Death and Grief
Death and sadness are significant themes in Flames, influencing the lives of the McAllisters and other people. Levi and Charlotte’s opposing reactions to their mother’s death set the tone for how sorrow appears differently for each individual.

While Charlotte aggressively seeks answers, Levi is more passive, stating that “Levi and I have never understood each other.” Their father, Jack, takes a completely opposite attitude, shunning his family and stating that he “didn’t want to be close to them when they died.” These different emotions demonstrate that grieving is individualized and unique, with no one method to deal.

Grief affects more than just the McAllister family. Karl’s grief at the loss of his seal becomes a disturbing presence in his life, represented by the “clicks” he begins to hear. This experience causes him to cease tuna hunting, illustrating how loss may alter the path of a person’s life.

Similarly, the death of the South Esk deity brings heavenly sadness, which is described as “a cloud’s sorrow,” demonstrating that even supernatural entities may mourn. Arnott’s stories address sorrow as a complex experience that includes loneliness, bodily and emotional consequences, and even heavenly mourning.

Family Relationships
Family relationships, especially those between siblings and parents, are a common motif. Levi and Charlotte’s relationship is difficult yet incredibly loving. Despite their differences, the death of their mother unites them. Charlotte muses, “Levi and I have never understood each other,” yet their friendship remains strong as they deal with their mutual sadness.

Jack, their father, complicates the family dynamic even further. He senses a “unbridgeable gap” between himself and Levi, although the story suggests that this separation is self-imposed rather than genuine.

Arnott’s use of shifting viewpoints, particularly the transition between first-person stories (such as Charlotte’s) and third-person omniscient narration, helps readers to understand the subtleties of these interactions. This changing perspective emphasizes the emotional distance and misunderstandings that exist within families, as well as the love that endures in the face of these difficulties.

In contrast to the McAllisters, Karl and his daughter Nicola have a fairly close connection. Nicola explains how “nothing could match the blaze of love in her father’s smile,” demonstrating a familial tie founded on warmth and devotion. Arnott contrasts this bond with the McAllisters’ troubled relationships to demonstrate the variety of family dynamics and how love can present itself in many ways.

Romantic Relationships
Flames explores romantic relationships from start to finish, including all in between. Nicola’s growing bond with Charlotte is shown as organic and genuine, stemming from a desire to protect and care for one another. This developing romance exemplifies how connections may emerge spontaneously, even in the middle of stress.

In contrast, Jack and Edith’s relationship begins manipulatively. Jack creates a “tiny spark” in Edith’s head, kicking off their connection in an artificial manner. This contrasts with the true connection between Nicola and Charlotte, showing the various ways in which relationships may begin.

The tale also delves into the aftermath of sexual relationships, as the private investigator reflects on her marriage to Graham Malik. She refers to their post-divorce dynamic as a “ecosystem,” demonstrating how relationships may develop into something functioning and secure even after they have ended. Arnott’s descriptions convey the intricacies of love, from its natural origins to its supernatural influences and eventual changes.

Colonisation
Colonization is a subtle but important issue in Flames, as Arnott acknowledges its influence on Tasmania’s scenery and Indigenous peoples. The South Esk deity considers the coming of European settlers, calling them as “loud, pale apes” who introduced “foul industries” to Palawa and Pakana country. This viewpoint emphasizes the environmental harm and cultural disturbance caused by colonialism.

Jack’s experiences expand on this subject. When he assumes the human form of an Aboriginal person, he encounters hostility from settlers who “reacted poorly to his dark appearance.” Despite his capacity to act, Jack chooses to see the awful truth of First Nations people being “hunted in their own homeland.”

By integrating the views of eternal entities such as Jack and the South Esk deity, Arnott challenges readers to consider colonization’s lengthy history and long-term consequences. These characters’ timeless perspectives remind us to remember the Indigenous custodians who have cared for the land for tens of thousands of years, even as we admire Australia’s natural beauty.

Nature and Spirituality
Nature and spirituality are inextricably linked in Flames, with the natural environment functioning as both a backdrop and a character in its own right. The South Esk god’s views of Tasmanian landscapes demonstrate a deep connection to the nature, highlighting the land’s spiritual value. The god’s sadness at the harm caused by colonization emphasizes the need of maintaining and honoring nature.

Arnott also employs magical realism to blur the distinction between natural and supernatural. Edith McAllister’s reincarnation as fire is one example of how the novel imbues the natural world with spiritual meaning. This connection between nature and spirituality emphasizes the interconnection of life, death, and the environment, prompting readers to reflect on their personal relationship with the world around them.

Identity and Transformation
Identity and metamorphosis are common topics, addressed by characters who go through substantial transformations. Edith’s rebirth is a tangible change that reflects her continued presence in her children’s lives after death. Similarly, Jack’s ability to assume numerous forms helps him to investigate all elements of human and non-human life, but it also exposes him to others’ preconceptions.

Levi and Charlotte’s personal experiences are similarly characterized by metamorphosis. As they manage their sorrow and familial dynamics, they get a greater understanding of themselves and one another. These transitions demonstrate the mobility of identity and how events affect who we are.