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Freya Marske uses books and libraries to illustrate fundamental aspects of her protagonists and to expand on the relationship between them. In Penhallick’s library, Robin sees Edwin in a moment of relative peace and comfort, and begins to notice his attraction, seeing Edwin develop a “delicate, turbulent, Turner-sketch attractiveness that hit Robin like a clean hook to the jaw” (480). Edwin, too, thaws in this setting, admitting to Robin why he uses string to guide his spells. Robin sees himself as not particularly intellectual, but he notes the connection between the book of fairytales and the Last Contract, insisting to Edwin that “if magic exists than surely the fae do” (99). Edwin comes to accept this hypothesis after the trip to Sutton cottage, indicating a real intellectual partnership between the two of them in addition to their romantic bond.
In emotional moments, both Edwin and Robin think in literary metaphors. Overcome with his developing feelings, Edwin admits that he imagines them as a text, thinking “he had the ludicrous urge to ask Robin to write them down, to bind them up and give them to him on paper” (262). In the intimacy of Edwin’s bedroom at Sutton, Robin has a similar thought, declaring that he “wanted to make a leather bound book of his belief and hand it to Edwin” (358). This illustrates that Robin has come to understand how Edwin sees the world and the kind of proof he needs, assuring the reader that deep misunderstandings are a thing of their past, not their new future as a couple.
Due to the work’s setting in the world of England’s upper classes, the nature of homes is part of Marske’s exploration of class and identity, deepening the theme of Class, Ambition, and the Nature of Power. The journey to Penhallick is fundamental to Robin and Edwin’s transition from adversaries to allies to romantic partners, and though Edwin does not live there himself, what Robin learns about him there is key to this emotional journey. Edwin feels a connection to the land, as his parents pledged him to it, but he believes the estate senses his inadequacies. This mirrors his adversarial relationship with most of his family and his sister’s cruel observation that Robin’s presence must be helpful to Edwin, as it means he is “not being the one in the room with the least magic” (79). Edwin’s trip to Sutton Cottage shows him an estate that matches its owner—guarded and full of secrets—and a source of power he had no idea existed. This changes his relationship to his own family home, as he re-pledges himself to Penhallick to save Robin from his curse.
Robin has his own fraught relationship to domestic settings, as he sees his parents everywhere in the family home, including in the many portraits of them that line the walls. This reinforces his bitterness at their financial irresponsibility and his doubts about the future. His decision to sell the house leads him to be more direct with Maud, as he tells her, “[W]e’ve got more servants than we need, keeping up rooms we’re never going to use” (292). Robin decides to break with the expectations his parents set and shape his own future. Soon after, he decides to find Edwin and try to rebuild their relationship, demonstrating that a less fraught relationship to his house has made him more confident about what else he deserves. Sutton, once it becomes Edwin’s, becomes a key setting of emotional and sexual intimacy for Edwin and Robin. It is there that they pledge their futures to each other and make their plans to continue the search for the Last Contract. Marske thus establishes that a harmonious sense of home and self is a key part of each protagonist’s evolution.
Marske uses descriptions of physical strength and power to explore the distinction between outward appearances and inner character. Edwin initially dislikes Robin’s obvious physical strength and confidence, as it reminds him of “every healthy, vigorous half-witted boy he had spent his school and university years trying to ignore” (22). Later, it becomes clearer that this dislike is a form of self-protection: Men like Robin remind Edwin of the boys who bullied him as he was growing up—especially his brother Walt, who was both physically and magically stronger and took advantage of his power. Edwin’s reticence with Robin likely also relates to the dangers of pursuing romantic connections with other men in Edwardian England. Only later, after spending a great deal of time with Robin, does Edwin begin to realize that his confident, athletic exterior hides a sensitive and vulnerable interior. Robin, too, has been treated with disdain by his parents and forced to hide his true self from the prejudices of his society. As the two begin to understand each other’s true character, an unexpected romance grows between them.
Flora Sutton, the owner of Sutton Cottage, is another figure whose outward appearance belies her true character. Edwin assumes at first that the elderly Flora Sutton must be as frail as she looks, but Robin and Edwin soon realize that her appearance is meant to conceal her true power as a magician. At Sutton Cottage, Flora presides over a form of magic rooted not in contracts but in the bond between the land and its inhabitants. This older form of magic has long since fallen out of favor in the male-dominated magical world, but Flora is willing to die to protect it. When Walt arrives at the cottage to take its secrets for himself—threatening to harm Edwin and Robin in the process—the house reveals that its power is even greater than Walt’s.
Though Robin is frequently depicted boxing and is a skilled rower, in the end it is his emotional bravery, along with Edwin’s intellect, that benefits them most in their fight with Walt. Robin’s willingness to end his life rather than risk Edwin or his sister strikes Walt as a bluff, but Edwin tells his brother, “that’s because you don’t know him” (344). By this point, Edwin has come to understand Robin’s inner strength. He sees Robin’s true character, while Walt sees only his outward appearance. After the house rescues them, Edwin decides to bind his brother in a blood-oath rather than seek more obvious revenge—this choice sets Walt so off balance that, unable to see his brother as a threat, he fails to realize that Edwin and Robin have been left free to thwart his future plans. Walt’s reliance on appearances is ultimately his downfall.
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