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Katherine ArdenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of animal cruelty, religious discrimination, child death, sexual violence, and child abuse.
Father Konstantin Nikonovich is exiled from Moscow by the Metropolitan Aleksei, as the priest represents a threat to the soon-to-be crowned prince Vladimir after his father’s death. Aleksei sends Konstantin to Lesnaya Zemlya to replace the deceased Father Semyon, where he quickly establishes his authority through fiery sermons that warn of the wrath of God. Vasya, now 14, is increasingly at odds with the priest’s teachings and the changes he brings to the village. Her defiance of Konstantin and Anna escalates, with Anna beating her for disrupting a church service with crickets.
Konstantin’s disdain for the village turns into a fervent mission to root out what he perceives as demonic influences. Vasya, in particular, unsettles him, as she seems to have a strange insight into him and does not act as he believes a girl should. Desperate for salvation from the demons she sees everywhere, Anna becomes Konstantin’s willing follower. The priest’s magnetic presence causes the villagers to abandon their traditional reverence toward nature and the household spirits. Vasya watches with dread as the balance between the old and new ways unravels.
Winter brings suffering and desperation to Lesnaya Zemlya. Father Konstantin paints mesmerizing religious icons that captivate the villagers. Without offerings from the villagers, the household spirits are left weakened and restless. The vazila grows haggard and begins stealing grain. Vasya secretly supports him by bringing him scraps of food, which restores calm to the stables.
However, as the cold deepens, a village child dies, and wolves close in on the village. Pyotr rallies the men for a hunt despite the dangerous cold. Vasya, concerned for her family, heads into the forest alone to confront the source of the unnatural frost. There, she meets Morozko. She gives him an offering and asks him to stop the cold. He agrees but warns of a greater storm coming, along with fear and fire. The oppressive cold breaks, and the wolves leave.
Dunya dreams of Morozko again, who demands that she give Vasya the necklace he gave her to face the growing darkness. The old woman pleads for another year to prepare Vasya, fearing she is not yet strong enough. Morozko reluctantly agrees.
After the brutal winter, the household spirits, weakened but still present, begin to reappear. Desperate and afraid, Anna turns to Konstantin, who dismisses her concerns and advises prayer, further stoking her obsession with him. However, Konstantin becomes increasingly fixated on Vasya as she challenges his authority and the villagers’ faith in his preaching. His obsession manifests in his art as he accidentally paints Vasya’s green-eyed likeness into an icon.
As spring turns to summer, Vasya secretly learns to ride bareback under the guidance of the vazila and the horses. This new skill strengthens her bond with the natural world but further isolates her from the increasingly fearful and devout community of Lesnaya Zemlya. Her joy in the forest contrasts with the villagers’ unease, as fires break out and the summer heat scorches the barley fields.
One day, Vasya finds Father Konstantin being lured into the lake by a rusalka, a water spirit. When Vasya tries to stop her, the spirit warns the girl that the priest’s actions are weakening the guardians of the forest and inviting a greater evil. Despite the rusalka’s plea to let her kill the priest, Vasya intervenes and saves Konstantin. Afterward, he tries to rebuke her for communicating with demons, but Vasya reminds him that she just saved his life and warns him to focus on his duties instead of meddling in the ancient balance of their land.
Anna, jealous of Konstantin’s obsession with Vasya, pressures Pyotr into marrying her off. Dunya also tells him that Morozko has visited her several times in dreams and will come to claim Vasya the following winter if she isn’t married by then. Pyotr then resolves to marry his daughter off to Kyril Artamonovich, a wealthy and powerful man.
The rusalka warns Vasya that the wards protecting the land are failing and that the Bear is stirring. The water spirit also tells her that Morozko will help her as much as he can but cautions Vasya not to trust him.
When Pyotr tells Vasya of her impending marriage, she is devastated by the confines of domestic life and flees into the night. She bumps into Konstantin outside the church and confides in him about her fear of being trapped, comparing it to his own unease upon arriving in the forest. He offers hollow reassurances to her, trying to convince them both that the marriage will be for the best.
Vasya prepares for Kyril’s arrival and her impending wedding but is resolved not to abandon the chyerti. In the bathhouse, the bannik gives her a cryptic warning: “Before the end, you will pluck snowdrops at midwinter, die by your own choosing, and weep for a nightingale” (155). When Kyril arrives, his bold charm and status win over most of the family, but Vasya dislikes his condescending attitude. She is also unsettled by his prized horse’s fear of him.
The family’s attempts to celebrate the coming wedding mask their concerns about the hard winter ahead and the hastiness of the arrangement. During the festivities, Vasya feels increasingly restless and cornered. She senses that Kyril’s arrival marks not just the loss of her freedom but an intensification of the supernatural threats she’s tried to keep at bay.
When she later confronts Konstantin about his absence during the celebration and the fear he has sown in her village, the priest lashes out and hits her. She tells him that she’s not afraid of him and leaves. Once she’s gone, Konstantin hears a mysterious voice that claims to be God.
