57 pages • 1 hour read
Hafsah FaizalA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Moral struggles are at the heart of the protagonists’ character development in We Hunt the Flame. Both Zafira and Nasir face dilemmas that initially stem from opposite moral stances, but their parallel trajectories hint at their upcoming relationship. When their objectives finally align, Zafira and Nasir are able to reconcile their identities as the Hunter and the Prince of Death with their morality.
When Nasir is introduced, he believes he is beyond redemption because of his role as a hashashin (assassin): “At some point, his heart had ceased to register the monstrosity of his deeds, and it had nothing to do with the darkness tainting the lands” (20). However, Nasir doesn’t kill out of cruelty, even stating that “if he were truly his father’s son, he would have basked in [his victims’] fear, but [...] it only sickened him” (41). He kills to gain his father’s approval, willing to “become a monster without bounds” (99) despite the toll this takes on his sense of self. Because he believes “darkness is [his] destiny” (v, 339, 379, 423), Nasir resents but ultimately accepts people’s fear of him. The only person he’s ever bonded with is Kulsum, a servant who became his lover, and whom the Sultan punished as a result. Nasir vowed to never let himself get close to anyone for fear of his father’s retribution—that is, until he slowly opens up to Altair and Zafira.
This reluctance to form close connections is shared with Zafira, who witnessed her parents’ loving relationship end in tragedy. She is motivated by compassion and willing to sacrifice her own safety and morality to ensure other people’s well-being. The story begins by stating that “People lived because she killed. And if that meant braving the Arz where even the sun was afraid to glimpse, then so be it” (3). However, Zafira doesn’t find her actions brave, because she resents the secret freedom that being the Hunter affords her (due to this identity being fleeting and isolating). She also struggles to come to terms with her inner darkness.
Zafira’s morality is challenged once she embraces her darkness and falls into the clutches of the Lion of the Night. At first, she is almost swayed by the Lion’s words and starts to doubt her friendships when he calls the zumra “exploiters” (353). Her ambivalent mental state eventually enables her to find the lost Jawarat, as it can only be found by someone “pure of heart [and] dark of intent” (434, 439). In a way, this stipulation is meant to reward those who are honest with themselves, regardless of their past.
In light of Zafira and Nasir’s moral dilemmas, Benyamin repeatedly states that “everything and everyone has the capacity for both evil and benevolence” (322). He aims to bring back balance to Arawiya and argues that “one wrong does not make evil” (280). Nasir eventually comes to embrace Benyamin’s views on redemption, while Zafira realizes that balance is a constant but necessary struggle.
Nasir’s moral crisis is brought on because he knows his murders are condemnable. However, his redemption arc is made possible because his motivations are morally justifiable (within the context of the novel). Nasir is driven by love for his father who, under the Lion of the Night’s influence, has grown cruel and violent. As a result, Nasir’s desire to please his father leads him to “kill without morals. Murder without regret. Become a monster without bounds” (99).
At the beginning of the novel, Nasir believes in the mantra of “kill or be killed” (216) and tries to quell his compassion—which is seen as weakness by his father. However, after Zafira saves his life during the fight with the ifrit, Nasir introduces a new tenet to his motto: “Save and be saved” (270). These two phrases reveal Zafira and Nasir’s contrasting perspectives. Zafira sees a choice beyond killing or dying and chooses to help Nasir instead. In doing so, she introduces a possibility that Nasir didn’t foresee: salvation. The phrase “save and be saved” hints at his eventual realization that compassion can lead to redemption. Significantly, rather than working in opposition like “kill or be killed,” “saving and being saved” are framed as interconnected, one resulting from the other.
Nasir’s journey toward redemption is made evident when he states that “Love gives purpose” (443). In the end, he’s only able to control his magical abilities because he’s opened up to his friends. Significantly, Nasir ends the novel viewing compassion as a strength. The prince has reconciled his motivations with his actions and is now able to make moral decisions to save his father.
Cultural legacy, and by extension its impact on the characters’ identities and relationships, is key to the story. At first, the history of Arawiya is passed down to the protagonists through stories and biased sources. Then, over the course of the novel, Zafira and Nasir slowly uncover the truth about magic’s disappearance and what happened to the Six Sisters. The reader gleans clues at the same time as the characters and, in turn, grapple with the impact of these revelations at the same time.
As the events that led to the disappearance of magic happened over 90 years before the current story, Zafira learns about Arawiya’s history through her father: “He hadn’t been alive before the Sisters fell, but over the years he had gleaned tales from before the Baransea became dangerous, before the Arz sprang up, rimming the caliphates and obscuring the sea from Arawiya” (73). Nasir also learns history from his father, but the Sultan has a hidden agenda and is manipulated by both the Lion of the Night and the Silver Witch, so the prince isn’t given the whole truth. Because they only know parts of history, Zafira and Nasir initially have conflicting interests. Zafira refuses to believe the Six Sisters betrayed Arawiya, as they were once protectors. Nasir, on the other hand, is unaware that his mother, the Sultana (the Silver Witch), is in fact the last surviving Sister. When the Silver Witch eventually reveals her deception, Nasir understands that she groomed him to kill the Lion of the Night, which shakes his identity.
Zafira’s perception readjusts as she learns more about the fate of the Six Sisters, and questions her role as the Hunter and a da’ira (someone with the magical ability to navigate anywhere). By the end of the story, both she and Nasir have learned the full truth about Arawiya’s history. They’ve grown confident in their abilities and understand how they can impact the upcoming conflict. Benyamin encapsulates this mentality when he states that “Knowledge without action is vanity, but action without knowledge is insanity” (310). Through their new bonds, Zafira and Nasir have gained knowledge that allows them to act out of compassion rather than vanity.
As a narrative, We Hunt the Flame is a prime example of reframing cultural legacy. The novel directly draws from Middle Eastern culture and folklore and reinterprets them through fantasy. These references imbue the story with a historical dimension which illuminates connections between ancestral legacy and cultural identity. This theme is also reinforced by the use of theater.
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