Trigger warning for discussion of incest, sexual threat, and cannibalism. And Hannibal spoilers.
I’m a huge fan of the mortal instruments! I absolutely adore your writing and your characters! I do have a genuine question though. Why is incest such a reoccurring theme in TMI? Please don’t think I’m criticising your work. I just think it’s interesting because in Game of Thrones, there’s motive for incest (like keeping bloodlines “pure” and “royal”) but in TMI it seems to be genuine “I’m in love/lust with my sibling” and I’d just like to know why you chose such a typically tabooed reoccurring theme for your books?
Thank you for writing this series! Congratulations on finishing CoHF. Can’t wait to read it!
I mean, Hannibal is about a lot of other things as well. It’s about life and death and loss and grief and rather a lot about psychoanalysis. But it’s also a lot about cannibalism. It revels in cannibalism. It rolls around joyfully in the visual representation and verbal discussion (“I guess he didn’t hop fast enough”) of cannibalism. It delights in reminding you that pretty much any time anyone is eating anything, they’re eating PERSON. It does its best to make beet juice look like human blood. I find it very hard to watch (I’m talking about the TV show, though the movies and the books by Thomas Harris, also revel in the details of cannibalism) since the taboo against cannibalism is so strong. But that doesn’t mean I don’t appreciate what they’re doing there thematically.
Would Hannibal be such a popular and fascinating figure if he were just a serial killer who didn’t eat people? I would say no. Obviously there is a taboo against murder but there is an even more severe taboo against cannibalism just as there is against incest (no one ever asks me why I choose to write about murder, whereas I get the incest question all the time, even though there is a lot more murder than incest in my books. Including some of the most taboo forms of murder: patricide, sorocide, etc.) If Hannibal were simply bonking people over the head with shovels and burying them, I suspect we would not have found him so fascinating for twenty-five years: it is in part the contrast with what he seems to be — a gourmand, a genius, cultured, intelligent, charming — with what he actually is: a killer who engages with a taboo we associate with urges that are base, primitive and animalistic, that keeps us coming back around to try to solve the monster.
The cannibalism in Hannibal also allows the show and books and movies to explore the topic of sin: deliberate and inadvertent both. In the TV show, Hannibal feeds person, disguised as rabbit and veal and whatnot, to his guests without their knowledge: we see Will Graham, our theoretical hero, himself commit cannibalism — only of course he doesn’t know he is. This allows the show to explore the concept of inadvertent sin. Will has sinned horribly in the eyes of God but doesn’t know it. He is damned without having chosen damnation, and that damnation plays itself out.
The idea of tricking people into eating human flesh is nothing new. In Greek mythology: “Tantalus was a wealthy king of Lydia, beloved of the gods in an age when men still broke bread with the gods. He was a regular guest at their table in Olympus, and it is said that he talked too much of their secrets and stole ambrosia to share with his mortal friends. Whatever the truth of this, the Olympians apparently forgave him, because when he invited them to dine at his palace they agreed. The gods arrived and sat down to the feast, but when the dishes were laid out and uncovered they fell silent. They recognized, instantly, that Tantalus had served them human flesh—the flesh of his son Pelops. Only Demeter, grieved to distraction by the recent kidnapping of Persephone, took a bite. But she quickly realized what she had done—and she was horrified.” (From “Incest, Cannibalism, and the Gods: The Rise of the House of Atreus.)
Demeter’s sin is unconscious — she has no idea she was committing cannibalism — but she is horrified all the same (and Tantalus’ punishment is horrible, and famous). Cannibalism figures into Titus Andronicus, the Norse Lay of Atli, everywhere in Greek mythology, and so forth: in almost every case cannibalism is committed unknowingly, that the theme of unconscious sin can be explored. It plays upon the deepest fears of our souls: what if we commit evil without knowing it? How do we live with that? How do we prevent what can’t be prevented? How do we pick up, and go on, and find redemption?
Why bring up Hannibal? Because I would venture to guess that most writers write about incest, cannibalism, and other taboo topics because they are taboo rather than despite or coincidentally. Things that are taboo and forbidden have a lot of cultural and social weight. They also provide conflict, without which you have no plot. Hannibal is a cannibal for a reason.
