Emily Wilde's Encyclopaedia of Faeries

Wendell, 29, is the male love interest of the novel. He is considered to be “one of the foremost dryadologists at Cambridge” and the world (16). Wendell is described as incredibly charming and flawlessly social, with black eyes, an inhumanly beautiful smile, and hair “golden and entirely perfect, like the rest of him” (52). Wendell is lazy by nature. Though he’s made impressive strides in faerie study, he conducts fieldwork by delegating tasks to his graduate student followers, not by traversing out to collect evidence himself.

Wendell is similar to Emily in terms of his struggle to connect with human nature—specifically empathy and selflessness. Yet, in terms of socialization and work ethic, he’s completely different. In contrast to Emily’s antisocial nature, Wendell rambles. Emily admits that “it is hard not to be entertained by Bambleby. It is one of the things [Emily] resent[s] most about him. That and the fact that he considers himself [her] dearest friend, which is only true in the sense that he is [her] sole friend” (15). Wendell has enough in common with Emily to provide a romantic connection but differs in the most important way. His social nature pushes Emily outside of her comfort zone and helps foster relationships with the townspeople that she wouldn’t have been able to navigate otherwise. His insight helps her identify the way in which she offended Aud (and by extension, the townspeople) and helps her forge a positive relationship after her many social faux pas.

Wendell is a Faerie King of the Irish Folk, exiled from the faerie realm of Silva Lupi after his stepmother killed his siblings to seize the throne. This truth is revealed to Emily partway through the novel, though she previously suspected he was fae. His magic consists of the ability to subtly turn back time and control the summer elements, which makes him miserable in the winter elements custom to Hrafnsvik. Wendell has oíche sidhe ancestry, which gifts him skill with needlework and an obsession with cleanliness. The oíche sidhe are Brownies, or minor, smaller faeries, and part of the common Folk. Wendell’s faerie nature often makes him apathetic toward the townspeople and dismissive of human plights, but many qualities of his character illustrate enough compassion and empathy to provide authenticity to his love for Emily. Wendell sews protective enchantments into Emily’s cloaks and makes one sided bargains with her that require he fulfill his promises without asking anything of Emily in return. When Emily asks if he’s meddled in human minds before, he admits he has not, hinting at his sense of morality.

The Villagers of Hrafnsvik serve many purposes throughout the novel. They fulfill the found family trope often found in cozy fantasy, where the protagonist forms lasting relationships with a group of people who fill the roles of a family the protagonist doesn’t have. At the beginning of the novel, Emily isn’t aware of the hole in her life and mentions her lack of family in an unaffected manner. By the end of the novel, when the entire town plots to save her from the Hidden king, she cries for the first time since she was a child because “[she] couldn’t help but feel that something inside [her] had loosened—something small but troublesome” (267). Emily is overwhelmed with the unconditional love the villagers show her, especially since the only relationships she’s ever known have been transactional. To learn that she’s deserving enough of love and aid as she is, “warmed [her] to the core, even in a palace of ice” (280). The townspeople evidence the theme of Transactional Versus Unconditional Relationships in the way they continue to love Emily unconditionally, despite her constant efforts to evade their affection.

Aud Hallasdottir is the goði, or village headwoman of Hrafnsvik. She’s a “short, broad woman with two deep lines between her eyes, the only visible sign of her age” (32). Aud is considered the townsperson most likely to supply Emily with stories about the Hidden Ones, which is why Emily approaches her with the intent to form a transactional relationship. To Emily’s dismay, Aud is only interested in forming an authentic relationship with Emily based on selfless kindness. Naturally, Emily’s initial treatment of her relationship with Aud as transactional offends Aud and alienates her from the village. It is only through forming a genuine friendship with the woman that Emily is able to conduct her research effectively.

Aud’s husband, Ulfar, runs the local tavern. He’s “a nice enough sort, though a bit of a cold fish” (21). He’s a man of few words, which endears Emily to him immediately. He’s not tall “but something about the heavy brows and sharpness of his countenance, which created little peaks and valleys of shadow, gave him the quality of a brooding mountain” (32). Emily views Ulfar as a gruff, non-emotional man and prefers this, as it will prove easier for her to remain impartial to him when researching. Unfortunately, she soon learns that he is much like his fellow villagers, as he makes repairs around her cottage without asking for anything in return.

Lilja Johannasdottir is the town woodcutter, described as “broad-shouldered and beautiful, with round red cheeks and a cascade of flaxen hair” (34). She has a girlfriend in another village named Margret. Lilja is said to have a door to the faerie world behind her house, making her an exciting subject for Emily’s research. However, Lilja’s oblivious nature and overall disinterest in faeries proves frustrating for Emily. Her girlfriend, Margret’s, bubbly nature often causes conversation to meander toward matters of Emily’s personal life, specifically Wendell and her past romantic entanglements. Lilja and Margret are the townspeople closest to Emily in age and offer Emily the most in terms of human companionship and friendship.