City of Glass

Clare raises the stakes in the rising action of these chapters as the escalating threat of Valentine’s plans propels the story toward the climax. Until the midpoint of City of Glass, Valentine’s role in the series has been that of an indirect antagonist—threatening the Shadowhunters by gathering the tools he needs to enact his master plan to destroy those he deems impure. The demon attack on Alicante emphasizes the might Valentine is capable of summoning and the ultimate destruction he plans to bring on the world. The ultimatum he offers the Clave is another distraction, as he intends to destroy those whom he deems unworthy regardless of what the Clave decides. The Shadowhunters believe that projections don’t have the power to influence the world around them, so when Valentine’s projection murders the Inquisitor, it signals to the readers that the threat Valentine poses transcends any danger the Shadowhunters have faced in the past. It’s never made clear where these enhanced powers come from since, in his experiments, Valentine discovered that injecting himself with demon blood made him ill. The mystery surrounding the source of Valentine’s power makes him all the more threatening since the scope of his power is essentially limitless.

The Shadowhunters’ bigoted and inequitable attitude toward downworlders emphasizes the negative impact of systemic and individual prejudice in a society, as well as the positive effects of radical, progressive change—underscoring the novel’s discussion of Power and Its Restrictions. The demon attack represents a turning point in relations between Shadowhunters and downworlders. For centuries, Shadowhunters have believed themselves above downworlders because the Shadowhunters were tasked by the angels to protect the world from demons. All downworlders possess a portion of demon blood, and while it’s never made clear where the Shadowhunter distinction between demons and part demons lies, it’s clear they view the downworlders as inferior, despite the “accords”—peace agreements between representatives of all races in Clare’s supernatural universe—suggesting that laws alone do not prevent discriminatory practices on an individual and cultural level. Shadowhunters and downworlders have traditionally been enemies and have fought against one another in the past, implying that the Shadowhunter cultural condones some measure of violence against downworlders. The aid the werewolves and vampires offer in the fight against Valentine’s forces, as well as the meetings between Luke and the Shadowhunters, foreshadows a future in which Shadowhunters and downworlders are allied, fighting together not only in the final battle in City of Glass but also in subsequent battles through the remaining books in the series.

The fact that the Clave does not release Simon or Hodge despite the standard protocol for prisoners in Alicante shows the Clave’s low regard for those who oppose them. Even though Simon is a daylighter with rare and potentially valuable abilities, Simon is not viewed as important enough to be freed. As a traitor aligned with Valentine, the Clave felt no obligation to treat Hodge as a citizen with rights under the law. The discussion outside the jail is the first time Jace or the Lightwoods have seen Hodge since he betrayed them in City of Bones, and Jace and Alec’s anger has two sources. First, they are mad that the man they trusted betrayed them and handed Jace over to Valentine, and Hodge’s explanations do little to change their minds. By giving voice to Hodge’s explanation for his past betrayal, Clare nuances his actions, humanizing him and asking one of the novel’s central questions: What Makes a Monster? Hodge knew Valentine raised two boys—one with angel blood and one with demon blood. He didn’t know which Jace was, and his uncertainty prevented him from telling Jace anything because he didn’t want to offer false information or anger Valentine. After initially siding with Valentine 20 years ago, Hodge was banished to New York and cursed never to set foot outside the Institute, something he has resented all these years. His desperation to escape the curse led him to make a deal with Valentine. Though it is understandable why he made this choice, Jace and Alec cannot get past how the man they trusted lied to them.

With Valentine’s training, Shadowhunter powers, and demon strength, Sebastian is a threat unlike any the Shadowhunters have seen before, setting him up as a formidable antagonist in the latter half of the series. The encounter with Sebastian in Chapter 12, as well as Sebastian’s attack on Isabelle and her brother, reveal Sebastian’s inherently evil nature, further contributing to the novel’s thematic exploration of What Makes a Monster. Jace and Alec are trained fighters, and Jace is one of the best Shadowhunters of his generation. Yet Sebastian brings them down with ease, emphasizing the strength demon blood gives him. It’s unclear why Sebastian runs when Simon attacks. As a fledgling vampire, Simon is inexperienced in combat, and with Jace, Clary, and Alec disabled, Sebastian has the upper hand. Having learned that Lake Lyn is the Mortal Glass, he can’t risk being captured or destroyed before he brings the knowledge to Valentine.

Chapter 14 is the final moment of calm before the climactic sequence. The Mortal Instruments falls under the umbrella category of fantasy romance, and in romance novels, this moment in the story often involves the characters taking romantic chances in anticipation of the danger in the climax. Isabelle blames herself for her brother’s death, and she talks Simon into staying with her, needing a distraction in the form of physical attraction. Jace confesses his true feelings to Clary in a letter, fearing he may not get another chance. Though they both believe a romantic relationship between siblings is taboo, neither can push the other away. The final line of the chapter has Clary and Jace falling asleep together like children in a fairy tale, linking back to the chapter’s title. There is no literal dark forest, but both Isabelle’s guilt and Jace’s feelings are metaphors for dark places through which each wanders, lost.