As for incest plotlines, the example of Game of Thrones is sort of an interesting one. It is not, I suspect, as if George R R Martin sat down and thought “I had better keep those bloodlines pure. Drat! That means incest! I don’t want to write about that, but now I have to!” If he hadn’t wanted to, he wouldn’t have. Incest is a recurrent theme in GoT because (I would guess, I can’t read George’s mind) 1) he was drawing on actual history. The Egyptian royal family intermarried to keep the bloodlines pure, and because it was what the Egyptian gods did, and kings have always wanted to be like gods. More on that in a bit. 2) Incest in literature is often thematically used to signify decadence and moral corruption in a family and also in a nation. The Targaeryns committed incest and their family rotted away into insanity, their rule crumbling. This is echoed with the Jamie/Cersei relationship and Joffrey being insane and evil (because he’s the offspring of incest? Probably. Who knows.) It’s kind of interesting that you say “in Game of Thrones, there’s motive for incest (like keeping bloodlines “pure” and “royal”) but in TMI it seems to be genuine “I’m in love/lust with my sibling’” because to me, Jamie and Cersei as far as I can tell are actually in love, or some form of it. Certainly their relationship is played romantically (though grossing out everyone in-world who finds out about it.) Wheras in fact, no one in TMI is in love with their sibling(s). I guess Sebastian has some debatable feelings about Clary but they aren’t clear, and they sure aren’t mutual. And Jace and Clary briefly think they’re related, but aren’t. Which is not incest.
It does, however, treat on the topic of incest, so I guess if the question is “Why write about incest as a theme at all?” — well, there are many answers. :) Incest isn’t an uncommon theme in books, as many seem to think. It’s really, really, really common. And it is very common in fantasy because a lot of fantasy draws on mythology and mythology is full of incest — because, again, it’s taboo and carries with it a huge cultural, psychological and social weight. It also serves as convenient fictional shorthand. Along with Song of Ice and Fire, David Eddings’ The Elenium Trilogy, the Deverry books by Katherine Kerr, Tanith Lee’s Wars of Vis, all contain consensual brother-sister relationships that are meant to underline the theme that power = corruption and incest is the ultimate symbol of that corruption (and of the disruption of the family dynamic, which is something we all think of as societally sacred.) In The Mists of Avalon Arthur sleeps with his sister because – that’s what happened in Arthurian myth. (Though it is heavily romanticized in TMA and it’s indicated that Arthur never really loved anyone else.) There’s incest in Tolkien — Turin and Nienor are brother and sister who sleep together because they meet without knowing they’re related. Tolkien was creating a massive mythology after all, drawing on Celtic and Norse myth and adapting it, and Celtic and Norse myth (like all myths) are full of incest.
Incest is fictional/literary shorthand for concepts that often can’t be conveyed another way because in writing about it, you carry forward the weight of the literally thousands of years of writing on this topic in folklore, myth and fiction. So, why incest in TMI? Well, in the case of the Jace and Clary plotline, though they aren’t actually related, it falls into the framework of didn’t-know-they-were-related Turin/Nienor type stories. These are stories about inadvertent sin. They are stories about perfectly good people who are doing something they think is good — falling in love — which then, because of a revelation they are powerless to control or predict, find out they have done something terrible instead.
In TMI that aspect of things is actually more about Jace than Clary. Not that Clary is super happy that the guy she fell in love with turned out to be her brother, but Jace is the one whose personhood and selfhood is caught up and defined by whether he thinks he is a good person, by ideas of sin and sacrifice, and more specifically, by what it means to him to be his father’s son. He’s the one who grapples with the question of whether an evil nature is something that is inherited, and also what it means to have been raised by someone evil. Valentine never cares whether Jace and Clary think they’re related — their love lives are uninteresting to him — he cares whether Jace believes himself to be Valentine’s son, and it’s ironically the fact that he has to believe he’s Valentine’s son that causes Jace to believe Clary is his sister, and in the end, to almost decide he is just like his father.
As for the instance of Sebastian’s “incesty feelings”, they have a purpose as well (and not, as I once heard suggested, to “prove the heroine is hot.” Good lord. Having your lunatic brother hit on you to cement his rule does not mean anyone’s hot.)
To go back to Greek mythology for a moment, the gods committed incest all the time. Hera was Zeus’ wife and also his sister. A brief zippy visit to Wikipedia tells us “In Greek mythology, Zeus and Hera were brother and sister as well as husband and wife. They were the children of Cronus and Rhea (also married siblings). Cronus and Rhea, in turn, were children of Uranus and Gaia (a son who took his mother as consort, in some versions of the myth). Cronus and Rhea’s siblings, the other Titans, were all also married siblings like Nyx and Erebus. …Sophocles’ tragic play Oedipus the King features the ancient Greek king inadvertently consummating an incestuous relationship with his mother.”