Kyril calls for a boar hunt on the day before his wedding to Vasya. While the household prepares for the outing, a restless Vasya visits Kyril’s horse, Ogon, in the stable. He dreads the hunt under Kyril’s abuse, and she offers him comfort. Kyril finds Vasya in the stable and kisses her without her consent. Before he can go further, she escapes back to the house.
After the hunt, Vasya and the other women meet the men. On the way, she sees a hungry leshy, a wood spirit, waiting. Once the two groups meet, she slips away to give the spirit an offering and receives another warning about the Bear in return. He also says to “beware the dead” (171). Having followed Vasya, Kyril tries to corner her again, but they are interrupted by a scream. Kolya’s young son, Seryozha, climbed onto Vasya’s mare, who got spooked and bolted with the boy.
Vasya steals Ogon and rides bareback through the forest to rescue her nephew. Her skill and courage astonish the onlookers as she pulls Seryozha to safety, but the incident humiliates Kyril. He calls her behavior “unseemly.” Although Pyotr defends his daughter at first, once Kyril breaks off the engagement, Pyotr beats Vasya. Afterward, Vasya retreats to the stables to cry.
The arrival of Father Konstantin in Lesnaya Zemlya exacerbates the key conflict of Ancestral Traditions Versus Religious Orthodoxy, as he denounces the village’s long-standing practices of honoring household and nature spirits. He is sent to the village by Metropolitan Aleksei as a form of exile. The priest is handsome and charismatic and has an immense talent for icon painting. As a result, the Metropolitan worries that “his voice, should he choose, could turn the people against the prince” (99). Not wanting to risk letting him gain power, or kill him and turn him into a martyr, he decides to remove him from Moscow.
Like Anna, who was also an embarrassment to the Grand Prince, the Metropolitan sends Konstantin to the isolated north to get him out of the way. However, sending him to this village serves as a light to the powder keg previously set up by Anna. With her as the boyar’s wife and him seeking to eradicate the old ways as part of his holy crusade, the rest of the village follows suit, leaving them exposed to forces once held in check by their rituals. Like her relationship with her stepmother, Vasya’s dynamic with Konstantin is fraught. Her unorthodox behavior and bold curiosity clash with the submissive demeanor he expects from women, and he interprets her unique qualities as evidence of demonic influence. Vasya, in turn, can see through Konstantin’s façade as easily as she sees the chyerti. After questioning him, she warns him, “You should be careful, Batyushka, that God does not speak in the voice of your own wishing” (110). While she is intrigued by his knowledge of the wider world, she recognizes the danger that his arrogance poses.
Konstantin embodies the attempts to impose modernity and orthodoxy on the community, while Vasya straddles The Connection Between Humanity and Nature. Nature, in the novel, opposes the oppressive constraints of societal expectations. Vasya’s ease in the forest, her connection to the rusalka, and her ability to ride without saddle or bridle reinforce her easy attachment to nature, while the suspicious villagers increasingly scrutinize her actions. Her struggles with societal expectations come to the forefront in her betrothal to Kyril Artamonovich. Arden presents Pyotr’s decision to arrange the marriage not as an act of cruelty but as one of pragmatism: In his eyes, securing Vasya’s marriage protects her and maintains social order.
However, the marriage is also rooted in his adherence to tradition and his inability to fully comprehend who his daughter is, despite Marina’s attempts to make him see before her death. Kyril himself is a representation of patriarchal power and entitlement; he sees Vasya as something to be owned and dominated. The boar hunt itself is a symbolic act that represents the attempted dominance of humans over nature. Instead, Seryozha’s near death challenges the idea of control and emphasizes the unpredictability of nature.
While Vasya’s success in calming the mare and saving her nephew should be a cause for celebration, it instead becomes a source of shame for her family as Kyril, humiliated, dissolves their betrothal. While this frees Vasya from an unwanted marriage, Pyotr beats her after the rejection “to assuage his own fear for her” (177). The punishment again reflects Pyotr’s struggle to balance his love for her with the expectations of their community.
Vasya is caught between two opposing paths: one that urges her to follow The Role of Women in Patriarchal Societies and one that is shaped by her connection to the natural world and the burgeoning powers inherited from her mother’s side of the family. Arden frames these two paths as incompatible, and Vasya fails to follow either at this point in the narrative. The chyerti she speaks with warn her that once they are gone, Medved will take over. These warnings come from the leshy, the rusalka, and the bannik. When Vasya speaks to the last of these, the bathhouse spirit also gives her another cryptic warning: “Before the end, you will pluck snowdrops at midwinter, die by your own choosing, and weep for a nightingale” (155).
Of the three points referenced in this prophecy, only one (“you will pluck snowdrops at midwinter”) is fulfilled in this novel. The other two remain a mystery for the time being, as they foreshadow events in the two subsequent books in the series, The Girl in the Tower and The Winter of the Witch.
By Katherine Arden