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61 pages 2 hours read

Cinderella is Dead

Fiction | Novel | YA | Published in 2020

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Symbols & Motifs

Cinderella Paraphernalia

The most prominent motif in Cinderella Is Dead is the Cinderella story itself and all the objects featured in it (such as ball gowns, carriages, glass slippers, magic wands, and magic that fades at the stroke of midnight). Because so many different versions of “Cinderella” exist, there’s a range of allusions to these different versions, from older versions where Cinderella’s stepsisters’ eyes are plucked out by birds and they cut their own toes off, to the Disney film where Cinderella’s dress is blue and the fairy godmother sings “Bippity Boppity Boo” to perform magic. For the most part, the motif of Cinderella paraphernalia shows the degree to which young girls in Mersailles desperately want to follow in Cinderella’s “footsteps,” despite the palace-sanctioned version of the story being a lie and King Manford’s patriarchal system being a trap.

Cinderella paraphernalia, sold by various shops, is beautiful enough to seduce young girls toward their own erasure and subjugation. The markets are filled with exotic gems, palace-approved replicas of Cinderella’s dress and slippers, beauty and love potions, and magic wands meant to summon fairy godmothers (should one have enough “faith”). Girls purchase these things hoping they will bring them happiness by attracting the right husband. On the other hand, young girls cry when compared to Cinderella’s “evil” stepsisters in a game. The elaborate costumes and decorations at the palace let some of the girls ignore the fact that the annual ball is a trap until the choosing ceremony begins, reminding them that the bells and whistles belie a future without choice.

Daggers and Swords

In the novel, daggers and swords function as symbols of power and independence. One of King Manford’s restrictions for women is that they’re not allowed to use weapons, which is one way of keeping them subservient and vulnerable. However, women who resist him are often skilled with such weapons. Constance repeatedly intimidates or attacks men with her dagger, many of whom are so confused that she knows how to use it that they freeze up. Constance’s skill with a dagger allows her to navigate the world more freely and avoid submitting to the king or other men. However, she does not always actually have to use it; sometimes, it’s enough to demonstrate that she can.

The dagger is symbolic even within the world of the novel itself. Cinderella planned to kill Prince Charming with her own dagger (supplied by Charming’s mother, Amina) but was unable to because Amina tricked her with love potion. However, Amina saved the dagger and gave it to Sophia 200 years later. The fact that Sophia kills King Manford with the same dagger shows how, although he evaded death for a while, people continued to want to kill him for his tyranny, and someone was eventually going to succeed. Like Constance and her dagger, Sophia doesn’t even have to plunge the dagger into Manford to free herself and kill him: She just has to hold it, and he is engulfed by light and flame (once Amina is dead). In contrast, her first attempt to kill him with a normal dagger proves ineffective because Amina was still alive at the time, preserving Manford through their magical bond. Power is shown to be complex through daggers: Direct displays of aggression are not always as effective as more careful footwork.

Daggers and swords also symbolize women’s power even when women are not literally using swords; sometimes, they are compared to swords directly. Sophia reflects that “Constance wields her power like a sword, a power that [she] didn’t even know [they] could have” (180). Amina reveals that she decided to help Sophia and Constance because Sophia is “a damn sharp sword” (233). In these cases, swords symbolize passion and dedication as well as physical strength.

Magic

Sophia observes, “In Mersailles, a belief in magic is almost bred into us. Woven into the Cinderella story are the fairy godmother’s fantastical abilities” (150). People are expected to have an almost religious faith in magic and the Cinderella story. Liv devotes herself completely to the faith, only to be disappointed when no fairy godmother appears, and is killed by King Manford because her dress wasn’t fancy enough for the annual ball. Liv’s belief in magic led to her downfall, rather than her redemption. Because of occurrences like this, Sophia doubts the existence of magic, which irks others around her because they fear she’ll get in trouble.

Part of the truth Sophia must discover is that magic does exist, but it’s completely different from that in the palace-sanctioned Cinderella story. Cinderella’s fairy godmother does not respond to prayers or wishes because she can’t hear them; in order to speak to her (Amina), Sophia must visit her house like she would a normal person. She also receives Amina’s help by breaking King Manford’s rules rather than following them, escaping the kingdom and teaming up with another girl (Constance). Amina resists labels but is comfortable with the word “witch.” Sophia feels that witchcraft is “different” from the type of magic described in the Cinderella story, as it has a darker edge to it (with necromancy being one such spell). Amina argues that people think magic has a light side and a dark side but that she must strike a balance to perform successful magic. Ultimately, her magical abilities may be called one thing or another, and there’s not much difference between a witch and a so-called fairy godmother.

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