From Reading The Kingdom of Little Wounds, Susann Cokal
The Kingdom of Little Wounds by Susann Cokal is the 10th book I’ve read as part of my project on banned books. Set in a Scandinavian court, the novel immediately recalls Shakespeare’s Hamlet. Throughout the story, the author’s admiration for Shakespeare is evident, and knowing that her ancestors were from Denmark adds a personal touch to this connection.
The book struck me as a dark fairy tale when I began reading. The narrative unfolds through multiple perspectives, with some chapters beginning like brief fables, adding to its eerie charm. What truly captivated me was the depth of research Cokal put into Medieval Europe, bringing the historical setting to life.
As for my background, I studied just one course on Medieval Europe during my undergraduate years, in addition to the general Western history taught in high school. While I’ve always been fascinated by history and supplemented my learning with additional reading, I want to be clear that my understanding is self-taught, and I don’t claim to be an expert on the subject.
At first, I struggled to understand the author’s purpose, so I explored the historical context further. After delving into the history, I reached key conclusions about the story’s underlying themes.
Plot Summary of “The Kingdom of Little Wound”
In the royal court of Skyggehavn, Princess Sophia, a king’s favorite daughter, dies mysteriously on her wedding night after screaming in pain. Poison is suspected, and the royal household is thrown into chaos. Elinor, the countess who oversees the nursery and serves as lady-in-waiting to the queen, is implicated. She is also the queen’s confidante, and it is revealed that Elinor has a secret lover and may have poisoned the princess.
Ava, a seamstress imprisoned for accidentally injuring the queen with her needlework, becomes entangled in the court’s dark intrigue. Used by Nicolas, a power-hungry court official, as both a spy and his sexual plaything, Ava falsely reports that Elinor is having an affair with Sir George, the Secretary of State. As a result, Elinor and Sir George are imprisoned, and Nicolas strengthens his influence over the court. Meanwhile, Elinor confesses that she and the queen have poisoned royal infants in the past.
Midi, a servant in Elinor’s employ, reveals to Nicolas that Ava lied about Elinor’s affair. Meanwhile, Ava is courted by a scholar named Author. Still, she grows suspicious of his intentions, realizing he uses her for his ends. She begins to miss her former lover, who disappeared shortly before their wedding.
As more princesses fall victim to mysterious deaths, Nicolas and his Polish physician manipulate events to frame Queen Isabella for the murders, consolidating their power by getting closer to the king. When the prince dies, only an unborn child remains as the queen’s last hope. Queen Isabella is placed under house arrest and cannot be near her remaining children.
After the king’s death, Nicolas hopes to be appointed regent for the unborn heir, but the queen takes control instead, forcing Nicolas out of the court. Ava and her father, who sold a telescope to the court and supposedly “upset the stars,” are imprisoned. Ava receives a letter from the Author, further complicating her situation.
Nicolas then sets his sights on Queen Isabella’s daughter, hoping to marry her and secure his power. However, his betrothed stabs him with a dagger that he had once gifted her. As Nicolas lies dying, Midi and Ava enter his room, finish him off, and remove the jewels sewn into his genitals to protect him from disease. They flee to Copenhagen, where they live off the wealth they obtained from Nicolas’s body.
Historical Context of the Book
Women’s Role in Medieval Society
In medieval society, dominated by the feudal system, power was concentrated in the hands of men, often tied to land ownership. Women were confined mainly to the private sphere, with their roles restricted to being mothers, widows, or virgins. While Catholicism influenced societal norms and limited women’s opportunities, as seen in The Kingdom of Little Wounds. For instance, Ava, after her public miscarriage, had no choice but to become a needle servant—a reflection of the limited paths available to women in her position. Ava remained chaste until her affair with the scholar Athor, highlighting the few options for women’s autonomy.
While enjoying more visibility in the public sphere, Royal women were still bound by their roles as mothers and wives. As Stoss (2013) notes, even in positions of influence, royal women’s activities largely maintained the power of their husbands and sons. Masculinity in medieval society was measured by strength, political success, and dominance over women (p. 4). This context helps explain the actions of Queen Isabella, Lady Elinor, Ava, and Midi. For example, after King Christian’s death, Queen Isabella’s need for a male heir was about personal power and securing her family’s future.
