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Kindle Notes & Highlights
Under the setting sun of the desert, Aheia’s fear felt like hot kernels of sand and the caress of impending shadows. She recognized it in the way it gripped her neck and hurtled her heart into a rhythm that had her lightheaded, though the taste on her tongue was foreign. In days past, fear had churned Aheia’s stomach like the rotten meat she’d been forced to eat to survive. Before that it had lived in the stale waters of stagnant streams, and yet further back it had sounded like crunching leaves when there shouldn’t have been a soul for miles.
I really like the “fear as a metaphorical monster” parallel in the second paragraph, but it’s doing too much here. Making it a Swiss army knife to foreshadow, introduce the setting, and also give background on the protagonist’s journey feels like overkill.
She’d learned a lot about fear in her time on the run, discovered how it lay dormant in common places and actions, waiting for movement or thought to jolt it awake. It had been an emotion she knew well, even before she escaped her home in Keloseros. A different version of the same invisible monster.
part wolf and part ancient Calmani magyck.
❓
She describes the Varcolac here as “part wolf, part ancient Calmani magyck.” This is interesting, because later we learn that the Varcolacs are Arioch’s creatures—‘they share his shadows.’ But we also learn later that he doesn’t speak or understand Calmani. Possible foreshadowing, or maybe a plot hole?
The dark onyx that separated Aljira from the mortal realm bisected the tangerine-painted sky and dark red sands like a static disruption of nature. The thick wall of magyck and wards coiled and rolled like ominous thunderclouds, as if the border itself was alive.
Interesting to note: black onyx is used to protect against evil spirits, but is also “a shield against energies that drain physical and emotional vitality” so possible foreshadowing there.
Anyway, just pretty (I love the red sand detail)
It was as if she wanted to fail, the darkness in her veins whispering lies into her ear. She knew they were lies, had heard them before, but it was hard to remember their duplicity when the words sounded so sweet.
A lot of readers seem confused about the ending of Honey because author doesn’t believably reinforce the concept of Aheia having—rather than shadows—a self-destructive, unreliable voice in her head. That is her “Dark Urge” so to speak, and it’s too easily confused with her own inner monologue (should really choose one or the other, if she isn’t going to discern between the two with some form of punctuation or identifier).
as the border became so close she could see her reflection in it.
there’s this reoccurring motif of reflections—being able to see oneself (the true or inner self, maybe, though my personal suspicion is this is more so a “shadow self” sort of thing)
It happens at vortexes, for instance; but interestingly enough, Aheia uses it to reinforce what seems to be a misconception about Arioch’s intentions, the night she goes into the city. Arioch and Aheia both describe seeing their reflections in the blade of a dagger. Aheia has her confrontation with the mirror after arriving in Aljira, and later has this curious sort of introspective moment with her reflection after Kar helps her get ready.
This device gets carried over in Honey, when they’re in the orchard, and later in the FauxHel Churchbar. She finds it easier to communicate with Arioch’s reflection than she does Arioch himself—possibly because she finds herself able to displace emotional attachment by making these interactions feel separate from herself, or because it takes the guilt off the moral self-policing her feelings for him incite. She’s like “huh maybe I’m not a monster/monsterfucker IF I dissociate hard enough.”
I’m actually not sure whether this motif is INTENDED to be differentiated from the “outside looking in” concept we see when Arioch visits the Shaytān, or when Aheia confronts herself before she wakes up in the river. At the end of book two, when Arioch loses his temper in the Nerium nest, Aheia again describes herself in this sort of out-of-body, birds-eye-view experience. In retrospect, this is maybe a “Now you see it”/“Now it’s second nature” type of thing.
The Dioscuri in front of her was distorted, her features moving with the dark swirls until the magyck pieced her back together.
✨Baby’s Doing Shadow Work✨
Again, I really enjoy this symbolism, and it is foreshadowing in the sense that the darkness does essentially “piece her back together,” at least in her own words.
The Dioscuri behind him shifted, and he heard a soft noise—not quite a whimper, not quite a groan—but every bit of it enticing. He wanted to see her face the next time she made a sound like that.
MMC already aware of fact reader just realized (significant overlap in sounds of pain and sounds of ecstasy)

