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fernwehreader · 11 days ago

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"They Call You Shadowsinger": Parallelism and the Power of Being Seen

I’m currently doing a Crescent City re-read and am really enjoying spending time with this series at a slower and more deliberate pace. As a result, I’m seeing threads between Crescent City and ACOTAR that I didn’t fully notice upon earlier readings. I think this is in part due to the fact that I spent a great deal of time with ACOSF and its bonus chapters immediately before returning to Crescent City.

So, as I’ve just wrapped up HOEAB, there’s one topic that keeps rolling around in my head: parallelism!

Literary Parallelism

Hang with me for just a bit as I explain a little about what parallelism usually looks like--I promise this is going somewhere! Parallelism can be a literary device where parts of a sentence/paragraph/stanza have the same grammatical structure, intended to emphasize or draw attention to something in particular. When I teach parallelism in my high school literature classes, I often include it as part of a rhetoric unit because it’s not uncommon to see it combined with rhetorical devices such as antithesis or repetition--which are also meant to emphasize something in order to persuade or to draw attention towards a specific detail.

When I teach my rhetoric units to highlight the effect of using these devices, I usually use Disney songs since there is a general level of familiarity with them. For instance, when the Muses in Hercules sing the song “Zero to Hero,” they say:

He was a no one A zero, zero Now he’s a honcho He’s a hero Here was a kid with his act down pat Zero to hero, in no time flat Zero to hero, just like that!

Here, parallelism is achieved through repetition of the phrase "Zero to hero" and its variations, which emphasize Hercules’ dramatic transformation. This repetition, combined with antithesis to show opposite meaning, is meant to draw the audience’s attention to the theme of personal growth for the story’s protagonist.

So, we often see parallelism like this, used how it is in Disney songs, in notable speeches like MLK’s “I Have a Dream” speech, or in dramatic moments like Mark Antony’s funeral speech in Julius Caesar. But it can also be used in literature through mirrored scenes. Instead of focusing on grammatical structure and patterns, it instead relies on parallel dialogue and imagery to highlight thematic connections or character development.

In my opinion, this is exactly what we see upon closer examination of HOEAB and ACOSF, where SJM crafts deeply intimate character moments in two separate scenes--belonging to two separate books and worlds. One scene occurs between Bryce and Hunt in HOEAB, and the other between Gwyn and Azriel in his ACOSF bonus chapter.

These scenes possess deliberate literary parallels between their pivotal moments along with what they reveal about identity, emotional intimacy, and the quiet beginnings of a relationship found through deep understanding. It's also worth noting that these two books were published a year apart, with HOEAB released first. I always found it interesting that SJM didn't release ACOSF after the ACOFAS novella--so it's worth considering why we were introduced to Bryce and Hunt first before jumping back to Prythian to meet Gwyn and get Azriel's first (and only) POV.

Again, this is part of the narrative framing in which I’ve previously written about, as my contention remains that this is all to serve the purpose of character development (the romantic pairing of Azriel and Gwyn) and narrative continuity (establishing ACOTAR5 as Azriel’s book).

I know that many readers have already made comparisons between Bryce/Gwyn and Hunt/Azriel. I’m not sure what more I can add to that particular conversation. However, I do have some very specific thoughts regarding how parallelism is being used by SJM to further establish the runway being laid for Azriel’s book--as well as to continue spreading the seeds for the romantic pairing of Azriel and Gwyn. In these mirrored scenes, SJM uses parallelism to draw our attention to show how a single interaction can begin to redirect a protagonists’ narrative.

Parallel Structure & Phrasing: HOEAB vs. ACOSF

The literary structure and phrasing of the two interactions in question are strikingly similar--enough so to discourage an argument of pure coincidence.

In the HOEAB scene, Bryce is sitting alone on a bench overlooking the Istros River with a box of chocolate croissants to commemorate Danika’s birthday. Hunt soon flies in to join her, and they share an emotional scene where Bryce laments how everyone else seems to have moved on from Danika’s death--yet, she cannot. Hunt then shares details about Shahar, her death, and how it has impacted him over the years. A realization then hits Bryce after Hunt’s admissions:

She looked to the river. “I never realized it,” she murmured. “That you and I are mirrors.” He hadn’t, either. But a voice floated back to him. You look how I feel every day, she’d whispered when she’d cleaned him up after Micah’s latest assignment. “Is it a bad thing?” A half smile tugged at a corner of her mouth. “No. No, it isn’t." “No issue with the Umbra Mortis being your emotional twin?” But her face grew serious again. “That’s what they call you, but that’s not who you are.” “And who am I?” “A pain in my ass.” Her smile was brighter than the setting sun on the river. He laughed, but she added, “You’re my friend. Who watches trashy TV with me and puts up with my shit. You’re the person I don’t need to explain myself to--not when it matters. You see everything I am, and you don’t run away from it.” He smiled at her, let it convey everything that glowed inside him at her words. “I like that.”

