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54 pages 1 hour read

T. J. Klune

Somewhere Beyond the Sea

Fiction | Novel | Adult | Published in 2024

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Prologue-Chapter 4Chapter Summaries & Analyses

Prologue Summary

Arthur Parnassus takes the ferry to Marsyas Island, where he spent his youth in the Marsyas Orphanage for magical children. Filled with self-doubt after suffering terrible abuse at the orphanage, he longs to simply transform into his phoenix form and fly away from the place forever. He can tell from the attitude of Merle, the ferry operator, that the mainland townsfolk still view the island with fear and suspicion. Still, he’s determined to stay and accomplish his mission of reopening the orphanage to provide a better home for magical children than the one he himself once had. As he walks the long road toward the now-abandoned orphanage, he finds trees blocking his path. He gently touches one, addressing Zoe, the island sprite that animates them. He assures Zoe that he will not proceed without her permission. Zoe removes the trees from the road, and Arthur approaches the large house for the first time in 28 years. The house has been badly neglected. Arthur decides that he will take up residence in the more recently built guest house nearby while he rehabilitates the main house. He does not explore the cellar at the back of the house; he knows it too well, having been held there in darkness and isolation as a child by the orphanage’s cruel director.

Months pass while Arthur works on the house. Finally, Zoe appears. He tells her his plans, and she apologizes for not having known how to help him during his time at the orphanage. Zoe helps Arthur rehabilitate the house. When they’re finished, she urges him to stop fussing over small details and get on with the government paperwork required to reopen the orphanage. He admits to feeling frightened, but he completes the paperwork. When he goes to the town on the mainland to mail the forms, he sees an upsetting anti-magical propaganda poster in the window of a shop. Eventually, he receives a response to his petition: Charles Werner, from the Department in Charge of Magical Youth (DICOMY), appears at the orphanage and announces that he has an “unorthodox” proposal to offer Arthur (11).

Chapter 1 Summary

Many years later, Arthur wakes in his bed at the orphanage, worried that the children are unusually quiet. It’s much later than he’s generally able to sleep, and he’s afraid the children are up to some mischief. He wakes his partner of one year, Linus. Linus points out that their cat, Calliope, is not in her place on the bed. They feel relieved that Calliope is with the children, sure that she will not let any harm befall them. They throw on robes and hurry down the hallway, checking the children’s rooms and finding them all empty. They hear a crash from the kitchen below and realize that this must be where the children are. When they reach the head of the stairs, they see that Phee, a forest sprite, and Chauncey, an amorphous green being with tentacles and eye stalks, sitting at the bottom of the stairs, acting as lookouts for the other children. Chauncey confides in Phee about an incident at his bellhop job, where a woman reacted negatively to his physical differences. Phee tells him that he is “handsome as crap” and reminds him of all his positive attributes (23). Arthur and Linus hear another crash from the kitchen; they retreat a ways down the hallway and then make conspicuous noises as they return to the head of the stairs, so that the children will realize they are on their way down.

Chauncey yells a warning to the other children, who call back that he must stall Linus and Arthur. The men can hear a flurry of activity in the kitchen and they hear Talia, a gnome, accuse one of the other children of getting batter on the ceiling. Phee and Chauncey go into the kitchen, and the children hold a loudly whispered conference about whether they will be in trouble for the huge mess they have made. They ask Phee to stall Arthur and Linus while they clean up. Phee comes back out. In the moment of privacy Linus and Arthur have with her, they praise her for her kind words to Chauncey. She expresses frustration that the world is not getting better for magical people, and they tell her that change takes time. Inside the kitchen, they hear Lucy—whose name is short for “Lucifer,” as he is the son of the Devil—exuberantly suggesting that Theodore—a wyvern who has recently discovered an ability to breathe fire—“burn everything” (28). Linus and Arthur hurry into the kitchen.

Chapter 2 Summary

When Linus and Arthur enter the kitchen, the kitchen is still in a state of disarray, although the children are scrambling to make it more presentable. Arthur gently chides Lucy for encouraging Theodore to start fires. Arthur asks Theodore whether he can really produce fire. Theodore looks to Sal—the shape-shifting young man who can turn into a Pomeranian—before answering. Sal, in his role as wise older brother, nods that Theodore should answer honestly. When Theodore indicates that he can, Arthur and Linus are surprised—wyverns are not supposed to have this ability. At Arthur’s request and over Linus’s protests, Theodore demonstrates his newfound ability. A banner the children have placed above the table catches fire, and Linus clucks that “this is why we don’t breathe fire inside the house” (32). The banner now reads “Happy Birt.” As the children debate whether this is actually better than “Happy Birthday,” Arthur suddenly realizes that all of their preparations are for Linus and that today is, in fact, his partner’s birthday. Linus is overwhelmed with emotion. The children explain that the banner and the breakfast they have cooked are both a birthday celebration and a going-away party since Linus and Arthur will be leaving the island without the children for the first time.

