A Light in the Flame

“Coughing as a gust of smoke moved over us, I shut myself down as I started forward. They weren’t my people. They never would be. I found the veil of nothingness welcoming as it settled over me. Then, I felt absolutely numb. No intense urging of the embers. No pinching guilt that stung my skin with each new scream. No agony of seeing Davina. No dread of others being hurt or worse. No fear of Nyktos being wounded or curiosity about why I was so worried about that and the concern that fostered. I fell into the controlled madness of battle and became what I’d always been.

A killer.

A monster.”

Throughout the novel, Sera often uses the metaphor of the veil of emptiness or nothingness to describe the numb state in which she has willed herself all her life. The numbness refers to a shutting down of her thoughts and emotions, which is necessary for her to operate as a weapon or a label. As she fights the intruders in the Rise, she becomes numb again; however, the fact that she refers to herself as a “monster” shows that she wants to break out of the veil and acknowledge her complicated emotions. This desire to break out links to The Quest for Identity and Self-Acceptance.

“I laughed shakily, a little—or a lot—breathless from the slick rush of desire flooding me. My hand fell to his tattered shirt. Behind my palm, I felt his heart racing. My hips shifted, brushing against the thick, hard ridge of his arousal. ‘I can sense your need. Feel it. Taste it. You’re drowning in it.’ His eyes slammed shut. ‘I’m fucking drowning in it.’ A sharp dart of desire sliced through me. ‘Then drown with me.’”

This exchange between Sera and Nyktos shows how Armentrout integrates intimate scenes typical in the romance genre into her fantasy world to illustrate passion and deepening understanding between her main characters. Nyktos senses Sera’s desire for him because, as an empath, he can read her feelings. The metaphor of “drowning” shows the overwhelming nature of their mutual lust.

“I will gladly suffer anything Kolis dishes out as long as my blood is spilled instead of yours.”

While Nyktos has had his kardia removed and technically cannot experience selfless romantic love, his devotion to Sera indicates the opposite. When Sera tells him that she wants to give herself up to Kolis to save him and his court, he makes it clear that he would rather risk Kolis’s wrath than see Sera hurt in any way.

“‘Do not order me about as if I’m a child.’

‘I wouldn’t if you didn’t behave like one.’

I saw red.

‘You sure as hell didn’t think I was behaving like one when you had me in your bed and your fangs in my throat!’”

As this exchange shows, the dynamic between Sera and Nyktos is complex and involves both parties accepting their flaws and double standards. Here, Sera chafes under Nyktos’s control, while Nyktos argues that control is important because Sera is behaving recklessly. However, Sera points out Nyktos’s hypocrisy in labeling her as a child because he certainly does not treat her like one in bed. Sera’s outspokenness with Nyktos signifies that she sees him as an equal and feels comfortable enough with him to speak her mind, which are aspects of The Quest for Identity and Self-Acceptance.

“For the first time in my life, I felt like I was more than a destiny I’d never agreed to. More than the embers I carried within me.

I felt like…more.”

Sera’s feeling of autonomy rises after Nyktos introduces her in court as a brave and strong Consort. More than Nyktos’s praise, what she is struck by is his offer of a chance to let her be herself rather than a label or a role. The offer of choice is very significant for Sera since she feels burdened by the duty that she was formerly assigned, an element of the Fate Versus Free Will pendulum that she experiences in the story.

“Needing me or anyone to look out for you doesn’t mean you’re weak, that you can’t defend yourself, or that you’re afraid. We all need someone to watch over us.”

The flip side of Sera’s antipathy to any kind of control is that she sometimes rushes into dangerous situations. Nyktos reminds her that seeking help does not make her weak; in fact, it is a mark of strength. When Sera asks him in turn if he ever needs help, Nyktos replies in the affirmative. Nyktos’s admission of vulnerability endears him to Sera and humanizes him for the reader.

“‘Daddy Nyktos is not happy,’ Ector murmured.”

As Ector’s quip shows, Armentrout intersperses the solemn grandeur of the novel’s settings and formal conventions of court with contemporary, often irreverent dialogue. Not only does this introduce humor in the proceedings, but it also makes the characters and situations relatable even though the story takes place in a fantasy world. Here, Ektor dryly pokes fun at Nyktos’s tendency to behave like an angry father figure. Nyktos is furious that Sera joined the fight against the Cimmerians.

“The reminder of his strength was always a surprise. It made me feel incredibly dainty, and I was not even in the same realm as dainty. No part of me wasn’t, as Tavius had once said, plump.

Fucking gross bastard.”

