Born of Blood and Ash

Jennifer L. Armentrout

62 pages 2-hour read

Jennifer L. Armentrout

Born of Blood and Ash

Fiction | Novel | Adult | Published in 2024

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Symbols & Motifs

Content Warning: This section of the guide includes discussion of sexual violence, sexual content, physical abuse, emotional abuse, and death.

“It’s Nothing”

“It’s nothing” is a phrase that is repeated by Sera throughout the novel, serving as a motif that develops the theme of The Lasting Impact of Trauma. In the first part of the novel, as Sera struggles with what Kolis did to her while she was imprisoned, she refuses to acknowledge what happened, talk about it, or lend it credence, instead feeling as though her trauma is not worthy of discussion.


When characters like Ash and Aios try to get her to discuss it, she insists that “it’s nothing.” The irony of her statement lies in just how deeply impacted by her trauma Sera is. In addition to denying what Kolis did, her words convey another layer of her trauma: her inability to vocalize and acknowledge it. As Sera explains, discussing her trauma lends it a new power, causing further pain in its acknowledgment and discussion.


Once Sera builds the strength and courage to speak about what happened to her, first to Aios, then to Ash, she finally acknowledges that what she went through wasn’t “nothing,” but instead something profoundly impactful. With this acknowledgement comes Sera’s ability to place the blame squarely where it belongs, on Kolis, and to begin to heal from what happened to her.

Cages

Physical and metaphorical cages are a motif throughout Born of Blood and Ash. In the previous novel, Sera spent weeks trapped in Kolis’s palace in a “gilded cage,” emphasizing its ornate beauty while also conveying its danger. Throughout the novel, characters use Sera’s experiences as a weapon against her, referencing the “cage” that she was once in. For example, when Veses comes to the gates to plead with Ash to accept Kolis’s deal, she calls Sera a “caged whore” (354), then Kyn uses similar words to taunt Sera in Ash’s court. When Kolis speaks with Sera, he often references the cage, even using his power as a Primal to recreate Sera’s trauma, transporting her back to the “gilded cage” as they stand in his throne room to discuss their offers. While the cage was once a physical object that Sera fought against, it now serves as a psychological representation of the trauma that she has been through.

Ash’s Paintings

Ash’s paintings are a symbol of his caring and compassionate side, developing his character beyond the strength and power he outwardly shows as the Primal of Death. When Sera first discovers that he can paint, she reacts with surprise, as she had never considered Ash’s hobbies or what he enjoyed doing, largely because she has only ever known him during this period of turmoil. In this way, Ash’s paintings represent the idealized life they can lead in a time of peace, when they don’t have to put aside personal desires and can focus on their relationships. The portrait that Ash did of his parents reflects this symbolism, showing how intimately they reflect his private rather than his public life.


The paintings also function as a promise for the future. Although Ash promises to show them to Sera often, he is unable to do so, as the duties of the war they are fighting prevent them from taking time away. While he and Sera spend much of the novel fighting a war, there is hope at the novel’s end that they can begin to grow their relationship, start a family, and live happily together now that Kolis’s threat has been removed and the realm has begun to heal. In the final chapter, Ash finally has the time to show Sera his paintings, symbolically representing the idea that they will finally be able to settle down and enjoy life together.

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