72 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of graphic violence, sexual content, illness, death, and emotional abuse.
Dianna and Samkiel swim together and speak honestly about their futures. Samkiel admits that Logan and Neverra want to leave once the threat ends and that others in The Hand may follow. Dianna says that she would rather be seen as a monster than lose anyone she loves. Samkiel says that he would be proud to be someone she loves and promises not to let her push him away. They discuss grief, and Samkiel reminds her that healing takes time. Dianna invites him to stay with her that night and asks him to return even when they fight. He promises.
Dianna dreams of warmth instead of death for the first time since Gabby’s loss. She wakes to find Samkiel gone and joins him and Imogen in the kitchen. Imogen and Samkiel are discussing a notebook, which he promises to explain to Dianna later (it is later revealed to contain his speculations on Yejedin). He then leaves for a council meeting, unsure when he will return. Dianna hides her disappointment and again hears a voice warning that time is running out. She runs, eats, and notices the silence around her. Seeing a star, she talks to it about her fears of losing Samkiel. After trying and failing to summon her powers, she thinks of him for comfort and then desire; she pleasures herself to thoughts of him. However, Samkiel does not return that night.
The next morning, Samkiel makes breakfast and says that he did not come to her because he returned late. Dianna feels awkward, suspecting that he knows that she pleasured herself to thoughts of him. He says that he is too busy to spend the day with her as Cameron and Xavier appear.
After Samkiel leaves, Cameron mocks Dianna for not going to Samkiel directly for sex, implying he knows she pleasured herself. Dianna makes Cameron promise to say nothing about what she did to Samkiel, provided she spends the day with them. They surprise her with a beach day. During a volleyball game, Dianna uses her powers to win and then hides the evidence. Neverra brings her a sandwich made just for her. Imogen shyly asks to sit with them, and Dianna encourages her. Later, she invites the women to the castle.
That evening, Dianna, Imogen, and Neverra make face masks and watch movies. Imogen says that she wants to be friends. She explains that she and Samkiel have not been together since Rashearim fell and that they never wanted their arranged bond. Dianna comforts her. Logan calls, and the women send a photo of themselves together. Dianna feels safe and happy for once and hides her tears. When the others fall asleep, she lies awake, jealous of Logan’s messages to Neverra and missing Samkiel. She talks to the star, saying that she wants to be happy again but still misses Gabby. The star winks at her.
Samkiel stays at the council hall and reviews sketches of his nightmares, in which he lies on an altar before three horned figures. As Samkiel considers the sketches, Roccurem appears, noting that Unir once recorded dreams, too. He warns Samkiel that calm like this often precedes a storm. Logan arrives, saying that something has been found in Yejedin. Samkiel returns to the castle and hears Dianna laughing with the others. He sends Imogen and Neverra to the council and tells Dianna that he will see her tomorrow.
In Yejedin, Samkiel and The Hand subdue a giant named Porphyrion. The giant mocks Samkiel, calling him Unir’s descendant, and says that (Porphyrion) has been imprisoned for millennia. He speaks of a “winged death,” which Samkiel recognizes as Dianna. Samkiel postpones further questioning. Later, Logan makes dinner, and Samkiel confides that he is nervous about his plans with Dianna. Logan mocks his fear, calling it a date.
Camilla is sitting in her cell, testing her magic, when Samkiel and Logan arrive. Samkiel releases her temporarily so that she can impersonate him for a day. She realizes it is for Dianna’s sake and agrees, though he warns that her compliance does not excuse her crimes. Camilla tells Logan that she needs food for her spell. When he calls Dianna “my queen,” she senses his affection and feels comforted knowing that Dianna now has a family.
Dianna feels relieved when Samkiel arrives. They go ice skating, and she recalls doing so with Gabby. Samkiel thanks her for sharing the memory. She asks why Logan and Neverra have no children, and Samkiel explains that, like Samkiel himself, Logan underwent a procedure to prevent himself from having children. She admits that she once wanted children but no longer does.
When Samkiel mentions Yejedin, Dianna realizes that he lied and went to seek Kaden without her. They argue about vengeance and safety, admit they miss each other, and agree to rely on one another again. Samkiel insists that she must stay away from Kaden until her powers return.
Dianna takes Samkiel to the first home she shared with Gabby, now abandoned. She says that Kaden broke her and that she never cared for anyone until Samkiel. She apologizes and confesses that she loves him. They affirm the exclusivity of their relationship and make love, his power shattering nearby lights. Afterward, Samkiel says that he would choose her even over fate. Police and celestials arrive because of a noise complaint, and Samkiel uses his powers to help them escape.
Cameron brings Elianna’s journal, which he stole after having sex with her, to the council. There, Imogen begins transcribing it. Roccurem appears and warns that what they seek regarding the runes in Yejedin will not be found in texts. When Cameron asks about Samkiel, Roccurem says that he is busy, and Cameron realizes that Samkiel and Dianna have slept together. He laughs about Vincent investigating the noise complaint. After everyone leaves, Roccurem apologizes to Cameron for the pain that lies ahead.
Cameron sulks because Xavier is avoiding him. He persuades Logan to visit Samkiel; they find the castle in disarray and Samkiel disheveled and naked. Learning that three days have passed, Samkiel asks for one more day before rejoining them.
Samkiel returns to the council halls to find The Hand gone. Roccurem says that they went out to eat and notes Samkiel’s jealousy at hearing Dianna’s name. Samkiel apologizes, and Roccurem smiles for the first time.
