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55 pages 1 hour read

The Last Mapmaker

Fiction | Novel | Middle Grade | Published in 2022

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Chapters 1-9Chapter Summaries & Analyses

Chapter 1 Summary: “A Golden Morning”

Sai is the novel’s protagonist and first-person narrator. She works as an Assistant, a role that entails a year of service before entering school at age 13; the position is only available to children of upper-class families. Although she is of humble origins, Sai pretends to be from such an upper-class family as she waits in line for breakfast at the Three Onions Café with the city’s other Assistants. One of them, Tippy, shows off a new bracelet with seven gold links. It’s a lineal, a gift given to every upper-class citizen on their 13th birthday. The number of links indicates how many generations of respectable ancestors that person can claim. Sai will turn 13 in a few months, but she won’t get a lineal because she has no noble ancestry. If anyone knew her true background, they would dismiss her as worthless.

Chapter 2 Summary: “The Master Mapmaker”

Sai lives in the city of An Lung. It is part of the Kingdom of Mangkon, which was historically known as the Nine Islands. Mangkon has just emerged from a 20-year war, and its citizens are now experiencing peace and security for the first time in more than two decades. Sai obtained her job as Assistant to the Master Mapmaker, Paiyoon Wongyai, by using chance and a bit of deception. Paiyoon is the last mapmaker in Mangkon who uses a specific set of techniques that have become a lost art; his maps are exquisite and his work is highly sought. Although Paiyoon grumbles and complains about Sai, he is never cruel to her, and she no longer fears being fired. One day, Sai watches Paiyoon open a letter that clearly disturbs him, even though he claims that it is merely a luncheon invitation.

Chapter 3 Summary: “The Prize”

One day, the newspaper prints an announcement from Queen Siripatra, explaining a contest called the Expedition Prize. She plans to send four ships out to sea—one for each of the four cardinal directions. Each vessel will be captained by the war’s greatest heroes, who will embark upon a venture to “extend the boundaries and glory of the Kingdom of Mangkon” (19). Each captain to return with a map of their discoveries will earn 100,000 leks. Sai hears rumors that the queen is looking for the Sunderlands, a place that Sai believes to be a myth.

Mangkon lore says that dragons once swam around the Nine Islands. They took pity on the landbound people and taught them to make boats and to fish. As the people thrived, the fish in their seas could no longer support their kingdom and the dragons, so the dragons headed south and settled in the Sunderlands. The dragons’ parting gift, a golden egg, hatched into a girl who became Mangkon’s first queen.

On her way home, Sai contemplates the city gate’s carving of a coiled dragon with its tail clamped in its teeth. The kingdom’s symbol is accompanied by its motto: The Tail Is the Teeth. The saying is supposed to mean that one’s destination is dependent upon one’s starting point; the statement also implies that youths are living links to their past. In Mangkon society, good children are supposed to say the motto aloud when passing through the gates, but Sai keeps her lips tightly shut.

Chapter 4 Summary: “The Fens”

Sai lives outside the city in a swamp called the Fens. She puts 15 leks in her pocket and hides the rest of her wages in a tin amidst the roots of the mangore trees, which are rumored to pull people under the swamp water and drink their blood. Even if she saves all year, she still won’t have enough to get into a school, but she still hopes that her hidden savings will one day be enough to let her travel to another of the Nine Islands and start a new life. After hiding her money, Sai goes to Down Island, the only part of the Fens with solid ground. A boy hears her 15 leks jingle and gives chase, attempting to rob her. To escape him, Sai hides in an alley. Suddenly, a shadowy figure accosts her and demands her money, but Sai fights back and breaks free. Her new attacker turns out to be a man named Mud, who once taught her the move that she now uses on him. He is testing her tonight; pleased with her performance, he says, “Let’s get home, Sai” (30).

Chapter 5 Summary: “New Business”

Sai lives with Mud in a one-room apartment on Down Island. Sai reveals that Mud is her father and that she looks just like him. Mud doesn’t know that Sai has long since left her job at the fish market, nor is he aware that she makes more money than what she hands over to him each week. He squanders all that she gives him on alcohol and spends his time drinking at the Rooster Room bar with his friend Catfish. The two men also run confidence schemes together. For their newest scheme, they want Sai to forge a letter for them. She has done it for them many times before, and they call her “the greatest forgery artist the Fens has ever known” (34). Sai knows that Mud won’t force her to do it, but she gives in to Catfish’s begging and agrees to help. Mud promises her that this will be the last job, and afterward, they’ll have enough to get back on their feet. However, Sai has heard this promise many times before. She secretly vows that she will find a way to escape her circumstances and change her life for the better.

