70 pages • 2 hours read
Rebecca YarrosA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Although predominantly a fantasy novel with thriller and romance elements, Fourth Wing falls into the New Adult genre and targets an older and more mature age group than the young adult (YA) genre that caters to teens. Unlike YA fiction, new adult fiction is predominantly advertised for people between the ages of 18 and 25, allowing it to feature grittier, more explicit descriptions than the content that typically dominates the YA genre. It also typically focuses on the experiences of those who are newly adult rather than still in their formative years. This is not to say that new adult fiction excludes elements of bildungsroman; however, rather than illustrating the conflicts typical of a young teen’s life, these novels tend to be much more focused on an individual’s growing autonomy and professional status. St. Martin’s Press is credited with coining the term during a 2009 call for submissions. Examples of popular new adult fiction texts include A Court of Thorns and Roses, A Darker Shade of Magic, and The City of Brass (Salao, Cole. “What Is New Adult Fiction? Definition, Controversies, and Examples.” TCK Publishing).
The emergence of new adult fiction as a genre has been somewhat fraught. Some critics of the genre submit that while age-specific brackets are developmentally appropriate for non-adult readers, adult literature is much more fluid and does not need such specific demarcation. Furthermore, many early new adult fiction novels feature heavy erotica, drawing critiques from some literary groups and initially rendering the novels difficult to market to a mainstream audience. As time progressed, however, the new adult genre gained momentum with themes related to identity and belonging, expanding its content to appeal to a broader readership. As the genre continues to develop, the debate over how to define new adult fiction within the wider literary world has yet to be fully resolved. (Peraza-Brown, Polly. “What Is New Adult Fiction? All You Need To Know.” Jericho Writers).
Dragons are featured in the mythology of a remarkably broad range of cultures across the world. Their appearance and moral alignment differ from culture to culture, but most are serpentine or reptilian in appearance. Ancient Middle Eastern cultures typically depicted dragons as evil and vengeful, while Greeks and Romans introduced the idea of clever dragons willing to support human endeavors. Various East Asian cultures depict dragons as powerful, positive religious symbols, and the Chinese royal family even adopted the dragon as their official symbol. Some variants of dragons from Asian cultures depict dragons to have magical abilities, and Rebecca Yarros takes full advantage of this aspect of draconic power in her own depictions of dragons; Dain’s mind-reading and Violet’s skill with lightning are also associated with their own dragon’s skill at accessing magic, thus expanding further upon the age-old theme of magical dragons. In further literary examples, dragons are referenced in the Bible, in the Iliad, and even in the world’s earliest example of written storytelling, The Epic of Gilgamesh (“Dragon: Mythological Creature.” Britannica).
Dragons were prevalent in mythologies but scarce in literature until the 20th century, during which many authors started depicting dragons as both benevolent and comedic. Prominent fantasy author J. R. R. Tolkien took part in this resurgence by creating evil but highly intelligent dragons like Smaug of The Hobbit, drawing from ancient texts like Beowulf for inspiration. However, the inclusion of non-evil dragons in literature remained minimal until the 1950s, when Anne McCaffrey and Ursula K. Le Guin developed the concept of sympathetic dragons who are capable of collaborating with humans for the greater good. These authors are credited with spearheading the literary trend that deviates from the Tolkienesque “evil” dragon—a trend that develops further into two different sects: the morally good dragon and the unpredictably cunning dragon. Collectively, these authors’ works are foundational to many modern depictions of dragons, which run the gamut from bestial to intelligent, from good to evil, and from possessing magical powers to having pseudoscientific biology. Modern depictions of dragons can also be found in the best-selling adult series A Song of Ice and Fire, which starts with A Game of Thrones; the Inheritance Cycle young adult series, which starts with Eragon; and the How to Train Your Dragon series for children (Shiau, Yvonne. “The Evolution of Dragons in Western Literature: A History.” Reactor).