Oedipus warrants a mention because his sin of incest was both foretold — he knew it would happen — and inadvertent — he didn’t know he was romancing his mother when it occurred. It is specifically unconscious sin, unconscious on both his part and his mother’s, but when the truth was revealed, she killed herself and he blinded himself. (Rather as I wonder how Will in Hannibal will some day react when he finds out he’s been eating people, since the fact that a sin is unconscious is often no comfort to the sinner.)
So why is it okay for the gods in Greek myth to commit incest, but not poor old Oedipus? Because they are gods. Oedipus’ sin isn’t just one of inadvertent incest, it’s one of hubris. It was foretold that he would sleep with his mother one day but he chose to ignore that and take his chances. In doing so, he challenged the gods, which is actually the real reason for his punishment. (He also finds out he killed his own father, again without knowing: patricide being another taboo that doesn’t really apply to gods. Zeus killed his own father too.)
Gods are not bound by the laws of morals that bind humanity. And that is the point of Sebastian’s obsession with Clary. The question posed in the fifth book is the one carved on Glorious: Quis et deus, “Who is like God?” It is a phrase associated with the angel Michael, and it’s a trick question: there is only one answer. No one. No one is like God.
But Sebastian thinks he is. He thinks he is better than mundanes, better than Shadowhunters and Downworlders, better than everyone but angels and demons and deities. He quotes from the Bible while sexually threatening Clary as if to say that he has the approval of God, or doesn’t need it, to flout the laws of mankind, because he is better than all Gods, better than all people, that normal rules don’t apply to him. Gods can take lives, and Sebastian does that; gods are immortal and invulnerable, and Sebastian wants that for himself, too; and in trying to set up a romantic relationship between himself and his sister Sebastian is explicitly saying “I want to be/I am like a god: the Egyptian gods regularly married their siblings, the Greek gods married their siblings, the Norse gods married their siblings, and I can too.” It’s not for no reason that in Tigana by Guy Gavriel Kay, which deals with an incestuous relationship, the sin is called “the sin of the gods.”
(Think of the movie Gladiator, in which Emperor Commodus hits on his sister like no tomorrow mostly in order to prove that he, too, is like a God: it is a way of showing his hubris as well as his decadence and lack of morals. Now, there are other ways they could have shown that — he could have eaten his sister, I guess, but eating someone tends to end the development of a relationship rather than giving any opportunity to explore it more. Also, we tend to associate cannibalism with animalistic tendencies and recidivism and incest with debauchery and the destruction of what was once good. Not all taboos serve the same fictional purpose and you can’t really just sub out one for another.)
The story of Jace and Clary is one of unconscious sin and its effects; the story of Sebastian is one of hubris and its effects. Fictional incest is the gasoline that makes those plot cars run. Could it be removed? Only in the sense that you would then have different books about different people that want different things, do different things, and care about different things than the people in this books want, do and care about. Is it a recurring theme? Yes, because that’s what you want out of a theme: the more it recurs, the more you strengthen it, ring changes on it, explore the meaning of it, and even find the irony in it (the fact that Sebastian, in City of Glass, taunts Jace by saying “I kissed your sister and you can’t” when in fact Sebastian just kissed his own sister makes Jace’s jealousy bitterly ironic. It also makes Sebastian’s later pursuit of Clary ironic.)
Just to return to what I said earlier: there are a lot of books that deal with the topic of incest — it can stand in for decadence, for unconscious sin, for the reversal of the family dynamic (as in Ian McEwan’s The Cement Garden and Tabitha Suzuma’s Forbidden), it can be shorthand for the toxic relationship between people and government (Tigana, most southern gothics), it can be about people’s fears regarding the way the definition of family is changing (changing definitions of families, the woman’s role at home, rising rates of divorce, etc. all kicked off a massive spate of Gothics about incest in the Victorian era.)
If you want to check up on this, you can find a list of books about incest here on Amazon. Mortal Instruments has been booted off the list due to “not containing any actual incest” — the person who made the list seems slightly mad at me, I feel bad! — though you will be happy to know that Song of Ice and Fire remains.
