67 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of death and sexual content.
Sorrow and Starlight is set in a world where fate is an omnipresent force that governs the characters’ lives. Fae are pawns in a grand, cosmic design, where the alignment of the stars and ancient prophecies create inescapable destinies imposed upon them. However, authors Peckham and Valenti do not present fate here as wholly unchangeable. Instead, they deliberately show a pushback against this fatalistic outlook, with several characters fighting back, especially Tory and Gabriel.
For Tory, fate is the ultimate antagonist—a force to fight back against and rewrite. In her first chapter, when faced with a future without Darius, she thinks,
I was done being a pawn that the stars could tug and pull whichever way they pleased. The call of fate meant nothing to me if this was the life they’d chosen for me. I refused it as harshly as I refused them, and they were soon going to learn how hot my fire could burn in vengeance (33).
Tory becomes an embodiment of vengeance, and the main target of her rage is the indifferent celestial forces and fate itself. She rebels by forging alliances with the Nymphs in defiance of tradition, and she actively seeks out forbidden magic to bring Darius back. Rather than waiting for destiny to impose its terms on her, Tory challenges the fabric of the natural order in her world, and the stars later refer to her as “[f]ate changer” (1213).
Her half-brother, Gabriel, is one of the few characters in the series gifted with The Sight—the ability to see future events before they happen—positioning him as an oracle and a tragic figure burdened with the knowledge of what will come. His visions are a constant reminder that fate, in some form, influences every decision and every action. While Tory battles against inevitability, Gabriel navigates the space between what is destined and what can be changed. Throughout the novel, he warns characters of impending danger several times, saving them from the gruesome deaths he foresees. While there are many things he cannot change on a grander scale, he can also alter fate piece by piece.
Within a broader context, the struggle between fate and free will permeates the entire conflict that drives the story. The ongoing war with Lionel Acrux and the existential dread that haunts many of the Fae revolve around this conflict. Tory’s defiance is emblematic of the hope for a future where free will can triumph over destiny and tyranny. As a result, the conflict between fate and free will is not an abstract philosophical debate but has real consequences for the characters and their society.
After the devastating battle that closed Heartless Sky, everyone is left reeling and grieving. Most of the principal characters lost someone important to them, whether it was a parent, sibling, or lover. Their grief is depicted as a pervasive, corrosive force that chips away at each of them, and much of the book is taken up by focusing on the different ways they choose to cope with what happened. They shut themselves off from each other, lash out violently, or turn to sex purely to feel something other than pain. Tory takes the most extreme approach: Refusing to accept the loss of her lover Darius, she turns to dark magic and forces her way into the afterlife to save him. However, most of the other characters don’t follow her lead and instead find solace and healing through love and community.
The most literal example appears in the form of Xavier Acrux. His mother and brother were both killed in the battle by his father, Lionel. He is also physically scarred, as the wings of his Pegasus form are cut off and taken to the Palace of Souls as a trophy. His severed wings, once symbols of freedom and pride, become emblems of his grief and vulnerability. He spends the first half of the novel angry and closed off. As he notes, “It wasn’t just losing my wings, or even Darius or my mom, I’d lost something else out there on that field of destruction. Something intrinsic which had abandoned me, leaving me worthless without it. My confidence perhaps, or something deeper. A piece of me that couldn’t be reforged” (966). After the battle, he is, in his eyes, permanently broken. His only goal is to make his father pay for what he did. As a result, he tries to cut everyone else off, including his romantic partners, Tyler and Sofia. They, however, continue to reach out even as he pushes them away. When he fails to climax during a threesome with them because “the cold hand of grief [i]s sweeping over [him] again” (425), they provide him with an outlet to channel his frustration by destroying a facsimile of Lionel’s office. Afterward, they continue to give him their unconditional support. Their concern is not only a comfort but also a continued reminder that he is not alone. The community itself comes together to see his first flight once he heals. The physical restoration mirrors the emotional one that Xavier has once he reconnects with his community.
Peckham and Valenti show that while grief can be all-consuming, it doesn’t have to stay that way. Healing is possible, even when the process isn’t linear. Moving on requires confronting one’s sorrow, sharing it with others, and allowing oneself to be vulnerable. Vulnerability is crucial because it opens the door to support, an antidote to the isolation and despair of grief.
Everything that happens in the novel is the result of actions taken years, sometimes centuries, prior. Lionel’s tyrannical reign, the war against which forms the backbone of the plot, resulted from the other three Councillors failing to take concerns about him seriously. When Tiberius Rigel blames Tory for the setback of the failed raid on the Palace of Souls, his son, Max, intervenes and says, “The three of you spent years sitting across tables from him, turning a blind eye to any signs of what he was up to behind closed doors. He didn’t just seize this opportunity when the Shadow Princess crossed over into our realm—he’s been plotting this for years” (870).
While Lionel’s crimes are ultimately his alone, Max points out that the situation could have been prevented if the other Councillors had taken action before it was too late. They try to justify their inaction, but Tory, Max, and the other characters of their generation know that because the Councillors failed to intervene, people died, families were torn apart, and they needed to build a base on a moving island just to survive. In this sense, the characters in Sorrow and Starlight live in a world built by the failures of previous generations. The struggle to undo these mistakes and rebuild the world in a manner of their own choosing defines their lives.
The other issue at the center of Sorrow and Starlight is the question of the centuries-old curse on the Vegas. Because of this curse, fate is against Tory and Darcy and will only continue to worsen. As the twins learn, the curse stems from a promise made and broken by their ancestors. The curse and all the devastation that followed originated with the fallen star Clydinius, who once granted immense power to Queen Elvia Vega in exchange for a promise that her descendants would eventually return his heart and enable him to walk among the Fae—an event that would have catastrophic consequences given Clydinius’s malevolent nature and lust for power. Several generations later, Queen Avalon Vega concealed this promise from her descendants, ensuring that no Vega could fulfill it and sealing her bloodline’s fate with suffering. Once they learn the truth, Darcy and Tory face a dire dilemma: Return the heart and unleash catastrophe or remain eternally cursed. When they try to take a third option—killing Clydinius as soon as he takes Fae form—they fail and are trapped while he escapes. Their failure shows that no matter how powerful or independent they become, their ancestors’ decisions bind them to a legacy that they didn’t choose but still must face.



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