62 pages • 2 hours read
Amber NicoleThe Book of Azrael
Fiction | Novel | YA | Published in 2022A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Themes
The Struggle Between Good and Evil
Content Warning: This section of the guide includes discussion of death and emotional abuse.
Fantasy novels frequently explore the nature of good and evil, as seen in The Fellowship of the Ring, The Lion, the Witch, and the Wardrobe, and A Game of Thrones, and The Book of Azrael is no exception. In The Book of Azrael, however, the lines between light and dark blur as characters grapple with their inner demons and external threats. Nicole draws on the conventional dichotomy of heroes versus villains but also challenges it as she explores the internal battles of the protagonists and antagonists, reflecting the complexity of morality amid battles over power, love, and survival.
Once a mortal woman but now a monster with immense destructive power, Dianna embodies this struggle. While she carries out Kaden’s murderous orders to protect her sister, Gabby, she wrestles with her identity and actions, and her internal conflict illustrates the blurred line between good and evil. Dianna’s capacity for love, humor, and sacrifice suggests that she is more than a weapon for Kaden to wield, and her journey to reclaim her autonomy and forge her own path challenges whether evil deeds committed under duress are truly evil. Indeed, Dianna resists the most literally “monstrous” aspects of herself. Unlike Kaden, Tobias, and Alistair, who revel in drinking blood and inflicting pain, Dianna consciously limits her intake of blood, despite the personal cost: “The downside of eating mortal food and not mortals is that while the food sustained me, I didn’t attain the level of power that came with consuming people. The plus side was that I didn’t feel like a monster” (294). This decision reflects her prioritization of moral integrity over power. Thus, the tension between her supernatural instincts and her moral compass illustrates a broader aspect of the theme of good versus evil: the struggle to maintain humanity in the face of overwhelming corruption and power. Through Dianna, Nicole explores what it means to be a monster.
Liam’s arc further complicates the theme of good versus evil. As a demigod who ended the Gods War by destroying his own realm, Rashearim, Liam carries the guilt of countless deaths, and his actions blur the line between heroism and atrocity. His internal struggle—to reconcile his past deeds with his desire to protect Dianna and redeem himself—mirrors Dianna’s journey, further suggesting that good and evil are not static states but fluid choices shaped by circumstances, past choices, and intent. Meanwhile, his reputation among The Hand of Samkiel, Liam’s celestial council, shows how the perception of good and evil can shift based on perspective and allegiance, as The Hand’s unwavering faith in Liam as a savior causes them to overlook the harm his actions have caused.
The novel’s interrogation of good and evil also informs the shape of the narrative. Gabby represents purity and hope amid the novel’s darkness. Her empathic powers and role as a healer contrast sharply with the violence surrounding her. However, Gabby’s death at Kaden’s hands catalyzes Dianna’s descent into darkness and Liam’s ultimate sacrifice. Gabby’s character illustrates the fragility of goodness in a world dominated by chaos and power struggles, showing that even the purest intentions are vulnerable to corruption and destruction and subverting the genre convention that good always wins.
The novel’s world building—the looming prophecy, the sealed realms, and the Oblivion blade—further reinforces the complexity of good and evil. The prophecy that Liam will die and chaos will engulf the realms is a self-fulfilling narrative that traps the characters in a cycle of conflict and sacrifice. The Oblivion blade, a weapon of ultimate destruction, symbolizes the seductive nature of power and its potential to corrupt. When Liam uses the blade to save Dianna, he defies his vow never to wield it again, sacrificing his moral stance for love. This act encapsulates the novel’s exploration of moral ambiguity: Sometimes, the fight between good and evil demands impossible choices, and the lines between good and evil are not always clear, but if unchecked power always poses a threat, so, too, is redemption always possible, even in darkness.
The Deceptive Nature of Appearances
Deceptive appearances permeate the narrative, challenging both the characters and readers to question surface-level judgments. From its protagonists’ moral ambiguities to its antagonists’ concealed motivations, the novel illustrates the danger of relying on first impressions and showcases the complexities lurking beneath outward facades, emphasizing identity’s multifaceted nature.
That physical appearance is itself mutable in the novel establishes that the external facade someone presents is not a reliable indication of character. Characters like Tobias, Alistair, and Dianna can shapeshift into any form, enabling them to assume anyone’s identity and manipulate the perceptions and actions of those around them. Alistair, for instance, amplifies his deception by controlling others like puppets, stripping them of their autonomy, and using them to further his schemes. Similarly, Dianna can access her victims’ thoughts and experiences, helping her to convincingly mimic their behavior and deepening the illusion of her facade. This shared capacity for deception among the Otherworlders reflects the precarious nature of trust in the novel. The ability to wear another’s face convincingly becomes a metaphor for the broader duplicity in this dark and morally complex world.