We will be comparing this scene to Azriel’s bonus chapter from ACOSF, shortly after he arrives at the training ring and unexpectedly finds Gwyn. After Gwyn teases Azriel about needing his dagger to sleep and they exchange some pleasantries about celebrating Solstice, Gwyn has a surprising question for him:

She angled her head, hair shining like molten metal. “Do you sing?” He blinked. It wasn’t every day that people took him by surprise, but . . . "Why do you ask?" “They call you shadowsinger. Is it because you sing?” “I am a shadowsinger--it’s not a title that someone just made up.” She shrugged again, irreverently. Az narrowed his eyes, studying her. “Do you, though?” she pressed. “Sing?” Azriel couldn’t help his soft chuckle. “Yes.”

The parallel structure of these interactions is not by accident. For starters, both scenes are in the male POV, which gives the reader particular insight into their (albeit limited) perspectives. Additionally, both Bryce and Gwyn are alone as these scenes begin--they are interrupted by Hunt and Azriel flying in:

Hunt landed quietly before sliding onto the bench’s wooden planks, the box between them.

Azriel landed in the ring a few feet from where Gwyn practiced in the chill night . . .

Both Hunt and Azriel literally descend from the skies, landing quite near Bryce and Gwyn. In my opinion, this isn’t just coincidence or logistical--this reflects a descent into emotional vulnerability. These are male characters known for their emotional detachment, and their flights into these scenes could symbolize a movement downward from their hard shells into more intimate emotional territory.

Additionally, there is deliberate phrasing in both these interactions which supports the literary parallels taking place. The male characters are both known by fearsome titles: Hunt is the “Umbra Mortis” (or “Shadow of Death”), and Azriel is the “Shadowsinger.” These epithets reflect how the outside world perceives them--deadly and dangerous. Both males are warriors, assassins, and instruments of power used by others. Additionally, they bear the weight of countless deaths and trauma associated with their freedom being stripped away. Their identities are often defined by others.

Bryce and Gwyn then continue their conversations with Hunt and Azriel built around these monikers and identities.

After Bryce notes that she and Hunt are mirrors, Hunt says:

“No issue with the Umbra Mortis being your emotional twin?” But her face grew serious again. “That’s what they call you, but that’s not who you are.”

This line cuts to the heart of Hunt’s struggle with being defined by the darkness of his past and his violent role in a broken system. Bryce, however, sees all of Hunt in this moment and does not hesitate to tell him. What follows is an emotionally intimate declaration:

“You’re my friend . . . the person I don’t need to explain myself to—not when it matters. You see everything I am, and you don’t run away from it.”

Similarly, in Azriel’s ACOSF bonus chapter, Gwyn presses Azriel about his title:

“They call you Shadowsinger. Is it because you sing?” “I am a shadowsinger--it’s not a title that someone just made up.”

There is an intentional parallel in the exact phrasing here by using the words “they call you”--that is not an accident. SJM is relying on parallelism to do what it does in more typical contexts: to emphasize or draw our attention to these specific words. Both Azriel and Hunt are often viewed through the lens of the outside world, and we can begin to see how that might weigh on each of them.

Interestingly, Gwyn immediately shrugs off the reply, irreverently. Her casual dismissal of Azriel’s deadly title is a pivotal moment . . . very much so mirroring Bryce’s refusal to allow Hunt to be defined by his title. Gwyn is unafraid, unfazed, and unmoved by Azriel’s reputation. Like Bryce, Gwyn sees something more in the male before her.

Perhaps this is even why Gwyn proceeds to call Azriel “Shadowsinger” instead of by his name later in ACOSF--she is teasing him, almost as if to tell him: If you say this is what you are, then that’s what I’m going to call you.