Within the context of the Empyrean series, Yarros’s dragons straddle the line between McCaffery and Le Guin’s imaginings. Powerful, ancient, and magical, her dragons choose to collaborate with humans for their own benefit. Although Yarros initially depicts her dragons as both cruel and vicious, they are later revealed to follow a clear code of conduct and a strict set of rules that govern their behaviors and their interactions with humans. Her dragons physically resemble the European style—four-legged creatures with spines and wings, as well as the ability to breathe fire. Thus, Yarros draws upon a variety of mythological traditions to distill her own unique conception of the dragon and create a fresh example of a popular fairy-tale creature.
Fourth Wing is the first book of the Empyrean series and will be followed by Iron Flame. Because Yarros’s world is such an intricate one, she supplies the reader with moments of exposition in the form of excerpts of key fictitious texts that originate within the world itself. Violet’s own deep knowledge, which stems from her previous training as a scribe, provides another practical delivery method for essential world-building information. These two formats allow Yarros to include extensive information about her world’s politics and its human-rider history without disrupting the larger narrative.
The novel is set in the kingdom of Navarre, a mountainous region rich in lumber, precious ore, and wild game. Navarre is neighbored by the kingdom of Poromeil, which possesses plains and marshland that produce grain and gems. These two kingdoms have been at war for more than 400 years; approximately 200 years before the events of the book, a trade agreement was outlined to soothe tensions between the two kingdoms, but the measure has not been successful. The Poromeil military is supported by gryphons, while Navarre’s is supported by dragons. Both creatures form intimate psychic bonds with their chosen humans and empower their riders with magical abilities; however, dragons are considered to be the more powerful of the two species because their power allows them to create anti-magic wards that prevent gryphons from channeling their own magic while in Navarre territory. The unending war between the two kingdoms has led Navarre to conscript 20-year-old recruits into military service on an annual basis.
Navarre is made up of six providences. The most recent providence to join the kingdom was Tyrrendor, though a recent rebellion nearly led to its secession. The rebellion was led by Fen Riorson, known as the Great Betrayer. Aretia, the capitol of Tyrrendor, was burned to the ground during the war. The adults who were responsible for the rebellion were executed, and their children were marked by General Melgren’s dragon so that they could always be identified as the children of separatists. These children have since been forced to join the Riders Quadrant during their conscription; this is the result of a deal struck between Xaden Riorson, the son of Fen Riorson, and General Sorrengail (Violet’s mother) in which Xaden vowed the loyalty of all the rebels’ children in exchange for the opportunity to prove themselves in battle rather than facing immediate execution.
Most of the novel is set at the Basgaith War College, specifically within the Rider Quadrant, where prospective dragon riders are trained and tested. The Rider Quadrant organizes its cadets into four wings; each wing has three sections, and each section has three squads. Wingleaders are seen to have ultimate authority over their riders; section leaders and squad leaders support the wingleaders’ broader leadership role. At the college, much of the cadets’ training is organized around specific trial days. Following Conscription Day, they train so they can master the Gauntlet obstacle course. They are subsequently presented to the dragons on Presentation Day and then attempt to bond with them during the Threshing. Successful and surviving riders then participate in the Squad Battles for prizes and bragging rights, after which they take part in the War Games to practice fighting in realistic scenarios.
As for the dragons themselves, much about their politics and decision-making remains enigmatic, though the narration often comments that people are not to question the actions or the behavior of dragons. Each color of dragon is associated with a particular ancient dragon family, and they also have different tail shapes. Their various colors and tail shapes indicate their different temperaments and battle tactics. Their leadership is called the Empyrean, the term that gives the series its name. Dragons bond with specific riders and bestow magic upon them in a connection called channeling; this channeling eventually manifests in a signet, a special power that a rider develops, which is a manifestation of their thoughts, strengths, and desires. Possible signets include controlling aspects of the physical world such as elemental forces, wielding psychic powers, or enhancing innate physical characteristics like sight or one of the other senses.
By Rebecca Yarros