A Trade of Blood

Robert Jackson Bennett

A Trade of Blood

Robert Jackson Bennett
60 pages2-hour read
Fiction
Novel
Adult
Published in 2026

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Symbols & Motifs


The Guiding Web Fungus

The guiding web fungus is both a central plot element and a symbol of Class Hierarchy as a System of Exploitation. This parasitic neuro-fungus is reminiscent of the real-world cordyceps fungus that colonizes and controls the behavior of ants—a natural phenomenon that previously inspired the video game series The Last of Us and its hit television adaptation. In A Trade of Blood, the fungus can be bred to control the minds of creatures and people, symbolizing the unnatural and unethical subjugation of will. Its use transforms living beings into puppets, acting out commands ingrained in their minds through a process of conditioning. The fungus is the ultimate tool of exploitation, turning individuals into extensions of another’s desire and eliminating their autonomy. This total instrumentalization illustrates how the powerful view others as resources to be manipulated for personal gain. Trikao Armenta uses it to eliminate heirs, and its origins with the ancient Daljen reveal a historical precedent for enslaving a population for agricultural labor. As Ana observes, the fungus creates a horrific form of posthumous servitude, turning a victim into “a soldier in living death” (243) who continues to obey commands. The web’s existence demonstrates that in the Empire, the line between a living tool and a person is dangerously thin, dependent only on the will of those who hold the power to condition.

Urhosi Cattle and Flensing Halls

The massive, genetically altered urhosi cattle and the industrial flensing halls where they are slaughtered symbolize the moral decay and environmental devastation at the heart of Sapirdad’s economy. These elements are the most visceral representation of The Moral Cost of Meat Production, an industry so voracious that the entire landscape has been re-engineered solely to grow beans for cattle feed. The flensing halls are depicted as a site of grotesque horror, a “cancer” on the land that produces mountains of bones and reeking mireponds. This industrial-scale carnage is not just an economic activity but a corrupting cultural force. It is in the flensing halls that Castus is conditioned to kill, his mind associating the act of butchery with the web’s commands. The industry also fuels The Destructive Pursuit of Family Legacy, as the entire feud between the Armentas and Buravs is driven by competition over this bloody trade. Trikao Armenta’s lament that “We make beasts of ourselves, to be sacrificed to this trade” (235) reveals the psychological toll of this system, suggesting that in commodifying life so completely, the people of the canton have brutalized their own humanity. The cattle and their slaughterhouses symbolize a societal degradation disguised as prosperity.

The Altered Forest

The ancient, altered forest is a powerful symbol of buried history and the dangers of suppressed atrocities. Created by the ancient Khanum, the forest actively repels intruders with a psychotropic aura and dense, unnatural growth, functioning as a living prison for the dark secrets of the Daljen tribe. Its impassable nature represents the Empire’s attempt to erase a shameful part of its past: The Daljen’s use of an early form of the guiding web to enslave its working class. Ana speculates on its true purpose, asking, “What if the forest is there not to keep people from getting in—but to keep something inside from getting out?” (184). Her question reframes the forest not as the guardian of a sacred tomb but as a quarantine zone for a moral poison. It is from this forbidden history that Burilis Burav unearths the guiding web, unleashing a modern-day plague born from an ancient crime. The secret paths or “seams” within the wood symbolize how this suppressed history can still be accessed by those with the right knowledge, allowing the past’s corruptions to infect the present. The forest is therefore a physical manifestation of a dangerous, unresolved legacy.

Tughra Rings

The tughra rings worn by the gentry are a recurring motif symbolizing the oppressive weight of family legacy and the hollowness of class identity. While most gentry have abandoned this “curiously outdated affectation” (19), Jalin Burav wears his ornate ring, which features the Burav hawk crest, as a desperate attempt to assert the status and strength he feels he lacks. The ring becomes an ironic emblem of his failure; it is a physical manifestation of the heritage he cannot live up to and that his father, Burilis, relentlessly criticizes him for failing to embody. Fotia notes that Jalin is the only Burav she knows who bothers to wear one, showing his insecurity within his own family. Ultimately, the ring becomes an important piece of evidence as well as a status symbol. The unique, pointed shape of the hawk’s beak on the ring matches a wound on Lyimo Armenta’s back, physically linking Jalin to the murder. In this way, the very symbol he used to project the power of his lineage becomes the proof of his crime. The ring demonstrates how The Destructive Pursuit of Family Legacy can turn symbols of honor into instruments of downfall, branding the wearer not with prestige but with guilt.

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