And, in these two scenes, Hunt and Azriel are not left unaffected by these comments from Bryce and Gwyn. Hunt smiles at Bryce in response and “let it convey everything that glowed inside him at her words”--while the notably stoic Azriel “couldn’t help his soft chuckle” when Gwyn continued to ask if he sings.

Hunt opens up to Bryce in a moment of shared grief as they discuss Danika and Shahar. Azriel, fresh from a painful confrontation with Rhys and his interaction with Elain, finds unexpected comfort in a late-night encounter with Gwyn. Yet both males, defined by death and duty, find themselves smiling and laughing--softened by these females who refuse to fear them.

Ultimately, in both scenes, the titles for Hunt and Azriel are named and then rejected. Bryce and Gwyn see past the labels to what lies beneath. This mirroring is a prime example of narrative parallelism and intertextual echoing. The same emotional arc is achieved through different characters across different texts–but with identical purpose.

Glowing Hearts and Emotional Intimacy

Another example of parallelism cements the lasting, emotional importance of these interactions: the mirrored imagery of something glowing inside both Hunt’s and Azriel’s chests. After Bryce tells Hunt who he really is, he let his smile “convey everything that glowed inside him at her words.” Likewise, at the end of Azriel’s bonus chapter, after Clotho agrees to give the necklace to Gwyn anonymously, Azriel buries the imagined image of Gwyn’s joy in his chest--where it “glowed quietly. A thing of secret, lovely beauty.”

The glow is not accidental; it’s symbolic of something dormant being awakened--compassion, hope, perhaps even the beginning feelings of something more romantic. These descriptions are not just parallel in phrasing; they symbolize something profound. Both Azriel and Hunt are males trained to bury everything--perhaps partly out of self-preservation. So, these glowing sensations are not fireworks or passionate explosions, but quiet illuminations--a spark of something soft and sacred awakening inside them. Maybe something they didn’t know they still had the capacity for. It is the literary embodiment of intimacy, not lust.

These mirrored glowing moments also represent hope, potential, and the beginning of self-forgiveness. Notably, in both cases, the glow is inside of Hunt and Azriel. Both males are not ready to act on it yet, but they protect it. It is a seed planted in their hearts by Bryce and Gwyn who have started to become the safe harbors that Hunt and Azriel didn’t realize they needed.

“SO WHAT?”

My favorite literary question to ask my students comes last, as usual: SO WHAT?

Why does this matter? Why would SJM intentionally echo such specific literary structure, phrasing, and emotional beats across two different texts and series?

Because she is building a broader thematic through-line across her multiverse by juxtaposing Bryce/Hunt against Gwyn/Azriel. These scenes are not throwaway moments--they are turning points. They suggest that Azriel, like Hunt, is on the cusp of transformation. The glow in the chest is symbolic of a soul rekindling itself, and the females who see these males are clearly not afraid.

I believe that Bryce is trying to flash a neon sign indicating the importance of this parallelism. She point blank says to Hunt: “I never realized it . . . That you and I are mirrors.”

Yes. They are mirrors--to Gwyn and Azriel, setting up crucial parallels in anticipation of their own story together.

And these parallels are more than just fun literary hijinks. It’s not SJM just showing us how clever she is (although she is very clever). These are deliberate seeds of narrative intent. Despite some fandom theories to the contrary, Hunt and Bryce’s relationship is established by the end of HOFAS and they are thematically framed as equals (perhaps another post for another time). So, if we accept that these two scenes mirror each other in structure, tone, and function, then the bonus chapter between Azriel and Gwyn is not a throwaway interlude--it is a setup.

And so, while Gwyn presses Azriel with questions while shoulder-shrugging, and while Bryce gently corrects Hunt by calling out the person beneath the helmet, SJM shows us a paralleled pattern: that the power exists to choose who you are. To laugh again. To let something glow quietly in your chest and not extinguish it.

"They call you shadowsinger" becomes not a question of power, but of identity. And in that question--posed by a female who doesn’t tremble in his presence--Azriel, like Hunt before him, begins the slow process of reclamation. Not of title. Not of duty. But of self.

#acotar #acosf #azriel bonus chapter #crescent city #house of earth and blood #hoeab #gwynriel #pro gwynriel #gwyn x azriel #azriel shadowsinger #gwyneth berdara #bryce quinlan #hunt athalar #hunt and bryce #sjmaas #acotar5 #bryce and hunt #gwyn berdara

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bookofmirth · 1 year ago

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What could happen to the Prison in acotar5?

