, “Did you want to be a beautiful swan, you ugly little girl? Did you think you could fly?” (187). The woman claws Hazel’s face and starts to drag her away. Hazel hits the woman with her backpack and flees in terror. A teenage boy perched in a tree tells Hazel to come with him.
The boy leads Hazel to a cabin, and she collapses on the floor, wishing that she were home. The teenage boy stays outside chopping wood, and he tells the wicked woman that he hasn’t seen the girl she’s chasing. The boy enters the cabin to assure Hazel that the coast is clear, introduces himself as Ben, and tends to the wound on her face. Ben explains that the woods don’t behave according to the rules that people expect and that this drives some mad, like the woman with the swanskin. He gently urges Hazel to go home rather than attempt to rescue Jack from the white witch, saying, “She wouldn’t have taken him if he didn’t want to go” (199).
Ben explains that he’s from New Jersey. He and his sister, Alice, ran away from their abusive father and found themselves in the magical forest. A couple welcomed the children into their home. At first, they were kind, but they soon turned Alice into a beautiful white bird. All Ben wants is to protect his sister, so he keeps a gun in case the couple comes back for her. He tells Hazel that she can find the witch’s palace by following the cold, and he warns her not to accept any of the temptations the witch offers her. Hazel still doesn’t understand why anyone would want to go with the witch. Ben says, “[S[ometimes […] it seems like it would be easier to give yourself to the ice” (204). He wishes her luck and promises that he’ll come to her aid if she calls on him in the forest.
As Hazel resumes her journey through the woods, she reflects on the tragic tale of Ben and Alice. She wonders if Jack would watch over her if she were transformed into a bird, but she isn’t sure she wants to escape reality anymore. As night approaches, she feels foolish for giving the Fates her flashlight and for not asking Ben for food and a night’s rest. A pack of wolves emerges from the forest, and Hazel hurries to a village protected by a wall. Hazel asks the woman guarding the gate how she can rescue her friend from the white witch, but the guard tells her, “You can’t defeat her. She’s never going to go away” (212).
A bustling market fills the village square, and people from all over the world throng there. Some of the shoppers and street performers wear modern clothes, and the shopkeepers sell contemporary books as well as mystical wares like potions. Hazel hopes to buy a luck potion, but the vendor only has potions that allow the drinker to forget people and events. Hazel spots the woodsman she saw earlier standing beside a beautiful girl dancing the ballet. The dancer is wearing the red shoes that Hazel saw on the path, and she looks weary and in pain. The woodsman explains that he had a daughter who lost herself to dancing. He observes sadly, “Sometimes people get so focused on things they don’t see the world around them” (218). Exhausted and confused, Hazel walks away.
A wizard asks Hazel what her heart yearns for. When she says that she wants her friend back, he tells her that he can make her charming and clever so that she’ll belong. When he grips her hand, Hazel feels faint. A man in a blue coat rushes over, crying, “Rose, what are you doing?” (222). He shepherds her away from the nefarious wizard and introduces himself as Lucas. Lucas explains that the wizard put something on Hazel’s skin to lessen her judgment so that she would make a bargain with him. Lucas takes her to his cottage so his wife, Nina, can administer an antidote.
Even in her drowsy, bewitched state, Hazel is struck by the resemblance between herself and Nina, and she wonders if her biological parents looked like Lucas and Nina. The couple counsels her not to seek the white witch, because she only takes people who want to go with her, so Jack probably doesn’t want to be rescued. Nina gives Hazel a cup of tea with honey. The couple’s gentleness and obvious affection for one another remind the girl of when her parents were still in love. Nina and Lucas explain that they try to help girls who enter the woods because their own daughter is missing. When Nina tucks Hazel into bed, the girl sees a beautiful mechanical bird that reminds her of Alice. Nina tells her that the mechanical bird is a replacement that Lucas made when their real bird got away. Nina calls Hazel “Rose” and tells her that she’s glad that she found them.
Hazel dreams about the make-believe adventures that she used to have with Jack and the way he’d once called himself the Prince of Eternity. When she awakens, she begins to feel foolish for hoping to rescue Jack when he chose to leave and escape the worry and pain of his mother’s depression. She wonders if she was meant to come to the woods so that she could find Nina and Lucas. Hazel goes out into the garden, and the flowers reveal that they used to be girls. They can’t remember their names, but they tell Hazel their life stories. Each of them faced a personal problem that led them to enter the woods. For example, Daisy had a serious illness, and Violet’s brother returned from the war with post-traumatic stress disorder. Hazel remembers her mother’s love and Ben’s warning about the couple that transformed Alice into a bird. Nina comes outside, pleads with Hazel to stay, and tries to explain why they turned the girls into flowers: “It’s the only way we can make sure they don’t suffer anymore […] It’s too hard to be human” (244). Hazel refuses to give up on Jack or her own future, so she leaves.