Social Hierarchies
Feudalism also created rigid social hierarchies. Land and social status were inherited, making upward mobility nearly impossible. A farmer’s son was destined to be a farmer, and a craftsman’s son would inherit the trade. Load Nicholas’s rise in status was a rare exception, as his father, originally from a lower social rank, advanced through marriage. This ambition and social mobility eventually shaped Nicholas’s desire to seize control of the throne despite his low-born origins.
Medical Practices
Medical knowledge in the medieval period was limited, and treatments were often based on the belief that “like cures like.” In the book, royal children suffering from syphilis, or “Italian Fire,” were treated with quicksilver (mercury). Princess Sophia exhibited symptoms of congenital syphilis, such as rashes, likely transmitted from mother to child during pregnancy or childbirth. Queen Isabella’s repeated miscarriages and mental instability were consistent with the effects of syphilis, a disease that, while now treatable with penicillin, was then often managed with mercury—a dangerous and ineffective treatment.
Syphilis was long thought to have originated in the New World, but discoveries of pre-Columbian skeletons showing signs of the disease suggest it existed in Europe before Columbus (Timeline—World History Documentaries, Aug 7, 2017).
Well-Used Multi-Point-Of-View Narrative
I was drawn to the novel’s multi-point-of-view narrative, where the Author develops multiple main characters, each with equal importance. In The Kingdom of Little Wounds, there are four central female characters from different social strata: Queen Isabella from the royal family, Elinor from the nobility, Ava, a peasant, and Midi, an enslaved person.
The Author’s decision to present the story through these diverse perspectives is intentional. As mentioned earlier, medieval European women had far fewer rights than men, regardless of their social standing. Even queens and princesses were often used as political pawns by men, reduced to mother, widow, or virgin roles. In the novel, Elinor, Ava, and Midi fall outside these expected roles. At the same time, the queen, on the verge of losing her status as the mother of an heir, faces the threat of losing her political power. All four women are trapped in a world where their survival depends on manipulating male power or leveraging their sons.
Their morally complex actions starkly reflect the desperate choices they are forced to make. What options do they have if they want to survive in their situation? When faced with extreme circumstances, many people are driven to immoral behavior to protect themselves or their loved ones. Why does Ava continue sleeping with Arthur despite suspecting he may be Midi’s lover? Why does she suggest swapping the dead prince for her baby brother? And why does the queen agree to this, knowing it could be considered treason? In harsh realities, people often have no choices.
This brings us to one of my questions: why did the author use this narrative style? Through the multi-character narrative, the Author underscores the various forms of oppression these women face. Despite their diverse social backgrounds, they all fall victim to the same system that restricts their choices and autonomy. This narrative Technique powerfully conveys the plight of women in that period, emphasizing their choice to live in such a patriarchal society.
A Fairly Tale Like Story
Another aspect of the book that intrigued me was its fairytale-like quality. Some chapters begin almost like a traditional folk tale. Suppose you’ve read the original versions of stories like Cinderella or Sleeping Beauty. In that case, you’ll know those tales are much darker than the versions we’re familiar with today. Modern fairy tales are often softened to suit young audiences. Still, in reality, there’s no “happily ever after” for most protagonists. This sense of realism is reflected in the novel’s ambiguous ending.
I found myself wishing for more hopeful resolutions—that Arthur would return to help Midi raise her child, Jacob would return for Ava, or the queen would protect the kingdom forever. Yet, deep down, I knew these outcomes were unlikely. The novel’s ending mirrors the harsh realities the characters face, leaving us to grapple with the uncertainty of their futures, much like the original, darker fairy tales.
Conclusion
This book is definitely not for young readers, but beautifully written. Despite its dark themes, I thoroughly enjoyed the story. The meticulous research was evident, and what stood out most to me was the author’s deep love for the Medieval era, her ancestral homeland, and Shakespeare.
The novel’s multi-point-of-view narrative was carefully crafted, and I pondered why Cokal chose this style. I understood her message after researching the historical context and analyzing the characters. It took me over two weeks, but I finally realized that life in the Medieval era was incredibly harsh, especially for women. This understanding also highlights why many original fairy tales are so dark. The novel profoundly captures that difficult reality.
References
Stoss, L. R. (2013). An Exploration of Conformity to Medieval Male and Female Roles in the Chronicle of Alfonso X. http://hdl.handle.net/10342/1701Timeline – World History
Documentaries (Director). (2017, August 7). 1495 Syphilis Outbreak: The Deadly Disease That Swept Across Europe | The Syphilis Enigma | Timeline [Video recording]. https://www.youtube.com/watch?v=2bWNF_eNwvI