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Jennifer L. ArmentroutA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Following the reveal of Seraphena (Sera) Mierel’s true identity as the Primal of Life in A Shadow in the Ember, Nyktos bows on one knee before her. Sera recoils, but Sir Braylon Holland, her mentor and an Arae or Fate, tells her that the gesture is apt since, as a holder of the embers of life, all other gods owe Sera respect. The goddess Penellaphe recounts the prophetic vision that her mother received from the Ancient Primals, in which a queen of flesh and fire (mortal and divine at the same time) ruled the realms along with the god born from blood and ash. Penellaphe thinks that Sera may be the prophesized queen, a belief that Nyktos seconds. For all these reasons, as well as to safeguard the embers of life, Sera must be protected from the power-hungry gods. To offer her added protection, Nyktos wants Sera to be crowned as his Consort.
The Primals—the highest of the many layers of gods—have sensed that someone in the Shadowlands (the realm of Nyktos) has the exceedingly rare power to give life. In the previous book, Sera used the embers to Ascend the dying Goddess Bele, drawing the attention of the gods. However, Holland reminds everyone that Sera’s survival faces another nearly insurmountable obstacle. Since the embers of life are too powerful for Sera’s mortal form to hold, Sera is dying. To survive, she must be Ascended (nearly killed and brought back to life with the blood of a god) by the Primal to whom the ember belongs and who also loves her since love is the only force more powerful than fate. This Primal is Nyktos; one of the embers in Sera was meant for him by Ethyos, but Nyktos is incapable of love. A long time ago, Nyktos had his kardia—the bit of soul that allows creatures to selflessly love those unrelated by blood—removed. Thus, any scenario that Holland explores shows Sera dead in the near future.
Sera is shocked that Nyktos would willingly have his kardia removed. Her experience with him has shown her that Nyktos is capable of deeply caring about people. Nyktos reminds her that caring for someone and loving them are two different things. By removing his kardia, he has ensured that no one can be his weakness. Meanwhile, the crisis in their universe is deepening. Kolis, Nyktos’s uncle and the false King of the Gods, is creating creatures like the Craven—zombies made when a mortal is drained of blood and killed—and Revenants—vampire-like beings considered a mockery of life. He plans to overrun the mortal realm with these terrifying creatures, forcing ordinary mortals to submit to his rule. Simultaneously, both the Divine (Iliseeum, home of the Gods) and mortal realms are threatened by the Rot, a symptom of the world’s corruption, which is making soil barren and causing famine. Unless Sera kills Kolis, the Rot will continue to grow. Privately, Holland apologizes to Sera for keeping her true identity and purpose a secret. She forgives him, and Holland gives Sera an important hint about her future: She is his weakness. Sera assumes that the man in question is Kolis, as she has Sotoria’s soul. Meanwhile, Penellaphe has a complex charm drawn on Sera’s arm, which will prevent her from being taken by a living god against her will.
Sera tells Nyktos that becoming his Consort will not prevent her inevitable death. She is already in a Culling, the irreversible process that precedes her Ascension. Unless Nyktos Ascends her, she will be dead in five months. Nyktos promises to find a way to save Sera. After Nyktos leaves with Rhahar, Saion escorts Sera to her room. Sera’s bedchamber is being guarded by Orphine, a draken—a dragon-like creature—presenting as a mortal woman. When Sera goes inside, she sees that Nyktos has left her the gift of a fine dagger. Sera is touched by the gesture. Suddenly, there is an attack on the Rise by draken and entombed rogue gods pushing out of the earth. Sera tells Orphine that she will not stay idle while the fort is attacked.
Orphine and Sera join the battle. Nektas, another draken of the Rise, manages to hold off the gods, but the draken Davina is torn apart. Sera is devastated at Davina’s death and consoles herself by charging at a section of fallen gods attacking the guards. She manages to spear many gods dead before she is attacked by one, who chews through the muscles of her arm. Nyktos arrives on the Rise in his gigantic Primal form, with his wings outstretched. The battle turns, and the entombed gods are destroyed.
Nyktos carries a weak Sera in his arms to a chamber. He examines her wounds and tells her that she needs to feed on his blood to revive. As Sera is under the physically strenuous process of a Culling, she cannot afford to lose much blood. Nyktos nicks his wrist and brings it to Sera. She drinks his blood reluctantly but is soon caught up in the sensuousness of the act. The blood makes her feel warm and strong.
