We Hunt the Flame

Fiction | Novel | YA | Published in 2019

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Summary

Background

Chapter Summaries & Analyses

Epigraph-Act 1

Act 2, Chapters 23-50

Act 2, Chapters 51-63

Act 3-Epilogue

Character Analysis

Themes

Symbols & Motifs

Literary Devices

Important Quotes

Essay Topics

Tools

Beta

Discussion Questions

Literary Devices

Theater as Narrative Framing

Although We Hunt the Flame is a contemporary novel, Hafsah Faizal makes use of theatrical techniques to frame the narrative. Structurally, the novel is divided into three “Acts” bookended by an epigraph and an epilogue. The narrative resembles a play, with several scenes evoking classical tragedies.

Firstly, the characters’ arrival on Sharr—a secluded, confined space—resembles players entering a stage. Just like heroes’ fates are orchestrated by divine intervention in classical theater, the protagonists unwittingly follow the plans of the Silver Witch and the Lion of the Night. The characters are manipulated by larger forces and their destiny is often implied to be inevitable. For example, Deen dreams of Sharr before he even learns of the quest and unknowingly predicts his own fate. Both the Silver Witch and Benyamin repeat the same prophecy-like words to Zafira: “You will always find your way, Zafira bint Iskandar” (10, 247), suggesting that her fate is predetermined.

Additionally, the epigraph acts like a Greek chorus, creating dramatic irony as it indirectly references specific plot points: “Love is for children, said the girl. Death is for fools, said the shadow. Darkness is my destiny, said the boy. Allegiance is my undoing, said the eagle. Suffering is our fate, said the beauty. And they were all horribly wrong” (v). However, the epigraph’s ominous tone is later belied by its predictions manifesting in unexpected ways. Nasir, who claims “darkness is [his] destiny” (379, 423), initially believes he is doomed by his actions but later reclaims his power over darkness to help his friends. The zumra as a whole learns to break free of the Silver Witch and the Lion’s manipulation and recover their moral agency.

Overall, Faizal’s lyricism and theatrical framing imbue her novel with an almost mythical dimension. This reinforces the novel’s historical inspirations as well as the theme of Cultural Legacy and Identity. However, the author ultimately subverts theatrical tropes to allow for nuanced character development and offer a personal take on the fantasy genre.

Alternating Points of View

We Hunt the Flame is narrated in the third person, with chapters alternating between Zafira and Nasir’s perspectives. Chapters 1-2 introduce Zafira and Nasir respectively, with parallel statements: “People lived because she killed. And if that meant braving the Arz where even the sun was afraid to glimpse, then so be it” (3) and “People died because he lived. And if that was the only way to carry forward in this life, then so be it” (12).

These parallel statements frame the two protagonists as foils, but ultimately highlight their similarities as much as their differences. Although they are driven by opposite motivations, both struggle with reconciling their actions and morality. Additionally, Zafira and Nasir’s parallel growth is reflected in the narration. After they instinctively coordinate and fight off the ifrit together (Chapter 50), some of the chapters that follow include both Zafira and Nasir’s perspectives. This symbolizes their developing relationship, as their moral stances begin to align and their goals merge into the same objective: restoring peace to Arawiya.

Subverted High Fantasy Tropes

Faizal’s Middle Eastern-inspired take on the traditionally Western-centric fantasy genre allows for the subversion of several high fantasy tropes. This creates intrigue and surprise, while offering a valuable perspective on mythological references and narrative conventions. For example, the trope of a character disguising their gender is often used in works of fantasy when a character needs to hide their identity or perform tasks barred from them. In We Hunt the Flame, Zafira’s “Hunter” alter ego allows her to feed her family and village, with her father’s cloak symbolizing the freedom granted to men. As such, Faizal also uses this trope as social commentary on women’s oppression, depicting Zafira’s hidden identity as her way of getting around patriarchal discrimination.

Another subverted trope in the novel is the quest narrative. In conventional fantasy, a group of protagonists set out on a quest to achieve a particular goal. We Hunt the Flame twists the idea of a cohesive, united group on its head. Faizal’s characters join the novel’s quest separately after receiving official invitations. They begin as enemies and only work together out of necessity rather than shared ideals. However, the characters’ motivations change over the course of the story, and their dynamic eventually grows into that of a more typical fantasy quest.

Finally, the magical elements typical of high fantasy are also subverted. The magical creatures in We Hunt the Flame are mainly drawn from Middle Eastern folklore, including the ifrit (from Islamic mythology) and the kaftar (from Persian mythology). This contrasts with the use of creatures typically drawn from European mythology (i.e., dragons, fairies, etc.). As a result, this grounds the narrative in a credible historical setting while creating a sense of mystery significantly enhanced by Faizal’s lyricism.