I have been hugely, massively remiss in not popping up Tuesday to mention that the newest installment of the Bane Chronicles was out in ebook and audio (read by adorable Jordan Gavaris)! I can only beg for forgiveness by saying I’m working 18-hour days on editing CoHF so it will be out on time and my sense of time has turned to porridge.
Magnus had been interested by Clary, the little redheaded scrap who had grown into a—slightly bigger little redheaded scrap, but had not thought he would be terribly interested in the companions she had found for herself. Not the nondescript mundane boy; not golden-eyed Jace Wayland, who reminded Magnus of too much of a past that he would rather forget; and certainly not either of the Lightwood siblings, the dark boy and girl whose parents Magnus had good reason to dislike.
It made no sense that his eyes had been drawn to Alec, over and over again. Alec had hung to the back of their little group, had made no effort to attract the eye. He had striking coloring, the rare combination of black hair and blue eyes that had always been Magnus’s favorite, and Magnus supposed that was why he had looked in Alec’s direction at first. Strange to see the coloringthat had so distinguished Will and his sister, so many miles and years gone by, and on someone with an entirely different last name …
Then Alec had smiled at one of Magnus’s jokes, and the smile had lit a lamp in his solemn face, making his blue eyes brilliant, and briefly taking Magnus’s breath away. And when Magnus’s attention had been held, he’d seen a flicker of returned interest in Alec’s eyes, a mixture of guilt, intrigue, and pleasure at Magnus’s attention. Shadowhunters were old-fashioned about such matters, which was to say bigoted and hidebound, as they were about everything. Magnus had been approached by male Shadowhunters before, of course, but always in a hole-and-corner way, always as if they’d been doing Magnus some huge favor and as if Magnus’s touch, though desired, might sully them. (Magnus had always turned them down.) It had been a shock to see such feelings open and innocent on a beautiful boy’s face.
When Magnus had winked at Alec and told him to call him, it had been a reckless impulse, little more than a whim. He had certainly not expected the Shadowhunter on his doorstep a few days later, asking for a date. Nor had he expected the date to go so spectacularly bizarrely, or expected to like Alec quite so much afterward…
(You’ll be reading all about that date in The Course of True Love and First Dates, but in the meantime, some love and Malec for the holidays. And a tentacle monster. Honestly, Maureen pretending to be the tentacle monster in a pool in France was what gave us the idea for the Bane Chronicles.
I don’t know why every Irish character I ever write is evil. It’s just my way I guess. My way of DISRESPECTING MY HOMELAND.
How lovely is Jordan Gavaris, and how jealous am I Cassie got to talk to him? (Answers: very lovely, deeply jealous.) It is lovely that he liked the True Love and also the Family Relationships! It was super fun to write avec Cassie a not-so-heteronormative take on a very heteronormative (and yet I love ‘em) genre—rom-coms. We tried to bring the rom and the com!
A parabatai. Like he was. And Jace knew, too, what that faded rune meant: a parabatai whose other half was dead. He felt his sympathy leap toward Brother Zachariah, as he imagined himself without Alec, with only that faded rune to remind him where once he had been bonded to someone who knew all the best and worst parts of his soul.
I know a few women who had to stop writing because of this: because it exacerbated their depression or anxiety, because they could no longer get out of bed in the morning, because they had crying jags every day, because they were contemplating or attempting suicide, because constantly stressing about how they looked and acted was paralysing them, because they were throwing up every day. I know women paying for assistants, which puts a real financial burden on them, purely in order to make sure hate mail doesn’t reach them and destroy their peace. It’s absurd to pretend that getting letters detailing what a worthless person you are doesn’t exacerbate anxiety and depression. And it’s absurd to pretend this doesn’t come from an environment of internalised, sublimated, or simple overt misogyny. I have seen male authors, people who work in publishing, and readers make fun of women who talk about such feelings (yes, including suicide attempts). These women feel they had to give up creating what they love, in order to make their lives livable. I know many more who are persisting, but whose health and happiness and creative energy is being severely compromised. Neither I nor anyone else will ever know how many female creators will never share what they’ve made with the world, because they have been scared off.