Sera asks Nyktos to make love to her. Nyktos counters that what she is experiencing is not true desire but an effect of the life force of his blood heating her veins. However, when Sera insists, Nyktos asks her to masturbate as he kisses her, and Sera orgasms. They are interrupted by Nektas summoning them to the war room for a meeting with the other gods. The gods suspect that a Primal orchestrated an attack on the Rise. Bele’s guess is that this was Hanan, the Primal of the Hunt and Divine Justice. Bele used to be part of Hanan’s court; Hanan may have sensed Bele’s Ascension and the threat that it represents to him (since Sera Ascended Bele to nearly Primal-like status). Bele wants to leave the Shadowlands to protect the others from the ire of Hanan. However, Sera tells Bele that the gods may also be coming after the Rise because they sense that Sera has the embers of life. It is agreed that both Bele and Sera will stay hidden at the Rise until the court figures out the god behind the attack.
Aios, the Primal Goddess of Healing, walks Sera back to her bedchamber. Sera enquires about Gemma, the mortal whom Sera brought back to life in the previous book. Aios tells her that Gemma is physically fine, but her psychological trauma will take a long time to heal (Gemma is a survivor of physical and sexual assault). Sera can sense from Aios’s tone that even she has experienced something similar. In her chambers, Sera reflects that a life of passive hiding is not for her. She is not just Nyktos’s future consort but a woman with a purpose. Sera decides to leave the Rise so that she can turn herself over to Kolis in exchange for saving Nyktos and the others. Once she is in Kolis’s court, she will figure out a way to kill him. Sera dresses in pants and boots, sneaks out of the palace, and jumps over the wall of the fort.
As Sera enters the Dying Woods, the area beyond the Red Woods, she notices large silver hawks gathering overhead. She is unsure about the motive of the hawks until one seizes a Shade that was secretly about to attack Sera. The hawks and Sera fight the Shades—malevolent smoke-like creatures with claws. When Sera wrestles a Shade to the ground, its robes open, and at Sera’s touch, the Shade begins to grow a skeleton, muscles, and veins. The Shade rasps, “Meyaah […] Liessa” (97)—the ancient words for “My Queen”—until a bolt of white light kills it. The Shades scatter. Sera looks ahead and sees Nyktos, with silver eather leaking out of his eyes and shadows gathering under his skin.
Angry that Nyktos plans to stop her, Sera runs from him. Nyktos catches her and tells her that if he had not intervened, the Shades would have torn her apart. Frustrated at what she sees as Nyktos’s overprotectiveness, Sera screams in anger, and power begins to pour out of her. She places her hands on Nyktos’s shoulders in panic.
The power flows from Sera to Nyktos, making him scream in pain. Nektas rushes to Nyktos’s side. Sera is sure that Nektas will hurt her, but the draken’s outstretched wings close around her protectively. Nektas tells her that he is guarding her from Nyktos, as he fears that the hurt god may attack her reflexively. The moment passes, and Nyktos sinks to the ground, assuming his mortal form. Nektas, too, presents as a human, covering himself in linen pants. After Nyktos recovers, he tells Sera that her surge of power was unexpected. Sera tells Nyktos about the Shade growing a skeleton under her touch. Nyktos stares at Sera in disbelief, but Nektas tells them that Ethyos had similar power.
Nektas asks Sera and Nyktos to return to the Rise, as the Shades are still lurking in the forest. Nyktos conjures up his warhorse, Odin, from the silver cuff he wears. Odin is miffed with Sera since she hit Nyktos with her powers but lets her mount him. When Sera and Nyktos return to the palace, Nyktos embraces Sera in bed and asks her to sleep, making her promise that she will never go after Kolis again. Moved by the emotion in his voice, Sera agrees.
The first set of chapters in A Light in the Flame provides backstory and context to the novel’s events. Armentrout balances unfolding plot events with exposition and world building to help readers connect the dots between this book and its predecessor. For instance, events in the first chapter directly continue from the ending of A Shadow in the Ember. Further, characters often refer to crucial events in that book, such as Sera’s Ascension of Gemma and Bele and the prophecy received by Penellaphe. These references are vital in helping readers keep track of the vast cast of characters in the series and its multilayered mythology around Ascension, godhood, and power.