Chapter 6 Summary: “Expedition Fever”

While the city prepares for the Queen’s expedition, Sai tries to find a formal letter that she can mimic to create the forgery for Mud. He tells her that with the money they will get from this job, they’ll be able to afford a decent apartment, and he’ll also be able to buy her a forgery of a lineal. He does not seem worried that the penalty for buying a fake lineal is prison time. Sai’s bitterness toward Mud rises to the surface, and she insults him, declaring that she won’t need a lineal because she plans on being “a lowlife con just like my father!” (43). She knows that he would never physically hurt her, so she is not afraid of him. Instead, she is embarrassed by him and tired of the small-minded lifestyle to which he has limited them. When stealing from mailboxes does not yield the type of letter she needs, Sai realizes that she’ll have to get one from the mapmaker’s shop.

Chapter 7 Summary: “An Honest Start”

In the shop, Sai finds a letter that Paiyoon wrote but hasn’t yet sent. Its formal and elegant style is perfect for her purposes. When Paiyoon catches her copying it, she lies about wanting to improve her penmanship, and her mentor is amazed at the quality of her copying, for he cannot tell his letter and her copy apart. As she braces herself to be dismissed from her position, Sai realizes that Paiyoon will be accompanying the queen’s southbound expedition to the 50th parallel, the Dragon Line. However, Paiyoon tells her that he wasn’t invited because the Queen’s Council thinks he’s too old for the journey. He had to beg to be granted a spot on the voyage. Paiyoon admits to Sai that he is indeed too old, for his hand trembles when he tries to draw a straight line. Instead of firing Sai, he asks her to accompany him and to secretly draw the maps for him. Sai gladly accepts. Paiyoon wants to obtain permission from Sai’s parents, but she makes up excuses and convinces him to write a letter instead.

Chapter 8 Summary: “A Forgotten Key”

Sai no longer plans to help Mud and Catfish with their scheme, but she is spared from having to tell them when their plan falls apart on its own. Just two days before Sai and Paiyoon are to set sail on a ship called the Prosperity, Mud finds out that Sai has been lying about where she works. He finds her key to Paiyoon’s shop and refuses to let her leave the apartment until she tells him what the key unlocks. He seems desperate and afraid, and Sai knows that he must be looking for a place to rob, so she refuses to tell him.

Chapter 9 Summary: “Departure Day”

Sai finds no opportunity to escape until the middle of Sunday night, just hours before the Prosperity’s dawn departure. Mud gets drunk and collapses, and Sai has to pull him away from the front door in order to leave. Mud wakes up and chases her, but Sai gets away. After retrieving her money and expensive new cloak from her hiding spot, Sai barely has enough time left to get to the ship. When she does, she gives her full name to the officer in charge of the ship’s manifest. Just before she boards, Mud catches up and drags her away. To convince him to let her go, Sai gives him all the money that she has saved for the last six months, saying she’d give the Queen’s jewels to get away from him. Sai makes it on board just in time, and the ship sets sail.

Chapters 1-9 Analysis

From the outset, the theme of Social Class and the Limits of Upward Mobility is prominently displayed, for the protagonist’s main goal is to transcend her lower-class origins and pursue a promising career in mapmaking, even if she has to use deceptive means to do so. As Sai says of her fellow Assistants, “We may have worn the same clothes, but it was still clear as glass where we stood. We knew without asking who among us had carriages and who had to walk” (1). As the unspoken rules of Mangkon society unfold, the narrative reveals that the lineals—the adornments that represent the upper-class families’ prestigious origins—are used as a prominent display of social status. Lineals are so vital to the kingdom’s hierarchy that the act of forging such an adornment is harshly punished with prison time. These items also symbolize Mangkon society’s misguided reverence for ancestry as the only determinant of a person’s inherent value.

