A Kingdom of Flesh and Fire

The opening chapters establish the novel’s narrative conventions, themes, and motifs. Though the novel is set in a fantastical reality somewhat reminiscent of medieval-age norms, the dialogue is contemporary. For instance, when Poppy asks Cas, “Is that clear enough?” (20), he replies, “Crystal” (20). This modern word choice adds a touch of irreverence, gently mocking the often ponderous and drama-filled power systems that govern the universe of the series. Poppy, Cas, and Kieran—the three protagonists—use casual language with each other precisely because they inhabit a hierarchical, bloodlines-obsessed society. Their irreverence is an assertion of their individuality and a way of claiming equality in relationships.

Poppy is the novel’s only point-of-view character. Because Poppy has been sheltered all her life and is now discovering truths about her world, she is a stand-in for the reader. Her first-person narration is often used as an exposition device: She asks questions about the way the world functions and other characters explain its details to both her and the reader. Poppy’s narration also involves an examination of her feelings and motives. Since Poppy has been lied to by the court of Solis and even Cas, she is often conflicted about her nature and the motivations that drive the actions of others. Her character journey involves figuring out her place in the world. 

The universe of the novel combines elements of history, fantasy, and the paranormal. For instance, titles such as knight, duke, and duchess exist, as in our history. Cas eats at a communal dinner table with his soldiers, a scene reminiscent of feudal lord and vassal relationships. While women in Solis dress modestly, and Poppy was raised in a cloister as the Maiden, free love is practiced in many communities, such as the wolven. However, homes in Solis and Atlantia have electricity, putting the action closer to steampunk-style than medieval-style fantasy. Other fantastical elements have to do with the novel’s nonhuman characters: Society is made up of mortals, changelings who can shift between different forms, Atlantians (those with immortal blood), the vampire-like Ascended, and other creatures. Finally, Armentrout’s world has a definitive geography—often a key feature of fantasy novels that involve journeys. The map provided at the beginning of the text shows that Solis lies to the west of Atlantia. The kingdoms of Carsadonia and Masadonia are in western Solis. As the group begins their journey toward Atlantia in the novel, they proceed to New Haven, an eastern city in Solis. The more east they proceed, the stronger the Atlantian influence. In keeping with the pre-modern analogy of this universe, long journeys are on horseback ensure there is plenty of time and space for character development, as well as for Poppy and Cas to run into different kinds of dangers.

One of the most striking elements of this world is its blood veneration, the uses of which contribute to the theme of The Relationship Between Pain and Pleasure. Blood is established as one of the most important symbols of the novel from the very onset. For instance, In Chapter 1, Poppy recalls how Cas “tasted my blood” (20) and learned she was “part-Atlantian” (20). Sharing blood is either a violent or intimate act in the novel’s universe, and Cas’s feeding on Poppy establishes their deep bond early on.

This set of chapters also introduces the key theme of Violence and Retribution, and the idea of dignity in death. Violence is an everyday feature in Blood and Ash, partly because the series is about a power struggle between the Ascended and the Atlantians, and partly because moral norms are somewhat different from those of the real world. In Chapter 1, Cas rips Landell’s heart out for threatening Poppy; though Poppy is repulsed by the action, it does not impact her attraction to Cas. The reader learns that Poppy killed Lord Mazeen, one of her tormentors in Solis, in the previous novel. Yet, Poppy feels sad for the attackers whose bodies have been strung up on the walls of the keep at New Haven, since she believes in a dignified death. This shows that though Poppy knows violence and retribution are sometimes necessary, gratuitous or sadistic violence is always wrong.

The subject of Poppy’s imprisonment opens up debate about control, free will, and consent. Cas has brought Poppy to New Haven to save her from Solis, but Poppy questions the very idea that she needs a savior. When Kieran asserts her locked, but comfortable, room is hardly a dungeon, Poppy stresses that a “cell is a cell” (29). Having been brought up in complete isolation and often punished brutally for her transgressions, Poppy craves autonomy and freedom, which brings her into conflict with the well-meaning but problematic Cas’s idea of protective custody. Cas does quickly come around to Poppy’s point of view, but the fact that he keeps secrets from her and initially means to use her to barter for his brother is a thorny issue the narrative doesn’t quite resolve. However, when Cas reveals to Poppy that “Hawke” is actually part of his real name, it marks a turning point in their relationship. By revealing a truth, Cas endears himself to Poppy.

The novel investigates political power as well. Although both of its kingdoms are autocratic in nature, the repression experienced by the people of Solis is reminiscent of real-life authoritarian dictatorships. Solis is ruled by an oligarchy of the cruel vampire-like Ascended, who control all the resources in Solis. The people of Solis have been led to believe that only the Ascended can communicate with the gods. This false belief and the fact that the Ascended keep their people in poverty, has enabled them to rule unopposed for centuries. In their version of history, which differs from the one taught in Atlantia, portrays Atlantia as a barbaric land ruled by “The Dark One,” a creator of havoc. The Atlantians, on the other hand, despise the Ascended for their cruelty. They too are ruled by a small elite—in this case, a royal family—but the novel posits this system as the ideal, drawing on the medieval (and later fantasy) concept of the “rightful” king—for example, the difference between Prince John and King Richard the Lionheart in Robin Hood, or the restoration of Aragorn to the throne in The Lord of the Rings. The Atlantians represent the just natural order because they can trace their bloodlines to the gods. Despite the power they possess, the Atlantians share resources: All homes in Atlantia have electricity and hot water.