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Michael gets between Lydia and both of them, sword drawn, but the Nightmare points out, and Harry corroborates, that it's wearing Lydia's real body. She's an innocent in this, and hurting her with the sword risks unmaking it, and would, you know, be wrong. So Michael drops the sword and throws her into the couch, trying to keep her occupied while Harry gets set up to perform an exorcism. He puts down a salt circle and uses those trick birthday candles that can't be blown out to anchor the directions, which is honestly kind of brilliant. I don't know why those aren't more readily available in non-birthday shapes and sizes - fire risk, I guess. When he gets the spell going, the energy forms a small vortex, swirling down into the earth, where the dark spirits energy will be absorbed and grounded once it's removed from Lydia. So that's actually fascinating. I think this is the only time we actually see Harry perform an exorcism on the page, so this vortex doesn't come up again, but what we're seeing here, on a reread, is the basic structure of the Darkhallow. "Not a new spell, just a really, really skewed application of an old one." The Darkhallow is an exorcism, scaled up and turned inside out, so that instead of drawing one possessing spirit out of a person and into the ground, it draws many spirits out of the surrounding environment and into a person. That's very cool, both as an element of worldbuilding and as a reflection of the amount of thought Jim Butcher started putting in after the first few books. Once the circle is empowered, Harry just needs to put the Nightmare off balance so it can take effect. He uses what he thinks is its name, Azorthragal, but of course it doesn't work, because the Nightmare is not, in fact, the ghost of Azorthragal. Nightmare Lydia breaks Michael's hand, and in his efforts to fight her off, he inadvertently breaks the circle.
Harry tries to hit her, which isn't a very good plan, but good plans are in pretty short supply here. She slams his head into the floor (he sees stars, so that's concussion number four), and...look, I need you to remember that I didn't write this, okay? I'm not responsible for what goes on here. She starts humping him. Looked at objectively, I suppose this is foreshadowing for the sexual trauma yet to come, but subjectively it's weird, uncomfortable, and more than a little jarring. Except also, as Harry's going to realize in a minute, we've been referring to Nightmare Lydia as "she" or "it", but that's the ghost of Leonid Kravos in there. I... don't know where Butcher was going with this. It feels transphobic, certainly. (Broadly transphobic, to be clear - while this can certainly be taken in a transmisogynistic "man disguised as a woman" way, we are nonetheless looking at a man in a phenotypically female body, and the stereotype of trans men as small, violent, hypersexual, criminal women has a persistent, if somewhat obscure, history in the genres that form this one's parentage. Butcher may have had either, both, or neither of these ideas consciously in mind, and I don't think it matters which). Sexual violence is, as they say, an extension of violence, not of sex, but I have no idea whether we're meant to take it that way here, or whether this is meant to queer code Kravos, to suggest that he's into Harry? Of course, a minute ago Nightmare Lydia was like, seductively running her hands over her breasts, so it's possible this is more about doing weird things to Lydia's body and Harry's just, y'know, there. It may be that the point of Kravos Nightmare Lydia grinding on Harry is to make things uncomfortable enough that the reader notices how inherently violatory this possession is. That's important, because there hasn't been time anywhere in here for Lydia to become someone we actually know. She was sketchy, at the beginning, an unknown quantity whose motives were suspect, and she's spent most of the book off-screen, unconscious, or both. This version of her is as real to us as whoever she actually is, if not more so, because we're given to suspect the non-possessed Lydia we've seen is at least partly a performance, so we may need a little extra help to catch that Kravos is using a whole other living person's body for his own twisted ends, and that's incredibly fucked up. That was pointed out explicitly, too, earlier in this chapter, but sometimes you have to both say something out loud and make it weird to make sure everyone's on the same page.
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note here that given the strength she displayed earlier, Harry should not have functioning trachea after this. Your breathe-y bits aren't really...supposed to be compressed to a sufficient extent that you can't inhale, and it only takes about two additional pounds of pressure to go from completely occluding the trachea to doing them a potentially serious injury. She makes a remark about him dying without figuring it out, so of course it is at this point, while being strangled to death, that Harry starts to figure it out. He remembers how agitated everyone at SI was, including about Kravos's journal, and how Susan was excited about something but said she couldn't tell him what yet, and asked him to confirm Kravos's name. He works out, at long fucking last, that Kravos deliberately killed himself in the midst of all the turbulence in the border between worlds, creating an extraordinarily powerful ghost. The reader doesn't get this information quite yet, we're just told that he knows it, and that it's going to avail in precisely fuck all since he's about to die.
