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Warning: Heresy follows!

You can look at it like that, but the term 'patriarchical' ignores the actual evolutionary biology of our species.  Different gender roles follow both from the differing 'selfish gene' strategies of male and female, and from Ricardo's Law of Comparative Advantage (very well explained in PJ O'Rourke's  =Eat The Rich=).  Without these behaviors, we might not have survived as a species.  The behaviors might be obsolete, or they might remain suited to our biology, but they are not well-represented in the word 'patriarchy', which suggests the outcome of a struggle designed to advantage some, rather than a strategy that gave survival to all.

Attributing blame incites resistance and stops thinking--on both sides.  (If it's THEIR fault, the problem lies with THEM).  Most people like the chance to be part of a solution.  Almost nobody likes to be told s/he is part of the problem.

So, for the sake of pushing past my somewhat Aristotelian preconceptions, let me quote my questions:

In other words, are you arguing that there is no distinction between describing and prescribing, or that the people engaged in one are engaged in the other, either intrinsically or by universal accident?

Or does some other factor, intrinsic or functional, obliterate the distinction?

Since you asked, in the review, I suggest something along these line:

Express this in IM.  Explain Melody's response also in Kha's IM.  Four lines, not counting a paragraph break.  In Dictates, same thing from Jaylene's perspective, maybe slight difference in info.

Straight narrative: (2 sentences on the Wolves and their history).  So now Kha was ... .  Melody was with him.  Jaylene was ... Their best fighter, Tazar was ... Conloth ... and Dresdorf the dwarf ... .

In the present tense: he's doing it.

(Fleuron)
Jaylene falling.
Tazar fighting.
Kha (or his hand) and the Black Staff.
(If there is another reveal to be coming via Kaldar's memory, give us a glimpse of what happens to him; otherwise not.)

Begin the first chapter here.
Mandates:

Drop this middle part.

Rephrase the first sentence without using 'someone' as the subject.  You're super-close in his POV; passive is appropriate.  So is 'Kha felt someone ...' or 'Strong, hard hands rolled him ....'

Last part: `Wiped him clean.'  Yes, Kha is proud and thinks negatively of the situation and the need.  But we're mired with him in his perceptions.

Kha's mental state precludes so intricate a sentence.

Skip the middle stuff, or just say they talked.  He may not remember much, and you'll reveal the info later.  Even 'day after day' is a conclusion that he can't make until later.

Not sure about the 'one day'.  If Kha is in shape to remember, give us a detail (cold, light, his aches); if not, 'hopefully' is too clear a perception.

So we're in the first chapter now, past the prologue.
I'm assuming that this comes after the Su Cinibre sequence.  If so, maybe you should have a sentence about some experience of it that's only explained when we read Acts.

Kha's weak, and this should be too.

Or ... maybe ... these are Kha's thoughts (more reflective), and perhaps some of his words, writing the letter.  Or we segue from the thoughts (at the start of a chapter or fleuronated scene) to the letter as he sets it down and sets out.  (Give us thought with the secondary effect of time and date, so we link to Jaylene's timeline.)

Next chapter: establishing shot that tells of his journey to Aerie; he is at the gate.

Okay, let's see KH tear this up.

I think you're wrong about the characters in (d).  The only characters we should see are those whose stories were are going to follow later.  This is One Big Hook where the characters are launched into their nighmares.  It should also provide a common point of reference.  Ideally you would name your three primary characters and at most one additional character for each (while hinting at many more).  Anver serves as Kha's second, so you can name one more person from the school.  And this is where you can show both Jaylene falling and a glimpse of Tazar fighting.

If you name ancillary characters, do it in the last paragraph or two, once the base is seared into our nervous system.  (And that searing should give us the sense that Old Evil is awakening.)

And you can use the same prologue for all three books/storylines if you hold it under about 650 words.

Please explain the concept of 'anti-concept'.

Please explain the fallacy you see in my distinction between prescription-for-change and prescription-for-continuity.

Clever.
Do you dispute the claim or the utility of the claim?  Do you dispute it absolutely or as a matter of degree?
Or would you just asperse in my general direction?

Or I, Mudd.

Are these PoV shifts in scenes or at scene breaks?

I have in front of my one of Jane Haddam's mysteries, Act of Darkness.  Although it's one of her earlier ones, I believe it is representative of her work.  In this one, the chapters are divided into scenes (and scene sequences) that are numbered (almost as though they were chapters).  Most are too short to be a chapter, but the boundaries often accompany PoV shifts.

Taking a quick look at another early work, Quoth the Rave I see the same kind of division.  (Both are in paperback editions, now yellowing.)

We saw the Kha-gutting part of Earthwound in one of the shadowbook pages.  Anything we see earlier should be complimentary to it.  It should leave, and perhaps ask, questions that        are answered in the shadowbook.

Of course, there's no reason to give all the answers in one place, or one book.

If Amy needs a prologue in Mandates, it might best be in Omniscient, so as to avoid creating a PoV conflict.  Problem is, such a prologue leads the reader into Acts and through the early Kha chapters, and then back into Mandates.  The movement has to be finessed.  My thinking at this instant is a short, Omniscient prologue, maybe a glimpse/teaser of the Black Staff, w/out explanation, then Kha writing the letter and leaving the school, and some musing about finding himself, finding what happened, and then fixing himself ... and about the importance of his old friends, or what's left of them, to the process.

That provides the tie to Acts in the letter, the tie to Dictates in the events of the Earthwound, and the hint of the Old Gang riding again.

The timeline's not a bad idea, and if you do it well it will be a teaser for the other books.  Don't put in the jacket; put it in the front matter, or in an appendix.

But I think you can tweak things to link them together in other ways too.