Intimacy with Nyktos is linked with Sera’s growing self-acceptance and the solidification of her identity. Since Nyktos complements her in every way and also accepts her without question, Sera feels free to love herself in his presence. Nyktos’s presence makes her feel cherished and beautiful; the reference to her stepbrother Tavius’s distasteful remarks throws Nyktos’s goodness in relief. The irreverent language adds to the relatability of Sera’s observation.

“‘The gown you were in yesterday was a distraction,’ he whispered, his gaze dropping to where the swells of my breasts strained against the black lace of the bodice. ‘But this one is rather indecent.’”

The outfits that Sera wears in the Shadowlands are often described as beautiful and provocative, showcasing her curves. The gowns are slitted at the thighs, allowing her to move easily and also readily access the dagger strapped to her leg. The clothing symbolizes her pride in herself, as it encompasses both her sensual and warrior-like aspects. Given the response of Nyktos and the members of his court, the gowns also add to the erotic elements of the narrative, foregrounding the romance of this fantasy.

“Forgiveness benefits the forgiver, and it’s easy. Understanding is acceptance, and that is far harder.”

As these lines show, Nektas is venerable not just because of his long life span but also because of his wisdom and perceptiveness. When Sera wonders if Nyktos has forgiven her for formerly wanting to kill him, Nektas explains that what is more important is that Nyktos understands her motives. Forgiveness can sometimes be convenient or akin to forgetting, but understanding requires accepting an uncomfortable truth.

“Just because someone shares the same bloodline as you, doesn’t mean they deserve your time or thoughts.”

One of the text’s thematic elements is the idea of family as chosen rather than inherited by blood. Nyktos reminds Sera not to fret about being like her mother; just because Calliphe is related to her does not mean that thoughts about her should weigh on Sera. Sera now has the freedom to choose her own family, one who loves her unconditionally, which connects to the theme of Fate Versus Free Will.

“‘Why did you visit my lake if you had this?’

Nyktos was quiet for so long that I looked at him. He was still staring at the pool.

‘Because it was your lake.’”

Nyktos’s simple response to Sera’s question is like an admission of love. He makes it clear that his reason for visiting Sera’s lake in the mortal realm was not to seek out the water but to find Sera.

“‘That’s a whole lot of lilacs.’ I looked around. ‘Is that why death smells like lilacs?’

‘I don’t know why death smells like that, but lilacs are special. They represent renewal, and both life and death are that—a renewal.’ Nektas roamed forward. ‘If you ever see lilacs like this near water in the mortal realm, you can be assured that you’re near a gateway to Iliseeum—to Dalos, in particular.’ I thought of my lake. ‘And if there are none?’ ‘Then the gateway likely leads to the Shadowlands.’”

Journeys in the novel often aid in world building, as shown by this conversation between Sera and Nektas close to the Pools of Divanash. Lilacs signify the gateway between life and death, which is why Sera smells fresh lilacs when she brings someone back from the dead. In the mortal realm, the presence of lilacs indicates a portal to Iliseeum, while the absence of lilacs near the Shadowlands possibly suggests the final nature of the realm, marking a point of no return from death.

“‘You also have to give it something not known to others…likely not even to oneself…’

I started to ask what the hell that even meant, but I thought I understood what kind of truth it was looking for. One that made you uncomfortable to admit.”

The offering required by the Pools of Divanash is linked with the novel’s themes of the quest for identity and the importance of accepting the whole truth. The Pools ask for blood—which is a symbol of life, love, and divinity—and an uncomfortable truth—which symbolizes facing one’s self. Once the self is faced, there is a transformation, and Sera gains vital knowledge.

“‘Mortals were created in the image of the Primals, but they were also given more.’

‘The ability to feel emotion.’ ‘And free will,’ he said. ‘Fate doesn’t usurp that, no matter how much the Arae probably wish they did in some situations. Fate just sees all the possible outcomes of free will.’”

Nektas’s comments to Sera illustrate the text’s central theme of Fate Versus Free Will. Mortals possess free will because their roles and natures are not as predetermined as those of gods. In making mortals more special than even the gods, Armentrout develops a theme from Greek and other mythologies, where gods envy humans for their intense, passionate, and changing lives.

“‘Please tell me his guards don’t sit around and discuss Nyktos and me,’ I said.

‘We don’t sit around and talk about you. We’re usually standing while doing it.’”

An example of both the text’s use of humor and Bele’s irreverent, funny voice, this exchange shows how Sera and Bele are fast becoming friends. Sera finds solidarity with Nyktos’s guards, who were once suspicious of her.

“‘It doesn’t matter what soul you carry inside you.’ Aios lifted our joined hands. ‘What does is whether or not Kolis is capable of loving again, even his graeca. And he’s not. There’s nothing but rot and decay where his kardia should be. Kolis has no weakness.’”