Linus reminds the children that they will only be gone for a few days, but Arthur knows that, like himself, Linus is worried about leaving the children. Zoe and her partner Helen—who is the mayor of the nearby mainland town—arrive for breakfast, and they remind the children that they will be with them to take care of them. Arthur and Linus each playfully try to get the other to be the first to try the somewhat unappetizing breakfast the children have created. Arthur reminds the children that his and Linus’s trip is an important one because they will be testifying before a government committee about Arthur’s painful experiences as a child on Marsyas and advocating for better treatment for magical children. Phee expresses concern that they will not be listened to and that, in the worst case, the government might try to take the children away from Arthur and Linus’s care. Zoe vows that she will not let anyone come onto her island to take the children away. Theodore worries that Arthur’s testimony might affect his and Linus’s petition to adopt the children, but Arthur reassures him that this is unlikely. He reminds them that he and Linus might also be bringing them back a new brother, David, who is a yeti. The children wrap up the festivities by giving Linus his present, a poem written by Sal surrounded by portraits of each member of their family. At the bottom, they have left a space for David’s picture.

Chapter 3 Summary

As Linus and Arthur are getting ready to board the train to the city, Sal takes Arthur aside to tell him that the children have decided they are going to listen to the radio broadcast of Arthur’s testimony. He knows that Arthur worries about them hearing hateful comments about magical people, but he reminds Arthur that they are growing up and will need to learn to make their own decisions about such things. Arthur and Linus board the train; Arthur finds it very difficult to leave the children, but Linus assures him that they will be well because Arthur has “taught them how to be” (48). As they near the city, rain begins to fall. Despite the uncomfortable weather, Linus asks Arthur to go on an excursion with him. They travel to the house that Linus lived in before he moved in with Arthur and the children. There, they plant magical seeds that Talia and Phee have given Linus. In less than a minute, the yard is full of vibrant flowers.

The men head for their hotel, the Rose & Thorne, which they have chosen because it is close to Bandycross, the building where Arthur is scheduled to give his testimony in the morning. The first thing they do is call the children. Linus discovers a listening device in the bathroom. Based on his own past as a government worker, Linus immediately thinks the government has bugged their room in order to gain information before the hearing. Linus wants to change hotels, but Arthur wants to stay. He says that they will give the government “a show” and puts on music, inviting Linus to dance with him (55).

Chapter 4 Summary

In the morning, Linus and Arthur arrive at Bandycross. They are surprised by the number of protestors who are there—some in support of magical beings and some opposing. Linus suggests that they try to slip in through the back, but Arthur insists they go in through the front, in full view of the crowd, “with [their] heads held high” to “prove to them that [they] will not be intimidated” (58). They are swarmed by reporters and members of the public, who shout questions about Lucy and the other children—it’s clear that people are fearful of the children’s abilities. Inside the building, they are escorted around the long security lines by a woman who introduces herself as Larmina. She tells them that “a friend” sent her to get them, intimating that there are people working inside the government who are sympathetic to Arthur and his goals.

Once they are in the elevator, Larmina presses the emergency stop button so that they can talk privately. She tells them that she’s motivated to help them because her wife is magical. She’s carrying a message from the DICOMY Extremely Upper Management secretary Doreen Blodwell, whom Linus knows from his time working at DICOMY. To prove to Linus that Doreen sent her, Larmina hands Linus his old office mousepad, which features a beach scene and the words “Don’t you wish you were here?” (65). She tells them that the focus of the hearing is not what they think and that some very powerful officials will be present: four members of parliament, from the Council of Utmost Importance. Minister of Education Jeanine Rowder will also be there. Linus pales, explaining that Rowder has supported regressive policies like making it illegal for children from queer families to talk about their families to other children and prosecuting parents who seek medical care to support their transgender children. The goal of Rowder and others holding the hearings is not to examine the need for change within the government, it is to destroy Arthur’s reputation.

