This Woven Kingdom

Fiction | Novel | YA | Published in 2022

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Summary

Background

Chapter Summaries & Analyses

Part 1

Part 2

Part 3

Part 4

Part 5

Character Analysis

Themes

Symbols & Motifs

Important Quotes

Essay Topics

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Discussion Questions

Symbols & Motifs

Separation of Heaven and Earth

The separation of heaven and earth serves as a recurring motif that is related to the central theme of interconnectedness and the breaking or re-establishing of divine unity. The account of Iblees and his fall from grace captures this rupture in visceral terms. Iblees, once elevated to heavenly status, ultimately crashes back to Earth, and his fall has catastrophic consequences for his people—the Jinn. This isn’t just a heavenly entity falling to Earth; it’s a complete upheaval of an entire civilization. For example, the chapter titled “In the Beginning” articulates a profound disjunction between the divine and earthly realms: “When Iblees fell, so too did his people” (21). Not only does this statement deepen the motif of heaven and earth’s separation, but it also portrays a cosmic abandonment that compounds the marginalization of the Jinn in a very tangible, tragic way.

The fall of Iblees and its resultant cosmic “forsaking” of the Jinn by other celestial bodies like the sun and moon parallels the societal discrimination and marginalization that the Jinn face in Ardunia. Just as the heavens reject the Jinn, casting them into darkness and confusion, human society also marginalizes them, forcing them to live in metaphorical darkness. As the opening chapter states, “Dirt, they had learned, would smother a flame” (24), and this statement highlights that the marginalization of the Jinn is not only social and spiritual but also elemental, for it goes against the very nature of the Jinn, who are beings of fire. This motif serves to underline the violation of Tawhid (the divine interconnectedness of all things), both among the humans and across all realms of existence.

The Jinn’s retreat to the Earth’s apex suggests an attempt to restore some semblance of their lost connection to heaven, their own form of reestablishing unity, albeit in isolation. Their collective sense of loss, mourning, and shame is a spiritual wound mirroring the earthly prejudices they now must face. Thus, the motif of the separation of heaven and earth serves as a resonant allegorical framework for examining how prejudices can become embedded in the very fabric of existence, calling for a reckoning and healing that is both cosmic and deeply personal. In this way, the motif amplifies the central theme of interconnectedness and the challenges of mending ruptures, whether they are between different groups of beings or between the earthly and the divine.

The Snoda

The symbol of the snoda encapsulates multiple layers of identity, social hierarchy, and the tension between visibility and invisibility. This piece of cloth, which is described as a semi-transparent silk, is mandated for those who work in service. It is designed to mark them as being members of the lower class, but ironically, it also functions as a useful tool of anonymity for Alizeh, blurring her features just enough to allow her to hide her Jinn nature in plain sight. The snoda, then, is not just a class marker but also an instrument of survival for her. It embodies the social restrictions imposed on her both as a servant and as a marginalized Jinn, highlighting how these systemic boundaries manifest in tangible, everyday ways.

The snoda itself therefore highlights the complexities of identity, prejudice, and social stratification. It serves as a visual representation of the barriers that exist in society, delineating who belongs where and who is entitled to what. Alizeh’s intentional choice to don the snoda even outside of her work environment points to the internalized fears that marginalized communities often have, for the snoda is her armor against a world that may not be ready to accept her true self. This is somewhat analogous to the concept of masks in general, which often serve dual purposes. Masks conceal and protect the wearer, but they also reveal something about the wearer’s identity or role in society.

The snoda further functions as a metaphor for the limitations that Alizeh and her community face. While it blurs her features without obscuring her vision, this very effect of blurring serves to erase her individuality, making her one among many who belong to the lower classes. The risk of removing the snoda speaks to the persistent dangers of living authentically in a society that devalues her existence. Yet the snoda is also her shield, protecting her from those who would do her harm if her true identity were known. Thus, the snoda encapsulates the paradoxes inherent in living as a marginalized individual: it is both a tool of suppression and a means of survival.

Ice

The motif of ice, particularly as it flows through Alizeh’s veins, serves multiple thematic functions. First, it is closely linked to the theme of identity and otherness. Alizeh is set apart from the rest of society not just by her snoda, which masks her features, but also by the ice in her veins that visibly alters her eyes. This icy aspect of her physiology manifests as a source of curiosity, fear, and reverence, making her an object of fascination and mystery. The fact that the ice in her veins is described as being “so rare it is revered, even as it damages the body” (165) points to the complicated relationship that Alizeh has with her own uniqueness. This concept is reinforced by her lack of control over the changing colors of her irises, an effect that symbolizes her lack of control over the conflicting aspects of her identity. The concept of hidden knowledge or Ghaib is another important aspect of Islamic theology that might resonate with the motif of ice and the themes it supports in the work. The nature of Alizeh’s power, tied to ancient magic “buried deep in the Arya mountains” (175), seems to be esoteric and is revealed only at a certain age or under certain conditions. This is analogous to the Islamic understanding that there are layers of hidden, esoteric knowledge that are not readily accessible, but are instead reserved only for those who have a special spiritual or prophetic role.

Secondly, the motif of ice advances the theme of power and vulnerability. While the icy lineage gives Alizeh certain powers and abilities that are sought after or feared by others, it also imposes limitations on her. For example, despite her remarkable qualities, Alizeh is still in danger, and the narrative hints at this reality by employing statements such as: “The ice that pulsed through her […] was a power that could not be tapped until she came of age” (175). Alizeh’s inherent power thus becomes a source of both potential strength and immediate vulnerability, tying back to the theme of duality. This dichotomy—the ice as both a curse and a symbol of power—sets Alizeh apart and renders her an object of both reverence and apprehension. (Reverence, because this unique trait gives her abilities and a lineage that others might lack, and apprehension, because the unfamiliar and the powerful are often feared in societies.) This dual perception can be a heavy burden, because if one is both admired and feared, it can lead to isolation and misunderstanding. The symbolism of ice extends further, given its paradoxical nature, for ice can be both protective and dangerous. A sheet of ice can provide a pathway across a river in winter, but it can also crack and lead to peril.

Finally, the motif interacts with the broader theme of fate and prophecy. The ice in her veins is tied to a prophecy that suggests she would be an adversary leading to the king’s eventual demise. This makes her a key figure in the unfolding of larger, possibly tragic, events, thus anchoring her personal story in a narrative of fate and destiny. The ice motif becomes a focal point around which various thematic threads—identity, power, and fate—intertwine, making it integral to the layered storytelling of the work.