This whole piece definitely has a poetic/ominous tone to it, as has been pointed out before. I'm not sure if it's good or bad yet; as hubay mentioned, it can get repetitive, and then it stops flowing. I'll have to see how later parts work before I make final judgment on it.
I'm not a real fan of the numbers separating sections. Makes it look like one giant list. Step 1: talk about the gods. Step 2: talk about the gods again. Step 3: hey look, a man...
Speaking of which, "Step 2" feels a little weak. I would almost combine it with the next section, since they seem intertwined, and it would get rid of the woefully short section.
Also, something that felt a little strange was the tense change between the first section and all the others. It makes sense, but it doesn't feel right. It's like the first section is a prologue to the whole rest of the chapter. Maybe it could be one of those chapter heading things, where it's in italics (Sanderson has coined a name for them, but I don't remember it offhand). In the same vein, it feels like you switch your POV a bit, too. The first three sections are third person objective (the gods, the man, etc.), while the rest are third person limited.
Regarding "marital asset"... just use crotch. That's a socially accepted word for that area, no matter the gender. Also, crotch fits with ass better than "fundament", which sounds overly academic, given that this guy is a rugged war vet.
The actions of Karrus make sense, so that's good. He doesn't free his leg and immediately become lucid. Him having sex with the Kithian actually does make sense, in a way. She's offering, and he's already mentioned:
After long months of marching, with no women to be found, certain urges began to overwhelm, to the point they became painful
So yeah. Not a big problem for me, even if she is supposedly the enemy. She did save him after all, so she must not be all bad (ulterior motives that we don't know about aside).
However, Valkynphyre hit on another point; too much pronoun usage. If you changed the third section to his limited POV, he would know his name while escaping from the city. Even the objective narrator should know it. There's no reason to only use it once. Now, if you want to *specifically* state that he can't remember his name when he's delusional, that's great. You also don't need to use it that often; it's just to mix up the sentence a bit. You can also switch the sentence structure around a bit to break up the monotony that hubay pointed out.
All in all, I don't think it's bad; the summary in your email tells me that there's a really good story here, but right now, I'm not seeing a whole lot. The first chapter is gripping, but not in the way I would have thought. I'm not introduced to any sort of real plot arc to grab on to. The meteor storm... he can't do anything about that, except pick up the pieces afterward (this is the cause of the problem, so that's good). He solves his immediate peril (which is good for resolution within the chapter), but introducing the enemy that seems to take care of him only gives me a misty potential for a romantic or subterfuge arc. From your summary, I know that he needs to lead a group of refugees home... we need to see that main arc identified pretty quick, as it's what hooks the reader into continuing to read. "Will he get them home? Or will they all perish, lost and alone? Find out in the next 20 chapters..." If this is clearly identified in chapter 2, I probably won't have too much problem with it.
Let's see some more of this.