64 pages • 2 hours read
Brandon SandersonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide refers to stereotypes and problematic depictions of people of diverse racial backgrounds as well as underserved communities and neighborhoods, which feature in the novel. This section of the guide also discusses classism, misogyny, and sexism, which the novel depicts.
Throughout both Mistborn series, Allomancy, Feruchemy, and Hemalurgy symbolize power. In the original trilogy, the Lord Ruler attempts to control where that power is held by forbidding nobles, who traditionally have Allomantic powers, from having children with skaa (lower-class individuals) and by trying to eliminate Feruchemical powers in Terris people completely through a breeding program. Without all-knowing, however, the Lord Ruler cannot find all of the children born from both noble and skaa backgrounds; he uses his loyal servants to search for and kill any skaa children born with Allomantic powers, but they cannot catch all of them. This is why Kelsier’s crew members almost all have Allomantic powers that they use together to fulfill their plans. They manipulate the system and pool their abilities, eventually defeating the Lord Ruler.
After the Catacendre, the founders of the new world tried to eliminate stark class differences; despite their failure to completely do so, they did foster a world where the intermingling of peoples is more acceptable. Because of that, there is much more intermarriage, and there can be people like Wax and Wayne, who are Twinborn, or born with both Allomantic and Feruchemical powers. They use their abilities to fight criminals and save those with less power, but there are many people in the city who use their abilities and the abilities of those who serve them to consolidate power and gain control over others. Wax’s grandmother sees the danger in this, but she mistakenly identifies the existence of both powers in one person as the problem: “Neither power is evil […] It is mixing those powers that is dangerous. Your nature is not your fault, but I cannot help but see it as a sign. Another tyrant in our future, too powerful. It leads to death” (96). Although Wax disagrees with her, he does see the psychological danger of Allomancy if not checked, noting that Marks “probably felt invincible. Being an Allomancer could do that to a man” (46).
Hemalurgy is another form of power. It is the process of using metal spikes to acquire power from others by killing them and then putting the spike into one’s own body. It is also the power by which kandra are made conscious. Paalm begins to manipulate Hemalurgy for her own gain, using it in a way that no one knew possible. Even Harmony does not know how a kandra is able to gain Allomantic or Feruchemical powers or how she is able to do so without him being able to control her through the spikes. Hemalurgy is seen as an evil power since it has required death, and Sazed sought to eliminate all knowledge of it when he became God. Spook, however, who became the Lord Mistborn after Scadrial’s rebirth, kept records of it, writing, “I couldn’t let it die […] It’s not right. Hemalurgy is good now, I figure. Saze is both sides now, right? Ruin isn’t around anymore” (40). Hemalurgy survives through the next generations to be used by those seeking power.
Industrialization symbolizes both progress and oppression. Scadrial’s society moves forward with inventions, growing and learning, but many people feel discontent with life in an industrializing society. Marasi notes the disconnect that many are feeling in the city:
Life seemed more transient now, with people commonly relocating and changing jobs during their lifetime – things that had almost never happened a century ago. Progress had forced it upon them […] You had to adapt. Move. Change. That was good, but it could also threaten identity, connection, and sense of purpose (119).
Industrialization thus also symbolizes civil and social discontent and rising tensions between the classes.
On the other hand, Harmony points out to Wax that the people of Elendel have not made enough progress. The inhabitants of Elendel know that even if resources are hoarded by the rich, the city was created to be a safe haven: “Harmony had made the Basin ferociously fecund; men didn’t farm here so much as fight to harvest quickly enough” (87). Harmony admits to Wax that:
Already I fear that I have made things too easy for men […] You were to have had the radio a century ago, but you didn’t need it, so you didn’t strive for it. You ignore aviation, and cannot tame the wilds because you don’t care to study proper irrigation or fertilization (134).
Progress is important for growth, particularly because Sazed knows that there are other worlds and other gods in the Cosmere; Scadrial needs to be prepared. If life is too easy, people will not strive for more, and they become stunted.
Redemption is a common motif in Shadows of Self and the broader Wax and Wayne series, particularly for Wayne. As a character, Wayne symbolizes mistakes, remorse, and a desire for redemption. The novel reveals more of his history as an accidental murderer; he did not want to kill the man he was trying to rob. He was a frightened teenager, and he hates himself now for that mistake. He even hates himself for the emptiness he sees in the eyes of his victim’s daughter: “Someday, he hoped he might be able to look into the girl’s eyes and see emotion. Hatred, maybe. Something other than that emptiness” (95). He asks Wax, “Any number of the boys we run across and take down […] Any of them could be like me. Why did I get a second chance, but none of them do?” (110). Wax tells him that it is in part luck, but he assures Wayne that there is something different about him: a willingness to make things right: “[T]he ones we shoot, we don’t find them unarmed, hiding, willing to be brought in” (110).
His subconscious has created a symbol of this mistake in guns, leaving him unable to use them. He cannot even hold a gun or a bullet without shaking. Despite his role providing comedic relief in the novels, he is serious about his amends. Wax tells him that he does not have to go to see the girl in person every month, but, the text explains, “Wayne [says] nothing. This was actually serious” (82). He also spends time trying to help young boys that remind him of himself at that age: “Wayne liked to keep an eye on them. They were good lads. He’d been like them once. Then life had steered him wrong. Boys like this, they could use someone to point them in the right direction” (90). Wayne does not yet feel he has earned redemption in Shadows of Self, but he is on the path of amends and growth.
By Brandon Sanderson