A Dance of Lies

Brittney Arena

A Dance of Lies

Brittney Arena
56 pages1-hour read
Fiction
Novel
Adult
Published in 2025

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Part 3, Chapters 36-43Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death, death by suicide, graphic violence, physical abuse, emotional abuse, child abuse, and ableism.

Part 3: “Queen of Souls”

Part 3, Chapter 36 Summary

A guard named Sana wakes Vasalie, bathes her, and dresses her in elaborate silks and jewels for an unknown event. In Illian’s antechamber, Vasalie finds Anton chained to the chandelier again. Anton implores her to do whatever it takes to survive. When Illian arrives, Sana places a sheer red “honor veil” over Vasalie’s face, and Vasalie realizes that she’s being taken to the wedding of her father and Queen Aesir. Illian warns her that any misstep will result in Anton’s death.


At the wedding ceremony, Vasalie notices that Aesir’s diadem holds a large sapphire that looks just like Rurik’s glass eye as she remembers it from the night of his death. Later, at the reception in the Dome Hall, Illian commands Vasalie to remain silent and polite. She sees Copelan, who looks at her with disgust before walking away. Aesir announces that General Stova will not be her consort but will be crowned full King of Brisendale upon their return to Brisendale, framing it as an honor befitting her father’s most trusted friend. After her speech, Stova rises to speak and turns his gaze directly upon Vasalie.

Part 3, Chapter 37 Summary

General Stova shocks the court by introducing Vasalie as his daughter, Vastianna Stova. He then announces her engagement to King Illian, revealing it as the fulfillment of a courtship agreement made 12 years earlier. Vasalie is stunned, realizing that Illian was the man she was to be wed to at 13—a fate her stepmother, Emilia, died trying to prevent. Her father whispers that he tracked her after she sold Emilia’s ring and that Illian found Emilia’s glove—embroidered with her name—among Vasalie’s belongings at the Melune, which cemented her identity. Vasalie realizes that Illian knew her identity all along and groomed her to be his bride.


Stova places Vasalie’s hand in Illian’s. Illian gives her a ring and kisses her for the first time, later admitting that he had vowed to her father not to touch her until given permission. During a waltz, Illian explains that her imprisonment was a non-negotiable part of their deal; her father demanded that she be punished for running away. Enraged by the lifelong manipulation, Vasalie publicly insults her father and his new queen before storming out of the reception.

Part 3, Chapter 38 Summary

Illian catches up with Vasalie in the hallway and reveals the full scope of his conspiracy against her: He helped Stova seize the Brisendali throne in exchange for Stova’s help in uniting all of Miridran under Illian’s rule. He also admits that he defied her father to bring her to the Gathering—at political cost to himself—because he needed her dancing talent to charm and influence key figures; her father had wanted her kept in the cell until the agreement was finalized.


Back in the antechamber, Illian taunts the chained Anton with the engagement news. He then reveals that Vasalie’s gown was designed to be torn away, leaving her in a revealing bustier and sash, and demands that she give him the private performance she owes him. Desperate, Vasalie bargains for Anton’s life, promising to be Illian’s willing wife if he sets his brother free. Illian agrees and orders Aemon to release Anton. The moment Anton is unchained, however, Illian grabs Aemon’s halberd and smashes the lever holding the pin on the crank, causing the chandelier’s chain to whip free and the massive fixture to drop onto Anton, impaling him on the carpet below.

Part 3, Chapter 39 Summary

As Anton lies bleeding, Vasalie attacks Illian with millen powder. His guards restrain her, but Sana deliberately leaves her shackles unlocked. Just as Illian is about to order her back to a cell, Anton’s court storms the room, led by his pet, Ishu; his guard, Basile; and Copelan, who had been freed by Laurent. Vasalie frees herself and joins the fight as Anton stops moving, presumably dead.


In the ensuing battle, Vasalie helps Copelan kill Aemon. Illian grabs Vasalie and drags her onto a balcony, stabbing her in the thigh. Suddenly, Vasalie sees that the chandelier is unmoved and that no corpse lies beneath it—then, Anton appears, alive. Illian’s panicked reaction and Anton’s own reference to surviving Mount Carapet make clear that he cannot be killed. Illian refuses to surrender, holding Vasalie hostage with a dagger. Seeing no other way to end Illian’s tyranny, Vasalie wraps her arms around Illian and deliberately throws them both over the balustrade, plummeting to the courtyard far below.

Part 3, Chapter 40 Summary

Overwhelmed by blinding pain from the fall, Vasalie’s first coherent thought is to check if her sacrifice worked. A few yards away, she sees Illian’s body, broken and lifeless on the stone. With the knowledge that she has finally ended his reign of terror, she feels a sense of peace. No longer fighting to hold on, she succumbs to her injuries and feels herself die.

Part 3, Chapter 41 Summary

As a weightless spirit, Vasalie watches from above as Anton kneels in the courtyard and gathers her corpse into his arms. She then sees the spirit of her beloved stepmother, Emilia, who appears before her. Emilia extends her hand, welcoming her to the afterlife. Eagerly, Vasalie takes her hand and departs the world of the living.

