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All the Gentlemen Bastards are orphans, and when they come to the Temple of Perelandro, they enter a new family of sorts. Father Chains says so directly when Jean arrives at the temple. “Father Chains poured [...] toasts, dedicating the last to ‘Jean Tannen, who lost one family but came to another soon enough’” (315). The Bastards live, work, and play together; they learn from each other and have no choice but to trust each other. They bond fast and forever.
Father Chains made the Temple what it is, and provides a safe and challenging environment that’s also a stimulating school. The Bastards trust each other in part because Father Chains trusts each of them, and because he gives the children reasons to trust him. He’s a “father” because he’s a priest, but he truly is the adoptive father of all the Bastards. In a city that chews children up and spits them out, Chains is a rarity. Chains shows the children what genuine love looks like. They remember Chains’s lessons and legacy and continue it after he dies.
After Father Chains passes, Locke takes over the gang. For the first portion of the narrative, Locke doesn’t outwardly express much affection for his gang members. It’s clear that he cares about them, but he rarely expresses his feelings, and he speaks to them in terms of their skills and usefulness. He calls Nazca his friend, but he doesn’t say that about Jean, Calo, Galdo, or Bug. Locke minimizes their importance, because doing so would show his vulnerability, making himself weak. The vulnerability Locke attempts to disguise is displayed openly when Calo, Galdo, and Bug die, as his life is changed forever, both because of the pain he feels and because he realizes how much he needs them and how far he had to fall.
Calo, Galdo, and Bug follow Locke; they aren’t afraid of him and look up to him. Jean, however, sees Locke as an equal. One of the novel’s threads follows Jean’s development and maturation, just like it follows Locke’s. What Jean does matters just like what Locke does; they’re a balanced pair. Locke fully realizes this halfway through the novel when Jean rescues Locke from his coffin. After the other Bastards die, Locke still has Jean, who is his equal and his closest friend. Locke finally demonstrates his feelings for his found family, and now that he recognizes their importance, he attempts to keep them close through his relationship with Jean.
Many characters in The Lies of Locke Lamora pretend to be people they aren’t or inhabit multiple identities at once. All the Gentleman Bastards do it repeatedly. Doña Vorchenza is both an old aristocrat and the Spider, the head of the Duke’s secret police. Father Chains pretended to be the priest of one god to act under the auspices of another. The Gray King uses fear, reputation, and violence to forge an identity and disguise who he truly is.
Once someone’s identity is revealed, they are vulnerable, and power can be wielded over them. The Bondsmage does just this with people’s true names; he controls Jean Tannen and the Spider by writing or sewing their names. If someone reveals their identity by choice, it’s an act of great trust. Locke tells Jean his name on the very last page of the book, as they sail away from Camorr, but readers aren’t told what it is.
Some identities have more in common with the “true” person than others. Lukas Fehrwight and the Midnighter are complete fictions, but Locke Lamora, loyal pezon, is Locke’s closest identity to his true personality. Locke thinks of Lukas, the Midnighter, and even his version of the Gray King, as something near real; he lets their fiction take him over completely. The identities must be real and true in some sense to be convincing. Locke Lamora is a persona too; Locke Lamora isn’t a real name, and Locke has mysterious origins that the novel never reveals. Even so, the Bondsmage still has some power over Locke, demonstrating that this persona and elaborate self is true and real enough that the Bondsmage can control it.
Locke Lamora lies too much because he thinks he can get away with it. He gets away with it until he doesn’t, and it costs nearly everything he cares about. Locke is forced to reevaluate his priorities, and the weight of his own actions nearly crushes him.
In Camorr, there is a saying: Ila justicca vei cala, which means “justice is red.” Bloody revenge becomes a prominent throughline for the second half of the novel. Interludes often switch from being about Locke’s childhood to detailing important Camorri revenge stories. Each of those stories—about handball, about prostitutes, and in the present day about Locke and the Gray King—end in blood and murder. Camorri understand and, to a certain degree, accept violent revenge as due course. Violence is part of life, but if unjust violence is committed, just violence must be committed to restore the order of things. This understanding separates Locke from the Gray King in a significant way, as the Gray King indiscriminately exacts his revenge on anyone in his path.
After Calo, Galdo, and Bug die, Locke is filled with regret and guilt. For him, revenge is a responsibility, not simply something he does to purge his guilt. The Nameless Thirteenth demands death-offerings in the form of something extremely valuable that is stolen and then destroyed. Locke sinks Capa Raza’s ship to dedicate this death-offering, not to gain wealth or get away with a scheme. Revenge and justice are serious things, and because Locke understands the weight of what he’s done, he wants to act appropriately serious and set things right.
Action & Adventure
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Challenging Authority
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Childhood & Youth
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Class
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Class
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Coming-of-Age Journeys
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Community
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Family
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Fantasy
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Fear
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Good & Evil
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Grief
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Guilt
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Hate & Anger
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Loyalty & Betrayal
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Memory
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Mortality & Death
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Order & Chaos
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Power
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Revenge
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The Past
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