As a preview, this post is going to be hella long. It focuses on things we learned primarily on acosf and hofas. It also discusses the Illyrians and the Valkyries, Pegasuses, the 8-pointed star, and the fallout from Avallen being restored by Bryce.

The tl;dr is that I think that the Valkyries (and potentially some Illyrians) could serve as guardians for the Prison, along with being a neutral political force and army in Prythian, not aligned with a specific court but rather being a balance between them all.

Before you proceed, be aware that I tend towards analysis of the current content of the books, not theorizing about what will happen in the future, so this may not read like theories that other people in the fandom come up with. A majority of this is facts from the books, with me tying things together to think about the implications.

Part one: what we know based on HOFAS

First, it's helpful to get some context for what we know (for sure) about the Prison:

It was the land of dusk (not a Court in the way Prythian currently has courts).

After the events with Fionn, Theia, Helena, Silene, and Pelias, the land was mostly abandoned.

When Silene returned from Midgard, she created the Prison in order to hide the Harp, using the monsters she put there to deter anyone from looking for it. Silene decided if this place was seen as cursed, then let it be cursed.

We also find out that Silene left her portion of Theia's light under the Prison, which Bryce then took.

There is also a large cache of firstlight remaining under the Prison.

When Bryce used Truthteller and Gwydion/the Starsword to heal Avallen, Pegasuses appeared again.

Avallen and the Prison are in "thin" spots in the universe that make it easy to travel from one planet to the other (fwiw, this idea is not unique to sjm. See: Stephen King.) These spots are identifiable by the mists that surround them.

These thin spots are also on the nexus of ley lines, where energy flows.

It stands to reason that when Bryce "unlocked" Avallen, the energy and magic that it now experiences will flow to other places along the ley lines, IE the Prison. It's also implied that the land keeping the power imprisoned is one of the reasons it grew sick.

Bryce's actions in hofas have implications for Prythian. While the above is related to the Prison, we also have:

Nesta now has possession of the Starsword/Gwydion

Azriel's reaction to Truthteller and the Starsword being together

The 8-pointed star (more on that later)

Part two: what we know based on ACOSF

So based on this information, we need to go back to acosf and look at what sjm left for us.

The main thing to keep in mind is that Nesta found the Harp in the Prison, and that it was laying on an 8-pointed star.

One of the main dangling threads from acosf - that we know to be canon, that is not a theory or supposition - is that the Illyrians and the Valkyries are going to continue training together. We know that Mor is interested in training with the Valkyries. From hofas, we know that Nesta is every bit as well trained now as she was in the months since acosf.

Now, there are a couple of partially-fulfilled statements from acosf that I think are relevant here, in addition to Valkyries and Illyrians continuing to train.

The first is the wish that Nesta made on the friendship bracelets.

"I wish for us to have the courage to go out into the world when we are ready, but to always be able to find our way back to each other. No matter what." (chp 59)

We know that in the Blood Rite, the second half of that wish was fulfilled. The first half has not been fulfilled yet. That gives us very good reason to assume that the first half will be fulfilled.

All three of them, Nesta, Emerie, and Gwyn, will go out into the world at some point in the future.

There is another, much larger implication that was made in acosf:

Nesta smirked. “If we are to be Valkyries born again,” she said, “maybe we should combine the Illyrian and Valkyrie techniques.” She’d meant it in jest, but the words rumbled through the space, as if she’d spoken some great truth, something that made fate sit up. Azriel turned to them fully this time, eyes narrowed. Like those shadows had whispered something to him. A chill breathed down Nesta’s spine. Cassian stared into their faces. Like he beheld something he hadn’t seen there before. (chp 44)

And the later on:

Gwyn whispered, “I am the rock against which the surf crashes.” Nesta straightened at the words, as if they were a prayer and a summons. Gwyn lifted the blade. “Nothing can break me.” Cassian’s throat tightened, and even from across the ring, he could see Nesta’s eyes gleaming with pride and pain. Emerie said, “Nothing can break us.” The world seemed to pause at the words. As if it had been following one path and now branched off in another direction. In a hundred years, a thousand, this moment would still be etched in his mind. That he would tell his children, his grandchildren, Right then and there. That was when it all changed. Azriel went wholly still, as if he, too, had felt the shift. As if he, too, were aware that far larger forces peered into that training ring as Gwyn moved. (chp 60)

SJM used similar phrasing in the same book for which we know the consequences:

Strike after strike, and Cassian could have sworn the world paused as she unleashed herself with the same intensity she brought to training.