As someone who has been frightened enough by the absolute horror the internet deals out on a regular basis that I first had an alarm system installed in my house and then decided to move entirely to somewhere safer, as someone who’s had internet denizens analyze the website for my wedding to prove that the way that I said “turn right here” on the directions page meant that I was a bitch, as someone who throws up before every signing because I know that there will be video taken at the signing of me drinking water, or looking for a pen, or trying not to cough, which will be used as further proof that I am ungrateful bitch — Sarah is very brave for writing this. I know what it will cost her. I will be there to pick up the pieces the way Sarah is there for me when pieces need picking up. I just wish this wasn’t a world so obsessed with tearing women to pieces in the first place.
So, I haven’t read The Infernal Devices yet, and I was wondering if I will be confused about the part with Tessa Gray and who she is? Should I read before the new book comes out? Thanks. :) And just wondering how many people and who will die in the last book. — hoona-boona
Hello! If you mean because Tessa appears in City of Heavenly Fire, no, you shouldn’t be confused. I’ve tried really hard to make it so that you can read The Infernal Devices and never read The Mortal Instruments and it still makes sense, and you can read The Mortal Instruments and never read The Infernal Devices and it still makes sense. It helps to have read The Infernal Devices because then Tessa is a familiar figure, and her activities, and relation to the other characters, should be more interesting. Otherwise, there’s still a legitimate reason for her to be in the part of the story she is in, and it shouldn’t be confusing any more than Brother Zachariah’s appearances in CoFA and CoLS are confusing.
And just wondering how many people and who will die in the last book. — hoona-boona
“How have you been keeping? You know, since the last time you summoned me,” said Elyaas, the demon.
“What?” Magnus asked.
“You don’t remember me?” said the tentacle demon.
“I summon a lot of demons,” Magnus said weakly.
There was a long pause. Magnus stared into the bottom of his coffee cup and desperately willed more coffee to appear. This was something a lot of mundanes did too, but Magnus had one up on those suckers. His mug did slowly fill again, until it was brimming with rich dark liquid. He sipped and looked at Elyaas, who was shifting uncomfortably from tentacle to tentacle.
“Well,” said Elyaas. “This is awkward.”
“It’s nothing personal,” said Magnus.
“Maybe if I jogged your memory,” Elyaas suggested helpfully. “You summoned me when you were searching for a demon who cursed a Shadowhunter? Bill Herondale?”
“Will Herondale,” said Magnus.
Elyaas snapped his tentacles as if they were fingers. “I knew it was something like that.”
“You know,” Magnus said, enlightened, “I think I do remember. I’m sorry about that. I realized right away that you weren’t the demon I was looking for. You looked kind of blue in one of the drawings, but obviously you are not blue, and I was wasting your time. You were pretty understanding about it.”
“Think nothing of it.” Elyaas waved a tentacle. “These things happen. And I can look blue. You know, in the right light.”
“Lighting’s important, it’s true,” said Magnus.
“So whatever happened with Bill Herondale and that curse a blue demon put on him?” The cecaelia demon’s interest seemed genuine.
“Will Herondale,” Magnus said again. “It’s actually rather a long story.”
“You know, sometimes we demons pretend we’re cursing people and we don’t really do it,” said Elyaas chattily. “Like, just for kicks? It’s kind of a thing with us. Did you know that?”
“You could have mentioned it a century or two ago,” Magnus observed frostily.
Elyaas shook his head, smiling a slime-bedecked smile. “The old pretend-to-curse. It’s a classic. Very funny.” He appeared to notice Magnus’s unimpressed expression for the first time. “Not from your perspective, of course.”
“It wasn’t funny for Bill Herondale!” said Magnus. “Oh, damn it. Now you’ve got me doing it.”
— from What to Buy the Shadowhunter Who Has Everything
*We just got news on an awesome audio narrator for this one - I think you guys will be pleased!
So in honor of my having finished City of Heavenly Fire (the first draft anyway!) I thought I would post the soundtrack. I listened to these songs on endless repeat while I was writing. All the lyrics have some sort of connection, at least in my weird little mind, to the story.
"I’m Sorry I Love You" by the Magnetic Fields
A single rose in your garden dwells Like any rose it’s not itself It is my love in your garden grows but let’s pretend it’s just a rose Well I’m sorry that I love you It’s a phase that I’m going through There is nothing that I can do and I’m sorry that I love you Do not listen to my song Don’t remember it, don’t sing along
Let’s pretend it’s a work of art Let’s pretend it’s not my heart. The rose will fade when summer’s gone The song will fade and I’ll be gone because my heart is dying too and it’s all the same to you.