Thomas, for the second time in about five minutes, saves Harry's life, although this time at less risk and detriment to himself. He begins to feed on...I'm not actually sure - Lydia, probably, since I don't think a ghost has whatever exactly it is the White Court eat, but Kravos is definitely along for the ride, trapped in Lydia's body as it succumbs to Thomas's inhuman powers of seduction. This is definitely foreshadowing for what happens to Dresden later - in the interests of not having to put content warnings on more than one post, I will discuss the specific quote that makes the parallel obvious when we get there, rather than doing it here. While Thomas keeps Nightmare Lydia busy, Harry gets the exorcism going again, and this time, with the right Name, he's able to banish Kravos's spirit. This doesn't necessarily mean he won't cause any more problems for anyone, but it gets him out of their faces for the moment, and Harry seems reasonably confident that it will keep him from possessing Lydia, specifically, ever again. Harry checks in with Michael, who's pretty sure he's got broken ribs, but then has to tell Thomas to stop making out with Lydia, who isn't fully conscious but is still responding to his feeding on her. Thomas does not make a great argument here - he could point out that he's got broken ribs too and given another few minutes to feed he could be fully back in fighting shape, but instead says something about how she's probably just grateful. Harry carries the point, and Thomas, looking less dented than he did after smashing into the fireplace, goes to find some clothes.
Harry and Michael discuss the nature of the White Court, how they can feed on different emotions but always induce lust to get close to them. Harry notes that their powers appear to affect the body directly, given that it worked on Lydia's body even when she wasn't the one controlling it, which suggests either ambient magic or something chemical, like pheromones. I believe over time the weight of evidence favors the ambient magic theory, but I don't think anyone ever quite comes out and says.
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Rather than devoting page space to explaining something we're about to see anyway, the scene breaks, picking back up as Our Heroes step into the Nevernever. From the upper floor, the reflection of Harry's apartment looks nearly the same as it does in real life, albeit cleaner and brighter. Obviously, if they'd started from the basement, they would have had a very different experience. It's got a small infestation of little spirit beings that apparently hang out and feed on the energy that spills over from the mortal side. They've got Bob with them, to find them the shortest route to Bianca's place. As Bob explains, it's not exactly the "shortest" in the conventional sense since places in the Nevernever are linked by ideas rather than geography, but the principle stands, although there's some concern that they may not be able to open a gate back out until the sun goes down. Notably, I don't think that issue ever comes up again, but in fairness I don't think Harry makes any other plans that involving making transit through the Nevernever while severely magically drained. They go out onto a street that looks like a stage set of the real Chicago, down into a tunnel that I assume is a reflection of the undercity, and then back out onto a hill with a ring of dolmens, tombs made of two or more big rocks supporting a slab of flat stone. Harry immediately recognizes this as part of Faerie, which is a very bad problem, since both Lea and Mab are gonna be somewhere in there, putting Harry and Bob both in danger. Bob says there was no way to get anywhere through the Nevernever without passing through part of Faerie. The concepts of the Summer and Winter courts are very briefly and vaguely introduced here, with Bob describing them as the Disney version and the wicked witch version, and Harry identifying the former as Summer. Bob has just pointed them in the direction of a covered bridge that should take them out of Faerie when Thomas points out that this place is obviously maintained, or the grass would be over their knees, and everyone gets a bad feeling. They haven't even had a chance to start moving yet when they hear a hunting horn. Thomas and Michael both make it to the bridge before Harry does, and Harry notes that Michael beat him there with 20 years on him and a broken rib, and that he has to work out more, putting Michael's age at around 47, and establishing that Harry has not, in fact, starting regularly exercising yet.
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I feel like every chapter in this book has contrived to end with some new, cliff-hanger-y peril. Hopefully, it won't take me quite so long to write about this next one. Remember that if you want more regular updates, the best thing you can do to make that happen is use the button at the top of the page to become a Patron. Until next time, be gay, do crimes, and read All The Things!