Samkiel revisits Porphyrion. The giant says that Unir, the World Bringer, created Yejedin to imprison enemies and forged three generals who shaped worlds and bred monsters. When Porphyrion says that Samkiel smells of one of those generals, Samkiel realizes that Kaden (whose scent Dianna bears) may be one of Unir’s creations. He offers Porphyrion a choice between prison, death, or oblivion. The giant chooses oblivion.
Neverra and Dianna travel secretly to Onuna to investigate Tobias’s claim that Gabby was not Dianna’s sister. They locate the records, but Irikuva attack before they can read them. Neverra directs Dianna toward an escape route, and they flee.
Neverra and Dianna return to the castle, where Neverra gives Dianna documents proving that Dianna was adopted. Samkiel arrives, and Dianna tells him what she learned. She also describes having dreams of a blood-red moon and three shadowed figures (later revealed to be Kaden, Nismera, and Isaiah, the “generals”/children whom Unir created). Samkiel admits that he dreams the same. He also assures her that Gabby was her sister in every way that matters.
Samkiel then tells Dianna that Porphyrion revealed that Kaden was likely one of Unir’s generals and the creator of the Kings of Yejedin. Feeling overwhelmed, he plans to seek a deity in the mental realms for answers about his family’s history (the exact nature of the mental realms and their gods is ambiguous at this point in the series, but Samkiel believes them to be neutral in alignment). The journey will be dangerous and long. Dianna stays by his side as they prepare for what is next.
The star that speaks to Dianna becomes one of the novel’s most meaningful symbols in this portion, developing the theme of Grief as a Catalyst for Transformation. It first appears as a silent listener, twinkling like a conscience or a soul lingering beyond reach. Dianna’s conversation with the star recalls Gabby’s compassion and guidance, transforming grief into dialogue. The star’s responses (its brightening and dimming) mirror Gabby’s presence, suggesting that her love continues to guide Dianna even beyond death. The star thus reframes Dianna’s grief: Instead of consuming her, it illuminates the path forward, reflecting the novel’s contention that love is eternal.
By externalizing her grief through the star, Dianna also begins to speak to herself with compassion for the first time, a key step in her emotional evolution that reflects her overall character growth throughout this section—one that centers on her continued shift from self-destruction toward self-acceptance. Early on, she clings to the idea that fear is safer than love, insisting that she would rather be feared as a monster than lose anyone again. Samkiel’s response reframes that identity: He is not afraid of her, only afraid for her. That distinction marks a significant shift in how Dianna sees herself and in the novel’s depiction of monstrosity broadly. Samkiel’s words suggest that evil always hurts the one who commits it, if only because it fundamentally twists their nature. This adds nuance to the depiction of Good and Evil as Choices, suggesting that showing empathy to others requires showing empathy to oneself. This begins to undo Dianna’s internalized belief that she is unworthy of care.
Even the revelation that she and Gabby are not blood relations does not destroy her progress. Instead, it redefines her understanding of love and belonging. Gabby’s letter and Samkiel’s insistence that “blood is the least of what makes a family” anchor the theme of The Value and Limits of Loyalty (503). By recasting even Dianna’s (supposed) biological family in terms of choice, the novel affirms that love and loyalty, not lineage, are what matter. That Dianna’s revelation is juxtaposed against Samkiel’s growing disillusionment with his father, Unir, and the divine legacy he once trusted underscores the point: The family that creates a person is not necessarily the one that defines them.
Samkiel’s arc in this section revolves around his growing awareness of his father’s secrets and his own uncertainty about what it means to be divine. When Porphyrion reveals that Unir created the prison of Yejedin and the generals, including Kaden, Samkiel’s self-image collapses. Learning that his father may have forged the very monsters he now fights destabilizes that identity. Moreover, the revelation that Kaden, Dianna’s tormentor, may be one of Unir’s creations directly ties Samkiel’s divine lineage to her suffering, forcing him to confront the gods’ blurred morality. His line, once seen as sacred, is now tainted by the same power that breeds corruption and cruelty. The humility that follows deepens Samkiel’s humanity and brings him closer to Dianna, whose life has been shaped by the same divine failures. The power dynamic between them, once marked by hierarchy, becomes equal. They meet not as god and mortal, but as two flawed and hurt beings choosing each other despite the inevitability of loss.
The hopeful atmosphere that arises from Dianna and Samkiel’s renewed (and strengthened) connection exists in tension with the foreshadowing throughout this section, which builds toward betrayal and tragedy. Roccurem’s cryptic warnings to Cameron to “treasure [his] family while [he] still [has] them” and his ominous prediction (485), “[Y]ou all will lose much” (485), signal the chaos to come. Meanwhile, the three horned figures who appear in Samkiel’s and Dianna’s dreams function as a visual prophecy. They symbolize fate closing in on him and the futility of divine power to escape preordained ruin. The blood-red moon in Dianna’s visions reinforces that omen, a celestial reflection of both love and loss.
More broadly, however, the imagery of light (stars, moons, shattered glass, and divine radiance) that threads through the section functions as a metaphor for renewal through brokenness. Every fragment of light reflects both Dianna’s healing and Samkiel’s awakening. That the world around them, built by lies and divine manipulation, begins to fracture just as they begin to heal reveals the heart of the novel’s philosophy: “Perfect” divinity corrupts, but “flawed” humanity redeems.



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