Part 3, Chapter 42 Summary

Vasalie finds her spirit in the lair of the Fate of Morta, a goddess named Moranya. Anton is also present, having carried Vasalie’s physical body into the realm of the dead. Moranya reveals that Anton has cheated death repeatedly because he has never loved anyone—Moranya appears as someone the dying person loves to compel them to take her hand, and since Anton loves no one, no disguise can compel him. Anton reveals that he possesses a special lens crafted from a magical mirror fragment that allows him to see through Moranya’s illusions. 


Anton attempts to use the mirror as leverage, saying he will mass-produce it and give it to other mortals to escape her if she doesn’t return Vasalie. Moranya proposes her own deal: She will resurrect Vasalie if Anton gives her a piece of his soul—specifically, his “goodness,” “warmth,” and “comfort” (415). Before accepting, Anton presses Moranya about whether she plans to bring Eremis back, connecting the bargain to the prophecy that Vasalie now realizes is about Anton, not Illian. Anton accepts the deal but negotiates one final day with his court as himself before the price is paid. Moranya agrees, and Vasalie feels her spirit being pulled back into her body.

Part 3, Chapter 43 Summary

Vasalie awakens a week later, fully healed, in the allied kingdom of Razam. Laurent and Gustav show her a device that Anton invented called a Lensgraph, which captures images called “stills.” They have photographic proof of the entire conspiracy between Illian and her father. Queen Sadira of Razam informs her that General Stova has been crowned King of Brisendale and is now preparing for war.


Sadira tells Vasalie that the “goodness” that Moranya took from Anton was his feelings for and recognition of Vasalie specifically. Anton retains other memories, including of the Gathering and of Sadira, but can’t perceive Vasalie; when shown the stills, he sees only a blank pane of glass. When Vasalie sees Anton, he doesn’t recognize her and treats her with cold indifference. Sadira explains that Anton, fearing he will become the destructive king from the prophecy, has asked to be imprisoned. Vowing to save him, Vasalie pulls Anton into a genuine kiss and, in that moment of closeness, secretly unhooks the chain around his neck so that his magical lens pendant falls into her palm, determined to find a way to reverse the bargain with Moranya.

Part 3, Chapters 36-43 Analysis

The wedding of General Stova and Queen Aesir shows The Illusions of Political Power since their marriage is a carefully staged political transaction. In this political performance, Vasalie is a prop, her elaborate gown and jewels meant to signify honor and her father’s triumph. The announcement of her betrothal to King Illian completes the spectacle, revealing that her entire life has been a commodity in a bargain struck 12 years prior. Her father’s cruel whisper, “I hope Emilia is watching […] I hope she sees how badly she failed” (386), exposes the personal vindictiveness fueling him.


Throughout these chapters, Vasalie’s body is treated as an object to be prepared, displayed, and bartered, yet she ultimately reclaims it as an instrument of agency. Initially, she’s stripped and scrubbed by servants, “prepped like a pig for a spit” (374), and dressed in a gown that Illian specifically designed to be torn away for his private gratification. This objectification culminates in her father physically placing her hand in Illian’s, sealing her fate. However, in her final confrontation with Illian, Vasalie uses her inevitable death to end Illian’s reign of terror, wrapping her arms around him and throwing them both from the balustrade. In this sequence, Vasalie uses her body to deliver whatever justice she can wrangle from an impossible situation. The ownership of her body is especially important for Vasalie since Illian earlier mocked her physical limitations. By using her body in the manner she desires, Vasalie highlights the theme of Physical Disability as a Source of Strength. 


Anton’s apparent death and subsequent resurrection provides a plot twist, revealing that the prophecy surrounding the Fate of Morta was centered on him. This reveal shifts the conflict from a political struggle to one with supernatural stakes. The journey into the lair of Moranya, the Fate of Morta, furthers this change, moving the action from a royal court to a divine realm. Here, the mechanics of Anton’s immortality are explained: His inability to love has rendered him immune to Moranya’s primary method of soul collection. The fact that Morta keeps souls with her by appearing in the form of someone they love—in Vasalie’s case, Emilia—underscores the text’s subject of the unreliability of public perception. In the legend, Morta is said to “lure” souls with her beauty, but reality shows that she uses people’s own memories and emotional attachments to keep them in the underworld. 


The Lensgraph and its photographic “stills” provide a counterpoint to the deceptions that have driven the plot. While Illian and General Stova have built their power on lies and manipulated narratives, Anton’s invention offers a form of undeniable, visual proof. The images, trapped in glass, capture reality and expose the conspiracy in a way that testimony or rumor never could. Anton’s lens, crafted from a magical mirror fragment, takes this a step further, allowing him to see through even the divine illusions of the Fate of Morta. This motif suggests that in a world saturated with lies, truth isn’t a matter of perspective but something that can be captured, preserved, and ultimately used as a weapon against tyranny.


The travel to the realm of death is a motif often explored in myth and folklore, such as in the Greek legend of Orpheus and Eurydice, where Orpheus travels to the underworld to bring back his beloved wife, and the Indian myth of Savitri, in which Savitri convinces the God of Death to restore her husband to life. By positioning Anton and Vasalie’s story in this tradition, Arena suggests that their developing relationship is just as transformative. The price that Anton pays for Vasalie’s return—a part of himself—cements that suggestion, as does Vasalie’s resolve to restore Anton to himself, no matter the cost. As the novel ends, Vasalie promises to “save […] Anton, like [he] saved [her]” (427), setting up the second novel of the duology.

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