Kaden, the novel’s antagonist, exemplifies the dark side of appearance’s deceptiveness. Outwardly, Kaden positions himself as the savior of the Otherworlders, promising them freedom by unsealing the realms. He manipulates this image to consolidate power, commanding loyalty from his followers and fear from his enemies, though his true intention is to dominate the realms rather than liberate them. Kaden’s calculated use of deception highlights the dangers of charismatic leaders who exploit trust for personal gain. His interactions with Dianna exemplify this manipulation; he presents himself as her protector, yet his actions—forcing her into servitude and using Gabby as leverage—expose his predatory nature.
Liam’s duality as both a demigod and a flawed individual similarly exemplifies the deceptive nature of appearances. Celestials and mortals revere Liam, who is hailed as a savior who ended the Gods War. However, the truth—that Liam destroyed Rashearim to end the war—casts his heroism in a morally ambiguous light. This hidden guilt defines much of Liam’s character, manifesting in nightmares and self-imposed isolation. His status as a god contrasts starkly with his internal struggles, revealing that divinity does not equate to infallibility. Through Liam, the novel critiques the tendency to equate power with righteousness, showing that even the most revered figures can harbor dark secrets.
However, challenging the characters and readers to question appearances and consider the underlying motives behind every action is not merely a warning to be judicious with one’s trust but a statement about the importance of empathy. Dianna epitomizes the deceptive nature of appearances. As an Ig’Morruthen—a monster by definition—she is perceived as cruel and dangerous by nearly everyone she encounters. Her role as a ruthless enforcer for Kaden seems to confirm this view. However, beneath this exterior lies a woman driven by love and self-sacrifice. Dianna’s ultimate goal is to protect her sister, Gabby, whose safety she values above all else. Dianna’s arc ultimately forces other characters to reconsider their initial judgments of her. Early in the story, Liam views Dianna as a monster, a sentiment rooted in Unir’s philosophy: “A monster is still a monster, no matter how pretty it is” (308). However, as the narrative unfolds, Liam recognizes Dianna’s humanity and capacity for love, which contradicts her monstrous reputation and occasionally monstrous appearance.
The Book of Azrael thus uses the theme of deceptive appearances to challenge conventional notions of good and evil, heroism, and monstrosity. By delving into the hidden depths of its characters and settings, the novel reveals that truth is often layered and complex, urging both its characters and audience to look beyond the surface.
The Duality of Power
In The Book of Azrael, power emerges as a double-edged sword that offers both immense potential and devastating consequences. The novel explores the allure and danger of power through its central characters, revealing how the pursuit or burden of control tests the limits of morality, autonomy, and humanity. Despite their extraordinary abilities, many characters are constrained by forces beyond their control, highlighting the paradox of power as both liberating and imprisoning.
Samkiel, or Liam, epitomizes the tragic burden of power. As the reluctant king of the gods, Liam was thrust into a role he never wanted. His destiny was dictated by his father, Unir, over his own protests: “They will never accept me, no matter how many Ig’Morruthens I slay or worlds I end to save others […] I did not want to rule but alas, my father, my blood, left me no choice” (77). This unwilling kingship led to rebellion and the destruction of Rashearim, a catastrophic outcome that highlights the cost of Unir’s insistence on making Liam his heir. Oblivion—the blade that Liam forged in grief—similarly embodies the power he wishes to avoid. The weapon, capable of annihilating immortals and their souls, cements his reputation as the “World Ender.” However, Liam’s restraint in using Oblivion only when danger threatens Dianna’s life reflects his resistance to becoming the monster his power could make him. His struggles illustrate how unwanted power erodes agency, leaving Liam burdened by guilt and the weight of expectations he could not fulfill.
Kaden, by contrast, revels in power, embodying its more insidious aspects. As the tyrannical ruler of the Otherworlders, Kaden consolidates his control through fear, manipulation, and surveillance, establishing himself as an authoritarian figure. His coercive relationship with Dianna exemplifies his penchant for domination, as he exploits her loyalty to her sister to manipulate her into submission. His dehumanization of Dianna—mocking her as a “monster” and stripping her of autonomy—not only facilitates his exploitation of her but also mirrors his broader ambition to unseal the realms and achieve ultimate supremacy. Kaden’s arc showcases the corrupting nature of power, suggesting that when wielded without empathy or restraint, it becomes a force of oppression and destruction.
However, the novel does not portray power as uniformly negative. Dianna’s arc has her reclaiming agency and redefining power. Initially bound by Kaden’s control, Dianna establishes an alliance with Liam that marks a turning point in her resistance to oppression. Her defiance reflects the potential for power to be wielded with purpose and compassion, challenging the notion that power is inherently corrupting and underscoring the novel’s argument that true strength lies in agency and moral conviction.
The Hand of Samkiel offers yet another lens on power. Characters like Vincent and Logan navigate the dynamics of loyalty and autonomy, illustrating how power can foster trust or discord. Vincent’s friction with Liam highlights the tension between independence and submission, while Logan’s steadfast support exemplifies the unifying potential of shared purpose. These relationships emphasize the relational dimension of power, suggesting that it is not merely a tool but a force that shapes connections and communities. This underscores The Book of Azrael’s contention that power is a multifaceted entity, capable of both creation and destruction depending on whether one wields it to dominate others or with compassion and restraint.