One of the subtler questions that the text asks is what decides the presence of an emotion: technicalities or actions and choices. Thus, while Nyktos may be technically incapable of love because he no longer possesses his kardia, he shows love every day through his actions. On the other hand, Kolis may have his kardia intact, but his choices are brutal, loveless, and sadistic. Therefore, Aios advises Sera not to bank on Kolis’s quest for Sotoria, his graeca, or life’s great love. Aios’s statement also hints that Kolis’s pursuit of Sotoria is not guided by love but by a desire to possess and control.

“‘He is young enough that either the head or heart will do,’ Kolis said, and there was no emotion behind his words. It sounded like he was instructing me on how to stitch a seam in clothing.”

Sera uses the simile of a seamstress asking their apprentice to repair a piece of clothing for Kolis’s instructions on how to kill Thad. The simile captures Kolis’s utter disregard for life and his lack of compassion, a reflection of The Corrupting Influence of Power. He may as well be asking Sera to snip at a sleeve or a hem when he tells her to either stab Thad through the heart or decapitate him. Kolis refers to the fact that Primals, draken, and other supernatural beings are generally killed by these two methods.

“‘Some say there is a choice for whether one joins the armies. But is it really a choice for those who weren’t able to learn skills while growing up or cannot afford to attend universities to discover new ones?’ I said. ‘For many, joining the armies is the only way to feed themselves or their families, so I don’t see it as a choice.’”

While Nyktos often offers advice to Sera, she gives him an important perspective on what it means to be mortal. Nyktos assumes that, like in the Shadowlands, people in Lasania join the army out of choice. Sera counters that choice is a privilege that only Primals and gods know. Mortals often join warring units because that may be their only way to make money. Not only does Sera’s statement allude to the reality of war and poverty in history, but it also shows that Sera and Nyktos are equal partners in their relationship.

“‘It’s this…constant feeling that something bad is about to go down, even when nothing is happening. And when there’s a chance that things can go bad? It becomes the only thing that can happen.’ My throat thickened. ‘I know that probably makes no sense, but it’s like a crushing weight on your chest, and it’s always there, even when you get used to it and don’t really feel it. It’s still there, just waiting. And I…I don’t know. That’s how it feels.’”

As a Primal, Nyktos does not experience the feeling of anxiety. He tells Sera that he can, however, perceive her anxiety, experiencing it like too-heavy cream, sticky and cloying. Sera confirms that the analogy describes the feeling well and expands on how it makes her respond. Sera’s description of anxiety illustrates the text’s thematic element of dealing with mental health conditions. Sera’s experience of anxiety coexists with her courage and decisiveness and shows what it means to be mortal: One experiences fear yet continues to act.

“Fate even fucks with the Fates.”

The use of profanity by a God of Divination illustrates the text’s juxtaposition of the formal and solemn with the contemporary and casual. Delfai quips on the fact that even the Arae are subjected to fate or destiny. Though they can see every possible outcome and try to optimize reality accordingly, some variable always escapes their attention. Thus, their attempt at a fail-safe conduit for the embers ends up with Kolis using the conduit to disturb the balance of the realms.

“‘Even if you had your kardia, Ash, there was no guarantee you’d love me—’ ‘Yes, there is.’ His eyes were wide and wild as he caught my wrists. ‘I would’ve loved you if I could have. There would’ve been no stopping me.’”

After Delfai tells Sera and Nyktos that Sera’s death is certain, the pair are steeped in grief. A note of pathos enters the proceedings, with Nyktos fervently wishing that he had his kardia so that he could save Sera. The irony here is that the very fact that Nyktos wishes for his kardia means that he does love Sera.

“I took a step forward. ‘Do you not already have enough power? You’ve crowned yourself King of Gods. You already usurp any mortal ruler, as do the other Primals.’ Anger flooded my senses. ‘Why would you need more power?’

‘Why? What a silly fucking question,’ he replied, and Callum laughed on cue. ‘One only a mortal would ask. Besides the fact that if I do nothing, I die? Power isn’t infinite or limitless. Another can always rise. Power can always be taken, leaving you weakened and incapable of protecting yourself or those you care for.’”

The stark difference between Kolis’s and Sera’s views on power positions them as antithetical beings. While Sera believes that power should have limits, Kolis is driven by an unquenchable thirst for dominion. Strikingly, his power is driven by insecurity. Kolis will always want more power because he feels that he can never get complacent. If he grows content, someone will try to snatch control from him. The fact that he disdains Sera for being mortal is also important since it shows how different he is from the respectful Nyktos.