Though the novel is a work of high fantasy—in which the universe is vastly different from the real world—Armentrout keeps characters relatable by interspersing its formal setting with realistic and irreverent dialogue. For example, when Sera learns that Holland is an Arae, she cringes as she recalls, “I couldn’t even begin to count how many times I’d kicked him” (21). Another distinctive feature that makes even supernatural beings like Nyktos relatable is their capacity to experience love, desire, and other human feelings.
This section introduces Fate Versus Free Will as a key theme. Before Holland leaves Sera in Chapter 2, he tells her that though he can sense death ahead for her, “[F]ate […] can be as ever-changing as your thoughts. Your heart” (43). This shows that even an Arae like Holland cannot predict what is going to happen. Human feelings, thoughts, and actions can alter the course of destiny. Holland also makes it clear to Sera that though Nyktos has had Maia—the Goddess of Love—remove his kardia, love is more powerful than anyone can imagine. Holland’s cryptic statement foreshadows a scenario in which Nyktos will come to love Sera despite his kardia being absent. Thus, love is the one variable that can rewrite the laws of the universe and fate itself.
Another key theme introduced in this section is The Corrupting Influence of Power. The gods and Primals of Iliseeum are shown to be power-greedy creatures that feel threatened by the growing strength of mortals. Hanan sends an entire army after Bele because he perceives that she might be a contender for his title. Kolis—who embodies corruption—stole his nephew’s birthright and his brother’s life in search of power. The greatest symbol of corruption in the novel’s universe is the Rot. It is revealed that the Rot is not a disease, as Sera has been taught to believe, but a symptom of the universe’s imbalance of power. The cruelty and abuse of power by Kolis and the other Primals is slowly killing the realms.
The opening chapters also establish The Quest for Identity and Self-Acceptance as a central theme and flesh out Sera’s character development. Sera bristles at any suggestion of staying passive and hidden, such as when Orphine tells her to remain in her room during the attack on the Rise. Trained all her life to be veiled and hidden as the destined Consort of a Primal, Sera now refuses to return to that state of existence. This is why she finds Nyktos’s concern suffocating, often wondering if the care that he shows her is just another attempt to control her. The relationship between protectiveness and control is a recurring focus of the novel. As Nyktos’s character evolves, he, too, must learn to care for someone without interfering with their autonomy.
Sera’s growing power is a metaphor for her growing independence. Away from her kingdom, where she had a specific role to perform, Sera increasingly feels empowered to write her own destiny. Another distinctive feature of Sera’s portrayal is the frank attitude that she has toward her desire and sexuality. References in A Shadow in the Ember make clear that Sera took sexual partners before Nyktos. Reversing a common trope in the romance genre, in which the woman is less sexually experienced than the man, the author makes Sera sexually experienced, while Nyktos is the initiate. Sera does not shy away from conveying her sexual needs to Nyktos, which again marks her as a confident character learning to accept herself fully. For Nyktos, sexual acts symbolize the dawning realization that despite having his kardia removed, he loves Sera.
Many names and symbols in the novel are inspired by Greek mythology. Iliseeum, the realm of the Gods, is akin to Elysium, the name for paradise in ancient Greek mythology. The Ancients are said to be resting in Arcadia, a divine realm. In Greek mythology, Arcadia is the home of the god Hermes. The allusions to Greek mythology add gravitas and depth to the narrative, as they reflect historical and cultural reference points of the reader’s own world. For instance, the mention of the god Delfai evokes the images of an ancient, sacred Oracle of Delphi.
Mythical creatures like draken, nymphs, and wyverns populate the novel’s universe and symbolize how the imbalance of power corrupts nature. For instance, draken, considered one of the purest of mythical creatures, originally had blue eyes. However, when Kolis stole Ethyos’s embers and upset the balance of power, the eyes of the draken turned red. The creatures’ health and appearance are directly impacted by the corruption of power. Other creatures, like the Shades in this section and the dakkai that are introduced later, enhance the paranormal and horror elements in the narrative, showing how the novel’s universe can be a dark, violent place. Many of the paranormal creatures in the text are those in a vampiric or living-dead state, such as Shades, Craven, and Revenants. Their inclusion signifies that the boundaries between death and life are more fluid in the novel’s universe than in the real world.
By Jennifer L. Armentrout