With Sai’s resolution to rise above her social status and break free of her father’s hold on her future, the author sets the protagonist against the society in which she is trapped. Stricken with shame for her father’s criminal ways and consumed resentment over the many times he has disappointed her, Sai seeks to rise above her family’s lowly station in life. However, despite the very real tension between these two characters, the author also implies that there is more to Mud than Sai realizes, and this eventual discovery will open a path toward Sai’s personal transformation. In Sai’s view, Mud represents a source of pain and shame, and nothing more. As a father figure, he is extremely lacking, for he blatantly neglects, abuses, and exploits Sai. From forcing her to fend for herself to wasting her hard-earned money and involving her in criminal activities, he clearly establishes that he is nothing but a detrimental influence on her. Frustrated to find herself trapped in a position that denies her any form of upward mobility, Sai resents her father and her family background; in this context, it is only appropriate that her father’s name is quite literally “Mud.” As he truculently tells her, “I’m still a part of everythin’ you are, like it or not” (42), and in this unavoidable truth lies the kernel of Sai’s shame about herself. However, his many failures are a result of both internal and external barriers, for he struggles with his alcohol addiction even as he remains bound by a society that denies him the possibility of gaining economic success. Thus, despite his flaws, he is not the story’s villain.

Sai’s initial vision of success involves gaining access to higher echelons of Mangkon society, and although she uses deceptive means to do so, her desires also reveal her need to prove herself worthy within the context of her society’s value system. Thus, even in the midst of her rebellion, she exudes a somewhat traditionalist attitude at the start of her journey. This outlook allows Soontornvat to delve more deeply into world-building. In the process, the nuances of the author’s own Thai heritage soon become apparent, for even as Sai shows the traditional degree of respect to certain venerable elders, the scenes that shift away from such values are treated with an apprehensive and cautionary tone. Similarly, other cultural values like humility and glory are greatly emphasized. For example, Sai knows that “[a]n Assistant must never boast that they can do the work of their Master” (14), and another Mangkon adage asserts, “You can’t put a price tag on glory” (17). Significantly, however, the characters who choose to challenge these values—namely Sai, Paiyoon, and Captain Sangra—become the true heroes of the story. Within this context, Paiyoon, the Master Mapmaker, is portrayed as rough on the surface but kind and fair underneath, and like Sai, he questions Mangkon’s imperialist goals. Regarding the queen’s expedition, for example, he claims that “[t]he kingdom is drowning in glory as it is” but cryptically admits that the expedition is “vitally important” (54). Thus, he rejects the idea that conquest equals glory even as he keeps his true motives for joining the expedition hidden.

The Kingdom of Mangkon is characterized as a conquering empire intent on expanding its power and dominion, and its grasping expeditionary plans reflect the ongoing theme of The Imperialist Agenda of State-Sanctioned Exploration. In this way, the author deliberately echoes historical examples of exploration, for The Last Mapmaker takes place seven months after the end of a war that lasted for over two decades, and with the country’s economy finally regaining stability after the conflict, the time is now ripe for expansion. The queen’s expedition, with its implicit goal of extending the kingdom, is presented to Mangkon’s citizens in a manner that deliberately equates conquest with honor and glory. This propaganda is meant to create a grand vision and gloss over the subtler details that Sai observes, for when she cynically reflects that winning a war benefits those in the mapmaking business, her contemplations suggest that profit and power are the queen’s true motives.

Largely unaware of the expedition’s imperialist undercurrents, Sai joins the Prosperity because she sees it as her only option for leaving her old life behind. However, the stakes are high. Without money and a lineal, she has few options to improve her position in life. If she loses her job with Paiyoon, she will be stuck delivering shrimp at the Harbor Market and allowing Mud to squander her meager earnings for the rest of her life. Thus, the recurring theme of Truth, Lies, and Self-Deception is introduced as Sai proves herself to be fully capable of deceiving others for her own ends. Not only does she play the part of someone with privilege, but she possesses exquisite forgery skills that allow her to gain unauthorized access to many aspects of society that would otherwise be forbidden to her. In this way, the author defines Sai by her willingness to defy society’s values even as she seeks to be judged as worthy according to that same society’s standards. Her realization of this paradox will eventually lead her to change her long-term goals, and this shift will provide the essence of her final transformation at the completion of her journey.

Even at the sentence level, Christina Soontornvat’s style is shaped by figurative language, symbolism, and irony. For example, she describes the setting after a night of rain by stating that the sky “still shimmered like a sardine’s belly” (6). This example of figurative language shows the author’s use of vivid similes to bring her world to life. Her chosen symbols also have great power within the narrative, especially the central symbol of the coiled dragon with its tail clamped in its jaws—also known as an Ouroboros. Along with Mangkon’s motto, The Tail Is the Teeth, this image symbolizes the idea that a person’s beginning—their birth and family background—defines what they will become. As Sai’s journey progresses, it will be up to her to challenge the truth of this adage.

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