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46 pages 1 hour read

Carissa Broadbent

Daughter of No Worlds

Fiction | Novel | YA | Published in 2022

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Symbols & Motifs

Enslavement

An institution in use throughout the world of the novel, enslavement symbolizes domination and relates to the theme of The Desire for Power. The Lords of Threll assert their power by conquering other peoples, creating an underclass of enslaved captives to serve them and to function as visible reminders of wealth and status. Max admires the Mikov estate but recognizes the terrible price it cost in human suffering: “It was beautiful, yes, but in the ugliest of ways. I looked at all of that finery and I wondered how many tattered backs it took to build it” (432).

Part of enslavement is the erasing of identity: As Tisaanah notes, the enslaved people around her are almost anonymous. Tisaanah’s empowerment involves becoming not only known but also famous. As the Host for Reshaye, she is one of a tiny group of people capable of Wielding this enormous magical power. This is why it is not enough to simply kill her enslavers and free her fellow captives. Instead, part of her revenge is forcing her enslavers to remember who she is. When she is close to killing the man who first captured her, she demands that he first realize who is killing him: “He took everything from me. Killed my family members in their beds. Sold a child to a terrible fate. Me, and so many others. And he didn’t remember” (391). She is similarly insulted when Ahzeen fails to recognize her at his party: “Ahzeen Mikov, I knew, did not want to remember me, even if he could […] it did not help Ahzeen politically to punish some faceless, nameless slave. No—Ahzeen needed power” (444). Only when Ahzeen identifies Tisaanah as his father’s murderer does he decide to kill her in the same way his father failed to—both men’s viciousness brought out by the desire of a formerly enslaved person to seek freedom.

Scars

Daughter of No Worlds contains many scenes of sword combat, so it is hardly surprising that the central characters bear so many scars. These are mentioned frequently as a symbol of survival that speaks to The Urge to Possess or Destroy. Thematically, the most important scars are those left from the lash marks that Tisaanah receives when she attempts to buy her freedom and Esmaris almost beats her to death. In escaping captivity and getting vengeance on her enslaver, Tisaanah finds determination and drive. The scars are a reminder of what it took to find her autonomy: “I had twenty-seven fresh scars that would never let me forget what I was capable of surviving—and I would, I would survive” (41).

Tisaanah comes to regard her scars as a badge of honor. Even though they are unsightly, she chooses to flaunt them at a party at the Towers by wearing a dress that reveals these injuries to the attendees who would rather ignore the institution of enslavement undergirding Threll’s wealth. Her goal is to force the other guests to face what happened to her and others: “I exposed every terrible thing that he did to me. As if I were carrying him with me, hissing into his ear: Look. Look at everything you failed to destroy. Look at what your cruelty created” (240).

Butterflies

Butterflies are a recurring motif in the novel. They are most closely associated with Tisaanah and relate to the theme of Personal Metamorphosis. When Tisaanah is still enslaved on the Mikov estate, she dances and conjures butterflies for the amusement of Esmaris’s guests. The insects appear as a frivolous parlor trick. Later in the novel, butterflies morph into something far more deadly. After Tisaanah becomes the Host for Reshaye, she conjures butterflies that can rot flesh from a victim by touching them: “I opened my palms to release streams and streams of butterflies—crimson, putrid wings spewing into the air as violently as the spurt of blood and the smoke of funeral pyres” (391).

Butterflies are also important because their life cycle involves full metamorphosis: “Did you know that when butterflies make a cocoon, their bodies totally dissolve? They just become sticky caterpillar goo with a couple of organs mixed in” (292). In other words, a butterfly must face non-being before becoming its full self. This metaphor parallels Tisaanah, a self-described “daughter of no worlds.” For much of the story, she doesn’t know who she is. Like the butterfly in a cocoon, she is in the process of becoming.

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