The Stonekeeper

The theme of Growing Up is central in The Stonekeeper. Emily’s comment to her mom that moving to the country “[isn’t] something dad would have done” demonstrates her immaturity in the early parts of the story (36). She only thinks about herself and takes her frustrations out on her mom without considering how her mom feels or recognizing that her mom is also struggling with loss and change. The visual framing of the conversation reinforces their division at this moment. The panel at the top of the page indicates that they are facing one another while they talk (with Karen on the left and Emily on the right), but in the three panels that follow, which depict Emily saying these hurtful words to her mom, Emily and Karen each have their own separate panels and are facing away from one another (with Emily now on the left and Karen on the right). Since the characters’ positions have been shifted around, these panels draw attention to themselves, emphasizing the divide between them. Navin gets his own panel in the middle, which also communicates his position in the argument since he is literally placed between his mother and sister. After this scene, Emily recognizes her mistake and apologizes, but she never has the opportunity for this kind of immaturity again since she is thrust into a position of responsibility after her mom’s abduction.

In young adult literature, the protagonist is often separated from their parents because it places them in a position where they have responsibilities that they wouldn’t normally have. Emily’s ascent to responsibility comes in two stages: First, the amulet instructs her to keep her family safe, which she willingly accepts; then, Karen is captured by the arachnopod, and Emily has no choice but to take the lead. In both instances, she appears to be up to the task. She is insistent on investigating the strange noise with her mom and shows no signs of fear. Later, when Navin is also taken by the arachnopod, she manages to use the amulet to free him. Part of what makes her well suited for her new role is her desire to act—she wants to investigate rather than waiting around, she goes through the cellar door without hesitation, she fights back against the arachnopod despite being unarmed, and she trusts the amulet because she has no other option.

However, this also introduces some tension related to the theme of Power and Responsibility. When there is a moment of respite from the murderous creatures chasing them and Emily and Navin can catch their breath, the amulet tells Emily that she will have to use her new powers responsibly. However, given the mysterious origins of the amulet, it is unclear whether it is safe for Emily to heed the amulet’s words. Yet she never questions this, plunging quickly into danger and adventure. In contrast, Navin distrusts the amulet’s intentions, and he often questions whether it is wise to do everything it suggests. The visuals of the novel also hint that there is danger in unquestioningly following the amulet as Emily does—her eyes glow red while she is talking to it.

While later novels in the series stick to the science fiction and fantasy genre, The Stonekeeper veers into horror territory at times. The first instance of this is when Karen, Emily, and Navin are awoken in the middle of the night and go to investigate a thumping noise in the basement. As they navigate the labyrinthian halls of the house, many of the frames use canted angles—a trope of horror films for how unnatural and unnerving they can feel—and the only source of light is Karen’s flashlight. The family also splits up—another horror trope—which generates additional tension and contrives a way for Karen to go missing. There is also a clear Lovecraftian influence on this part of the story: The arachnopod is reminiscent of Lovecraftian monsters such as Cthulhu or Azathoth (the tentacles and gaping maw are similar); also, Alledia is dreamlike and mysterious in ways that defy logic and understanding (for instance, it has disappearing staircases and a profusion of waterfalls that are everywhere), and Silas, when he is introduced later, fits the archetype of the detached and isolated academic who becomes obsessed with his studies and dangerously pushes the boundaries of human knowledge.