Before They Are Hanged

Joe Abercrombie

66 pages 2-hour read

Joe Abercrombie

Before They Are Hanged

Fiction | Novel | Adult | Published in 2007

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Symbols & Motifs

Content Warning: This section of the guide includes discussion of graphic violence and cursing.

Scars and Missing Body Parts

The motif of scars and missing body parts pervades the novel, serving as a constant reminder that violence leaves permanent marks on both body and soul. These physical wounds symbolize the cost of survival and the futility of heroic ideals in a world where conflict offers no glory, only lasting damage. Scars also carry another meaning in the text, signifying that for better or worse, adversities shape a person, as in the case of Jezal, whose injuries help him gain empathy for others.


While characters like Glokta and Logen bear scars from their violent pasts, Ferro Maljinn’s self-inflicted wound represents a more complex form of defiance. When explaining how she ruined her value as an enslaved person, she states, “I did not know then how to kill. So I hurt my owner the best way I could. I cut myself, right to the bone. By the time they got the blade away from me I had cut my price down to a quarter” (316). Ferro’s scar is a symbol of her will, a permanent declaration that she owns her own flesh.


The frequent scars and missing body parts of protagonists also subvert the idea of the pristine-looking hero or heroine. Ferro is scarred, as are Logen and Jezal, showing that heroes come in all shapes and sizes.

The Ruins of the Old Empire

The ruins of the Old Empire are a symbol of the cyclical nature of history and the ultimate futility of human ambition. As Bayaz’s party journeys west to what was once the seat of world civilization, they travel not through a vibrant landscape but a sprawling graveyard of past glory. These decaying cities, crumbling statues, and forgotten palaces serve as a constant backdrop, reminding the characters and the reader that their present struggles are merely the latest chapter in a long, repetitive story of conflict and collapse. The ruined capital of Aulcus stands as the most powerful manifestation of this symbol, a place so corrupted by a past magical disaster that it remains a “blasted ruin” (104). Bayaz reveals the cause of this destruction, explaining, “The Seed made a ruin of the greatest city in the world, and blighted the land about it from now until eternity” (344). This revelation is deeply ironic, as the object of their quest—an item sought to wield immense power—is the very thing that destroyed the most powerful empire in history. The ruins thus transform from a mere setting into a prophetic warning, suggesting that Bayaz’s quest for control is doomed to repeat the past and that all empires, no matter how mighty, are destined to become monuments to their own hubris.

The Letters Between Sult and Glokta

Bleakly comedic in their parody of bureaucratic conventions, the letters between Arch Lector Sult and Glokta constitute an important motif in the text, illuminating the themes of The Dehumanizing Force of Institutional Power and The Illusion of Control in a Chaotic World. Glokta writes to Sult in an attempt to gain control over a reality that is beyond him; he requests his superior for money and reinforcements, ending his letters with messages such as, “Until then, I serve and obey” (87). Glokta’s obedience is met with silence from Sult, or the occasional missive refusing his requests and asking Glokta to make do with what he has. Sult’s letters clearly tell Glokta that he has no control over the situation and is only present in Dagoska as a cog. In his final letter to Glokta in Dagoska, Sult abruptly orders him to “leave immediately” (364), making his departure as whimsical as his arrival.


The letters show Glokta trying to playact subservience while growing frustrated with the lack of help in Dagoska. Yet, Glokta cannot openly speak his mind for fear of defying institutional power, which demonstrates the subjugation of the individual by the institution. Indeed, when Glokta does express his opinion to Sult in person, telling him that Tulkis is innocent, Sult begins to froth at the mouth in anger, calling Glokta a “crippled shred of a man” (513), and remarking, “who cares a shit for the innocent” (513). In contrast to his curt but relatively polite tone in the letters, Sult’s outburst reflects his real self and brings home for Glokta the corruption of the institution he serves.

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