Ryan Star “Losing your Memory”
Call all your friends
And tell them you’re never coming back
Cause this is the end
Pretend that you want it
Don’t react The damage is done
The police are coming too slow now
I would have died
I would have loved you all my life.
Airborne Toxic Event, “Timeless”
Just help me through this moment After everything I told you How the weight of their loss is like the weight of the sun. I see their faces near me, I hear their voices calling, It was like their lives were over before they begun.
"Us Ones In Between" by Sunset Rubdown
And I’ve heard of pious men
And I’ve heard of dirty fiends
But you don’t often hear
Of us ones in between…
And in the darkness I taught myself to hate.
But where were you, oh where were you?
And where the f*** did the sun go?
Ingrid Michaelson, “Breakable”
Have you ever thought about what protects our hearts? Just a cage of rib bones and other various parts. So it’s fairly simple to cut right through the mess, And to stop the muscle that makes us confess.
And we are so fragile, And our cracking bones make noise, And we are just, Breakable, breakable, breakable girls and boys.
"Epic Last Song" by Does It Offend You, Yeah
I called today but missed you again
Today’s the day I go up in flames
I sent the money to you, my dear
Today’s the day I burn away
I say baby, babe I’ve loved you a long time
"Samson" by Regina Spektor
You are my sweetest downfall I loved you first, I loved you first Beneath the stars came fallin’ on our heads But they’re just old light, they’re just old light
"Control" by Garbage
The world might end, The night might fall. Rain on down and cover us all, And drown us with the burdens of our sins. Maybe I’ll look you in the eye, Tell you, you don’t wanna die. Maybe I’ll hold my breath and jump right in.
"Orange Sky" Alexei Murdoch
And I had a dream I stood beneath an orange sky With my sister standing by I said, “Sister, here is what I know now In your love, my salvation lies.”
"Your Ex-Lover is Dead" by Stars
This scar is a fleck on my porcelain skin Tried to reach deep but you couldn’t get in Now you’re outside me You see all the beauty Repent all your sin
"Daughter" by Youth
And if you’re in love, then you are the lucky one, 'Cause most of us are bitter over someone. Setting fire to our insides for fun, To distract our hearts from ever missing them. But I’m forever missing him.
"Upward Over the Mountain" by Iron and Wine
Mother remember being so stern with that girl who was with me Mother remember the blink of an eye when I breathed through your body
So may the sunrise bring hope where it once was forgotten Sons are like birds flying upwards over the mountain
Mother I made it up from the bruise on the floor of this prison Mother I lost it all in the fear of the Lord I was given Mother forget me now that the creek drank the cradle you sang to
So may the sunrise bring hope where it once was forgotten Sons can be birds taken broken up to the mountain.
Greg Laswell, “Goodbye”
Then lonely lay the day I can’t remember you at all And it’s not easy to say that day Has already come and gone And all that remains is a place Where you no longer are
One day I won’t regret this Oh how I want to believe that’s true Once I pick up the parts I broke on you I’ll get used to the idea It’s not you.
"Sorrow," The National
Sorrow is my body on the waves Sorrow is a girl inside my cage I live in a city sorrow built It’s in my honey, it’s in my milk. It’s only half my heart alone, On the water, Cover me in rags and bones, sympathy. 'Cause I don't wanna get over you. I don’t wanna get over you.
Bright Eyes, “A Perfect Sonnet”
We’re singing, I believe that lovers should be chained together And thrown into a fire with their songs and letters And left there to burn Left there to burn in their arrogance But as for me I’m coming to my final failure I’ve killed myself with changes trying to make things better But I ended up becoming something other than what I had planned to be Now I believe that lovers should be draped in flowers And laid entwined together on a bed of clover And left there to sleep. Left there to dream of their happiness.
Nick Cave “The Ship Song”
We talk about it all night long We define our moral ground But when I crawl into your arms Everything, it comes tumbling down
Come sail your ships around me And burn your bridges down We make a little history, baby Every time you come around
Your face has fallen sad now For you know the time is nigh When I must remove your wings And you, you must try to fly.
Hello there. I have three questions actually, very short ones. One. Will CoHF have an epilogue like CP2 had? Two. Can you be parabatai with your brother or sister? And three. There will be any important fairy characters in TDA? I would really liek to see one. Sorry for any writting mistake. I can’t wait to read CoHF — gabriel-herondale
1) City of Heavenly Fire has both a prologue and an epilogue. The epilogue is set some time after the main action.