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63 pages 2 hours read

Sarah J. Maas

House of Flame and Shadow

Fiction | Novel | YA | Published in 2024

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Themes

Redemption for the Worthy

Content Warning: The source material features depictions of oppression, discrimination, and graphic death and violence.

In House of Flame and Shadow, every point-of-view character struggles with the concept of redemption and atonement.

One conflict is about realizing that many people who have done wrong deserve forgiveness. Learning the true history of the Asteri and of her own people, the Starborn Fae, damages Bryce’s ability to look for the good in others—she sees that the leaders of both peoples were power-hungry conquerors bent on domination. Her newfound cynicism lead her to temporarily believing no Fae worthy of redemption—a stance that positions Bryce on the same racist continuum that has kept the humans of Midgard oppressed by the Vanir. However, her time in the Night Court undercuts this way of thinking, as Bryce realizes that she cannot judge an entire people by the actions of their totalitarian ruler: “Nesta hadn’t been anything like Silene or Theia” (281). Remembering that helps Bryce stop judging al the Fae in Midgard by the same standard: Fae allies such as Nesta and Azriel give Bryce hope for the future of the Fae on Midgard.

However, the question of redemption is also directed inward. When Hunt blames himself for endangering Ruhn and Baxian, the regret and shame of his past failures floods Hunt with the many deaths he believes are on his hands. Hunt spends the novel separating his sense of self from the long list of faults and mistakes he believes he must atone for. Similarly, while Lidia Cervos has done many great things as Agent Daybright, her cruel persona of the Hind is responsible for “plenty of despicable acts [she committed] for Sandriel and the Asteri”—so many that she wonders whether “changing sides [would ever] erase the stain” (164). Though Lidia’s motivations for joining Ophion were murky at first, she eventually became passionate about her cause. Her worthiness of redemption is proven when one of the rebels she saved visits her in Avallen to thank her for her service as Agent Daybright.

Redemption comes in many forms in the novel, including the ending of generational legacies. When Bryce realizes she descends from a long line of cruel, oppressive conquerors, she decides that she’s also inherited the burden of righting their wrongs. Though Bryce hasn’t contributed to the oppression of others, she still seeks to redeem her ancestors’ actions by freeing the enslaved peoples of Midgard for good. Ruhn struggles with the same Starborn legacy as Bryce, vowing to atone for the sins of their father, the Autumn King. His selflessness and loyalty are in many ways a reaction to the king’s cold and calculating opportunism.

The Fallibility of History

UK Prime Minister Winston Churchill famously said that history is written by the victors, meaning that those who rule dictate the biases with which the past is retold. In the novel, this is depicted as literally true, as the Asteri who conquered many worlds rewrote their history to paint themselves as benevolent overlords, and as Theia and her daughters, Helena and Silene, hid their murderous quest for power by covering up their involvement in despicable behaviors. When Bryce learns the true history of her ancestors and of the Asteri, the discrepancies between what she’s been told and reality are stark.

The Asteri campaign against the truth is purposeful and targeted. When the Asteri first conquered Midgard, to secure their power, the Asteri immediately assailed the human Library of Parthos and its guardian Priestesses. This assault on knowledge is telling—to maintain rule the Asteri wanted to present themselves as Midgard’s saviors, so destroying evidence of their past conquests and their vampiric nature was as important as military triumph. Similarly, destroying the library enables the Asteri to portray humans as weak and inferior, lacking knowledge and skills that only the Asteri can provide. However, the texts and ancient artifacts that Priestess Jesiba Roga hid safely away are proof of a “great human civilization [that] had once flourished, […] the grandeur, the human skill that had existed on Midgard” (202)—facts that belie the history the Asteri have carefully manufactured to boast of their presumed divinity and keep the peoples of Midgard compliant.

Conversely, the real nature of ancient Fae rulers has been obscured by faulty source material. Most of the information about Theia comes from a Prince of Hel, Aidas, whose love of Theia colors her actions, giving the wrong impression of her character. Aidas’s version of Theia’s history minimizes her greed, selfishness, and cruelty: Even though he knows about her murderous deeds, he had the “nerve to talk about her as if she wasn’t a murdering piece of shit” (203), as Bryce bitterly exclaims when she learns that the star in her chest is magic passed down from a butcher and oppressor. Although Silene’s hologram describes the steps she took to atone for her mother’s actions, this atonement is revealed to be yet more fabricated history, passed down through Silene’s line like a game of telephone—warped and changed, becoming more and more obsolete until it was lost entirely.

The Dehumanization of Oppression

No matter who conquers Midgard, it is always the humans who suffer most. Vesperus, the Asteri contained beneath the Prison, calls half-human Bryce, “both slave and the slave of our slaves” (246), alluding to the way Asteri see the human species. Similarly, the Vanir, especially the Fae, liken themselves to gods while oppressing their human neighbors. Both rulers use dehumanization to maintain their power over humans by painting them as inferior beings not worthy of rights, dignity, or freedom. The result is human rebellion led by desperate people such as Phillip Briggs, whose attempts to overthrow the system turn into mass violence.

As Bryce learns of the Fae’s true involvement in Midgard’s history, she comes to understand their role in dehumanizing those they overpower. As a half-human herself, Bryce reels at the discovery that “the Theia who Aidas had spoken so highly of […] was a murdering tyrant” (198). When Theia and her people infiltrated Midgard and sought to conquer its people, they butchered and enslaved humans, treating them as possessions. When Silene’s hologram recites her version of history to Bryce in the tunnels, Bryce bristles at her tone: Silene is no more than “a bored immortal, blandly reciting a history of others’ suffering” (209); her affect reveals the distancing effect of seeing fellow people as lesser creatures. Those who are lauded as saviors amongst the Fae, such as Theia and Pelias, are revealed to have committed abhorrent acts against the humans who called Midgard home—a story that echoes the realities of colonization in the real world.

This dehumanization “continued on Midgard today, this false sense of superiority and ownership” (109): Humans are tossed into dumpsters after enduring torture and murder by the Vanir; their fates are not worthy of investigation or justice because they tend to be seen as enslaved chattel. Recently, in Crescent City, the Fae left the humans that serve them to be slaughtered by Asteri forces, “locking the innocents out of their villas while they cowered inside, protected by their wards” (233). This same behavior—this lack of regard for human life—is explicitly stated in the Asteri’s unmitigated attack on the entirety of Asphodel Meadows. Ithan and Hypaxia are horrified by the sheer quantity of dead humans—both adults and children—populating the streets with only a few kind Vanir going out of their way to help in the aftermath.

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