Hazel follows the path toward the white witch’s palace. She’s determined to save Jack even if he’s changed and no longer wants to be her friend. She feels terribly guilty for leaving her mother, whom she’s sure is worried about her. Hazel resolves to survive her journey so that her mother won’t be alone.
In the novel’s third section, Ursu subverts traditional fairy-tale elements, plunging her protagonist into a magical world both similar to and eerily different from the stories Hazel’s read. For example, woodsmen defend children from wolves in famous fairy tales like “Little Red Riding Hood,” and Hazel initially takes comfort in observing these familiar patterns playing out in the woods. She understands “he [is] a woodsman. In woods full of wolves there [are] woodsmen, too. Her heart ease[s]” (168). However, within a few chapters, the protagonist realizes that the woodsman actually poses a danger to her while the wolves are a protective force. This subversion of generic conventions builds tension and suspense by going against readers’ established expectations.
Ursu underscores Hazel’s coming-of-age arc as she grows in bravery and wisdom due to her experiences in the woods. She finds her courage by persevering in her perilous quest to find Jack despite repeated warnings from Ben, the guardswoman, and Nina that her friend “doesn’t want saving” (199). In addition, the protagonist faces inner conflict when Nina and Lucas exploit her desire for acceptance, causing her to worry that “maybe she [doesn’t] belong anywhere else because she belong[s] here” (236). Ursu emphasizes Hazel’s inner conflict by titling Chapter 18 “Temptations.” Although Ursu initially presents Nina and Lucas as archetypically perfect parents, Hazel leaves their cottage after gaining a newfound appreciation of her mother’s love and a more nuanced perspective on her parents’ divorce. Hazel’s difficult experiences in this section cause her to mature into a wiser and more resolute person.
Hazel’s progressive acceptance of The Evolution of Childhood Friendships further emphasizes her growing maturity. Hazel begins to realize that her and Jack’s relationship will inevitably change even if she can save him: “[M]aybe she wasn’t going to be able to know all the Jacks that there would be. But all the Hazels that ever would be would have Jack in them, somewhere” (247). This affirmation that their time together will still be meaningful even as they change and grow evidences Hazel’s personal growth and maturity since Part 1 when she pretended that their friendship could never change. Hazel also reckons with the fact that the shifts in Jack’s behavior cannot all be attributed to paranormal causes. For example, she acknowledges that Jack is interested in befriending Tyler and the other boys in part because they don’t know him and his family situation as well as Hazel does, making it easier for him to avoid thinking about his mother’s depression when he’s in the boys’ company. Hazel progresses in her coming-of-age journey as she learns to see Jack’s actions from his perspective rather than her own, increasing her capacity for empathy and accepting that it’s natural for friendships to evolve.
Hazel’s burgeoning disillusionment with fantasy forces her to reconsider her understanding of reality. The supporting characters introduced in these chapters play an important role in developing the novel’s thematic interest in The Intersection of Reality and Fantasy in Shaping Personal Identity. For example, Ben’s faithful watch over Alice “would have been beautiful, as a story,” but Hazel realizes that “maybe she wouldn’t want” to live under the same circumstances with Jack as her protector (206). Nina provides a key intersection between reality and fantasy when she reveals, “No one here is from here, not to begin with,” indicating that all of the people in the woods are there because they sought to escape problems in the real world rather than facing them (232). Hazel once would have shared that dream, but she’s starting to realize that being in a magical world isn’t the joyful adventure she expected. This shift in the protagonist’s thinking highlights the ways she’s beginning to grow up and no longer wants to run away from reality.
Hazel discovers new insights about herself and her relationships as she grapples with The Impact of Divorce and Depression on Children. The longing and sorrow that she carries because of her parents’ separation become painfully apparent during her time with Nina and Lucas: “Hazel remembered this. Two parents at a table […] It had been a long time since she’d seen that” (228). Although the divorce makes Hazel vulnerable to Nina and Lucas’s ploys, she refuses their offer to give her a life free from suffering. This decision demonstrates the ways in which she’s beginning to appreciate her reality with all its struggles and imperfections rather than seeking comfort in a deceptively perfect fantasy. In another important development for the theme, Hazel finally understands Jack’s decision to go with the white witch willingly, realizing “he wanted to leave his mom and her unseeing eyes. He was the invisible boy looking for the place where no one could find him, where he did not have to feel invisible” (235). Ursu links this desire to escape with Jack’s drawing of the snow fort. Later in Chapter 19, Hazel recalls her mother’s loving promise that “they [are] going to take care of each other” (242). This memory helps Hazel recognize that she’s not the only person struggling because of the divorce and that she doesn’t have to face life’s hardships alone. As the novel nears its conclusion, Hazel strives to extend this same love and solidarity to Jack.