This is when Nesta is Making the weapons, which we find out later is actually a significant moment, not just Cassian being hyperbolic about how great his mate is. Then, when Nesta is using the Mask and Harp to heal Feyre, the world also pauses. This phrasing is used when something important is happening - even if we don't know what the implications are, yet.

Given that we know for sure that the Illyrians and the Valkyries are going to continue training, and there are loose threads because we don't know the implications of fate/the world standing up at Nesta's, Emerie's, and Gwyn's statements and/or actions, there is a very, very good chance that the Valkyries will continue being a big part of acotar.

My final point about the Valkyries is that in myth, they rode horses through the sky - not Pegasuses because those are from Greek myth, and Valkyries are Norse. But they fly through the sky on horses nonetheless. (This is literally the only piece of evidence I have coming from outside the books.) Pegasuses are connected to Avallen and likely the Prison. We know that Helion keeps some, but they are struggling to breed/thrive. (We also know that sjm loves to take what she wants from myth, so it’s not a stretch to think she’d shrug at the Greek/Norse distinction.)

All of this together tells me that the Valkyries have more story coming, and it is connected to the Illyrians'.

Part three: The 8-pointed star

A common thread between both series is the 8-pointed star. There are a few ways in which it is used:

Nesta and Cassian's bargain tattoo in acosf. They both had this tattoo on them - an Illyrian and a Valkyrie.

Bryce also has the 8-pointed star on her chest that glows when she is near people who will aid her or who are part of the Starborn line. When she took the piece of Theia's light, it went into her star and powered her up.

The Harp was resting on an 8-pointed star in the Prison, where Silene left it.

In HOFAS, Bryce put Truthteller and Gwydion into the slots of an 8-pointed star in order to revive Avallen.

When training, Cassian teaches the Valkyries the 8-pointed star sequence. This is a series of moves that they make with a sword, and is an Illyrian technique.

Cassian walked her through eight different cuts and blocks. Each was an individual move, he’d explained, and like the punches, they could be combined. (chp 38) “I’d thought today would be a good day to integrate the eight-pointed star, but if you’re already complaining, we can wait until next week.” (chp 44) Nesta lifted the sword and executed a perfect arcing slash. Her weight shifted to her legs just as she flipped the blade, leading with the hilt, and brought up her arm against an invisible blow. Another shift and the sword swept down, a brutal slash that would have sliced an opponent in half. Each slice was perfect. Like that eight-pointed star was stamped on her very heart. (chp 50)

And finally, at the end of HOFAS, Bryce gives Gwydion to Nesta and tells her to explore the 8-pointed star:

“I think that eight-pointed star was tattooed on you for a reason. Take that sword and go figure out why.”

Note that it’s not just a matter of the star, anymore. Both Cassian and Nesta were tattooed with it; Bryce used Gwydion and Truthteller to activate the star in Avallen. And now, Nesta is in possession of Gwydion with knowledge about the Prison and a connection to the star. There are elements coming together, and those elements are connected to both Illyrians AND Valkyries.

My thinking is that the 8-pointed star is the symbol of the dusk land, the Starborn Princes in Midgard (Theia) and in Prythian, of the first and only High King. If that land is where the Valkyries will be reborn and where Starborn power is from, and we know it is the source of a huge cache of firstlight, then that star is a symbol of what has been lost - and what is about to be revived.

So now the question is - what part will the Valkyries and Illyrians play?

Part four: What might happen to the Prison?

To sum up the above, and adding on a couple of small points that don’t fit elsewhere:

We know that the Illyrians and Valkyries will continue training

We have very heavy-handed phrasing around the world/fate paying attention to the idea of the Valkyries being reborn and working with Illyrians.

We have the connection between Valkyries, Illyrians, and the 8-pointed star because it is also an Illyrian sword technique that is being taught to the Valkyries.

We know that the Prison is going to go through some changes akin to puberty.

In addition, we have Gwyn being allowed to write the Valkyries into the books she is researching.

SJM has also said that Nesta’s story is going to continue.

