Love Is Never Wrong
The overarching theme of this entire series, including specifically in this entry in the series, is the assertion that among consenting adults, there is no such thing as a love that is wrong or bad. This series of fantasy novel is famous—or infamous depending on your point of view—for introducing into the genre as a main plot point the subject of homosexuality. It features an openly (to readers, anyway) homosexual protagonist and much of the reaction toward—and against—that figure is based to one degree or another upon reactions to his sexuality. Ultimately, the book is absolutely a positive portrayal of same-sex relationships, brooking no negative judgments against it on any grounds, including moral or evolutionary.
With Great Power…
Vanyel, the protagonist, has no interest in those patriarchal things which are used to identify masculinity: lust for blood and power. He is a fashionista and music lover and very nearly verges into gay stereotype. But he is, after all, the eldest son to a powerful family and heir apparent to all that goes with it. In other words, he is to handed great power and with great power comes…well, you know. Although the analogy is far from perfect, Vanyel is throwback to Shakespeare’s Prince Hal who despite being next in line for the throne as King of England misspends his youth getting drunk and hanging around with lowlifes. Unlike Hal, however—who is merely pretending to be worthless—Vanyel actually is completely disinterested in taking on all the responsibilities that come with great power because he has no ambition for the power. Since this is a trilogy, it goes without saying that this theme of enforced acceptance of power and responsibilities does not necessarily go the way Vanyel plans.
Guilt, Depression, and Suicide
Suicidal thoughts, attempts, and successes permeate the narrative. The mechanism of guilt as it applies to the decision to ultimately end one’s life is thematically explored both from the perspective of Tylendel who actually succeeds as well as his lover Vanyel who does not. Guilt is shown to be fuel that powers the engine of depression. Tylendel psychic bond his with twin brother stimulates a powerful depressive episode when his brother is assassinated that leads to his throwing himself to his death from atop a bell tower. Tylendel’s suicide stimulates Vanyel’s grief over the loss of his one true love and in response to suggestions that he is responsible for that act, he is in turn motivated to try killing himself. Although it is not covered in this book, obviously, the grief over losing Tylendel will become central to the development of Vanyel’s self-isolation and self-alienation from others as the story continues across the narrative path of the ensuing sequels.