Prologue-Chapter 4 Analysis

The Prologue and first four chapters of the novel establish two symbolically important settings, introduce the novel’s key characters, lay out its central conflict, and introduce its central themes.

The text’s characterization of Arthur Parnassus is central to its thematic arguments. In the novel’s prologue, Klune establishes that Arthur is a phoenix—not just any magical being, but one associated with fire—a fire that, as he approaches the island for the first time in nearly three decades, he feels “burning within him […] brighter than it had in years” (1). Arthur’s fire symbolizes his passion for justice, for defending and supporting those unjustly marginalized and stigmatized by others. Arthur believes in always doing his best, regardless of what others choose to do, and he’s willing to sacrifice his own comfort and even his own safety in order to do what is right. He believes deeply in The Importance of Living Authentically as a right to which everyone is entitled: He repeatedly assures the children in his charge that they are valuable and wonderful exactly as they are, and he refuses to hide from the public or the press on his way into Bandycross. 

Klune suggests that living authentically produces a happiness that Arthur eagerly shares with others, as he does when he invites Linus to dance in the bugged hotel room. This moment, along with the story’s general centering of healthy, stable LGBTQIA+ relationships, makes very clear the text’s interest in Queer Joy as a Form of Resistance. Small descriptive details like the half-burned “Happy Birt” sign and the later callback joke, “It’s your birt, after all” (35), support the characterization of the family Arthur has created as producing organic moments of joy not in spite of but because of its unusual nature.

Klune’s characterizations of the children at Marsyas Orphanage intentionally reinforces this notion of queer joy as a form of resistance through the specifically chosen language of the text. The children are not just “different” because of their magical abilities: Their descriptions and characterizations often center gender nonconformity and ambiguous physical presentations. Sal, a male-identifying character, is described as “lovely,” a diction choice more typically coded feminine (24). Talia, a female-identifying character, has a long white beard and continually advocates for violence—traits more often associated with masculine norms than feminine. Chauncey’s entire being is ambiguous since he is an amorphous green blob of a species no one can identify. He is male-identifying, but in one scene he proudly reminds Talia that he has a cloaca, not a penis. Because Arthur has taught the children to cherish themselves exactly as they are, the children take pride in themselves regardless of whether they conform to established social norms or not. Their exuberant antics throughout these chapters make it clear how much joy they experience as their authentic selves. Arthur’s unrelenting positive regard and its effects on both the children and Linus undergird the novel’s thematic arguments about The Transformative Power of Love.

Klune’s depiction of Linus as a sensible figure concerned with common sense rules and decorum highlights the humorous chaos of life at the Marsyas Orphanage. He fusses about Theodore demonstrating his fire-breathing abilities in the house and discourages Chauncey from discussing his genitals at the family table. The trip into the city and the visit to Linus’s old home make it clear that Linus used to be even more constrained by norms about what is proper and once lived a much smaller, more fearful existence than he does now. Arthur comments on the smallness of Linus’s old house and says that it does not fit with the Linus he knows—but Linus counters that it actually was once a good fit for him making it clear that Linus has grown and bloomed under Arthur’s love just as the children have.

The trip into the city also creates juxtaposition between the sunny, verdant, colorful setting of Marsyas Island and the rainy, gray, and depressing city. Marsyas Island’s sunshine, the growth of plant life that it promotes, and the resultant riot of color that Arthur and Linus so miss while they are in the city are symbolic of Arthur’s fiery love, the growth that it promotes in Linus and the children, and the eccentric joy created as a result. When Linus and Arthur plant island seeds in Linus’s old yard in the city, they symbolically transfer some of the island’s joy and color to the grim, joyless city. Similarly, the men hope that this journey to the city is their opportunity to advocate their beliefs and make the world outside of Marsyas Island a better place in general.

Klune introduces the central conflict of the narrative when the hearings at which Arthur has been invited to speak turn out to be an ambush. The reveal of DICOMY’s intent to vilify Arthur establishes the stakes of the plot as the two men’s anticipation of affecting positive change turns to fear of losing the children in their care. Their fight to protect their found family and the joy it represents becomes the novel’s central conflict and establishes Jeanine Rowder as the novel’s antagonist. The kinds of policies she supports—denying medical care to transgender children and suppressing children’s right to talk about their queer families—explicitly connects Rowder to social issues dividing the contemporary real-world United States and creates an analogy between the novel’s exploration of “magical” people and real-world issues facing the LGBTQIA+ community.

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