Since we know that the Prison is going to change and there are these characters and groups poised for action - I haven’t even touched on Ramiel and the Illyrians being created by the Dagsteri, Azriel and his connection to Truthteller and Enalius, and his reaction to the TT/Gwydion, and will do that in a separate post - we can make some predictions about how that might look. If it’s going to make sense, sjm has to think beyond the magic system that she has… sort-of established, and past the involvement of individual characters. There are a few things to take into consideration with the Prison.

It is very likely that Pegasuses will return to the island as it is suffused with magic and energy again.

There are also other, unforeseen magical consequences as the magic flows back into it, thanks to the ley lines being “unblocked” by Bryce.

It may become easier for people/creatures to travel between worlds, given that it is a thin place that has been "unlocked".

The Prison is still full of prisoners! They are monsters that Silene gathered to hide the Harp, but... does that mean they just get released? Get slaughtered? Do they now have access to the power of the island? What is going to happen with them?

The High Lords cannot all be trusted to stay within their own courts, minding their own business. Beron is the most obvious example, as he has his eye on Spring while Tamlin is Suffering.

If there were another court established, one that sits on a huge reserve of firstlight, that could be a huge point of contention amongst the courts. Even if the High Lords don’t want it for themselves, they wouldn’t want anyone else to have it on the chance that one of them would use it against the others. In acomaf, Rhys explains that the Prison is keyed to his blood and that he has jurisdiction of it; however:

“Do all the High Lords have access?” My words were so soft they were devoured by the dark. Even that thrumming power in my veins had vanished, burrowing somewhere in my bones. “No. The Prison is law unto itself; the island may be even an eighth court. But it falls under my jurisdiction, and my blood is keyed to the gates.” (chp 18)

We don’t know yet what that reserve of firstlight is going to mean for the island.

To me, it makes sense for us to have a more neutral third party come in. One who doesn’t have ties to a specific court, but could act in all of their interests.

Enter: the newly reformed Valkyries.

I have had a personal headcanon that the Valkyries, once fully established, could create another political/martial entity in Prythian that can help balance the power between all the courts, and provide support when needed. This is how they worked before, which Cassian talks about in acosf:

“The Valkyries fought when even the bravest males would not. The Illyrians tried to forget that. I fought against males who were my superiors, arguing to help the Valkyries. They beat me senseless, chained me to a supply wagon, and left me there. When I came to, the battle was over, the Valkyries slain.”

Valkyries and Illyrians don’t have the best history, but given that Cassian tried to help them, and that they are working together now, this could be a way of righting a wrong. It could help to explain why fate/the world is taking note.

The Valkyrie ethos makes sense for this sort of neutral position, too:

“A clan of female warriors from another territory. They were better fighters than the Illyrians, even. The Valkyrie name was just a title, though—they weren’t a race like the Illyrians. They hailed from every type of Fae, usually recruited from birth or early childhood. They had three stages of training: Novice, Blade, and finally Valkyrie. To become one was the highest honor in their land. Their territory is gone now, subsumed into others.”

An improved Valkyrie force, especially if they continue learning Illyrian techniques and recruiting from women across Prythian, could be a big factor in upcoming conflicts with Kochei or any other villain sjm comes up with. They would ensure that the firstlight would be used fairly, so that no court is advantaged or disadvantaged unfairly. It would continue the threads that sjm has left for us, while also giving us space to explore questions that have yet to be answered (such as Azriel’s connection to Truthteller and Enalius). While I think that Nesta would keep her home in the House of Wind, the Prison island would be a good place from which the Valkyries can work - both guarding the monsters that are there, and keeping the firstlight safe.

I believe that Nesta will be the most important character when it comes to reviving the island; while it is heavily implied that the island is already going to have access to its powers thanks to being impacted by Avallen's healing - it is likely already on its way to healing - Nesta with her connection to the 8-pointed star, the Harp, possession of Gwydion, and the Valkyries can help bring stability to the place.

Thank you a million times to the people who helped me fact check and keep things straight, or just listened to me rant about this: @hellacioushag @lily-thesuriel @elains @aionuel @yazthebookish @fracturedarkness and @/michaelanoelreads on TikTok :) @highqueenmorrigan (Mary I forgot you brought up the sword technique thank you for that!)

#hofas #hofas spoilers #acotar/cc #spoilers #Leslie reads hofas #my meta #kinda meta kinda theory #whatever!#the valkyries #acotar5

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