regshoe: Redwing, a brown bird with a red wing patch, perched in a tree (Default)
Thank you for writing me a fic in one of these lovely rare slash ships! I'm [archiveofourown.org profile] regshoe on AO3. I've said a bit below about what I like about my requested ships and given some prompts, but if you have a completely different idea you want to write, please go for it—I'll look forward to seeing whatever you come up with!

Fandoms are Étoile (TV), Kidnapped - Robert Louis Stevenson, Kidnapped - McArthur & McCarthy & Stevenson and The Longest Journey - E. M. Forster )
regshoe: Geneviève from Étoile, holding an umbrella and looking down with a huge smile on her face (Geneviève <3)
More about that question of whether it was actually Tobias who threw that rock...

On Rocks and Revenge (1157 words) by regshoe
Chapters: 1/1
Fandom: Étoile (TV)
Rating: General Audiences
Warnings: No Archive Warnings Apply
Relationships: Tobias Bell/Gabin Roux
Characters: Gabin Roux, Tobias Bell
Additional Tags: Post-Canon, Fluff, Revenge
Summary:

Tobias makes a confession.

regshoe: Geneviève from Étoile, holding an umbrella and looking down with a huge smile on her face (Geneviève <3)
----> This icon is an actual picture of me watching Kidnapped live two years ago. Yes, Geneviève, darling, isn't that exactly how it feels <333



I rewatched the finale! Yesterday evening, when I was very tired, and proceeded to be very silly about it for several hours. I could try to say some sensible things about how much I feel for Cheyenne and how great Jack and Nicholas are and I think there might have been something else that happened that I thought was pretty good, but honestly, my main feeling is just: what a beautiful ending, I love it so much.

And I was thinking: why have I got so attached to Geneviève, then? Is it just because she's really cute and Charlotte Gainsbourgh's manner is so endearing? Well, that's part of it, but I think the real appeal of her character is just here: the big dramatic ending she gets isn't about relationship drama or even explicitly about whether her job is safe after all, it's her being just utterly, joyfully happy about the madness and beauty of art. One of the bits of this show that doesn't greatly work for me is the element of embarrassment-based humour, when Geneviève goes to pieces in meetings with Cléa or those interviews where she has to defend Crispin—but I say 'doesn't work', if that's all it was intended to be then it didn't work, but it's not all it is—those scenes just make me like Geneviève more, that she does badly in situations where she's forced to be false. And, you know, she doesn't have Jack's polished suavity, but she is good at her job! She's good enough at the 'corporate caving' bits to manage, and she understands the true bits perfectly. She made this happen (whatever this is).

(I should hope her job is safe, though, now. And perhaps Cléa would be amenable to the suggestion that Cheyenne staying in New York might open up more opportunities for other, newer ballerinas here in Paris...?)

Meanwhile, that silly Tobias/Gabin ficlet is now my second most kudosed fic of all time, which just goes to show what a new, active fandom can do. I'll write another one and see how that does.

Someone else has nominated it for [community profile] raremaleslashex, so I didn't have to; I've used up about half my slots so far on obscure old book fandoms (and NTS Kidnapped). I've paused in the middle of my ballet history book to read the short unfinished novel Nottingham Lace by E. M. Forster, which had the well-timed effect of reminding me that The Longest Journey exists and I love it more than anything, so I made sure to include that too. And that's two ships I'll struggle to say anything coherent about in my sign-up, but I'm sure I'll manage something.
regshoe: Cheyenne from Étoile, making a silly face and holding her hands up above her head in imitation of a dolphin (Dolphin)
There is podfic! I highly recommend both this and the original story :D

[Podfic] Folie à deux (29 words) by DevilWithABirdDress
Chapters: 1/1
Fandom: Étoile (TV)
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Tobias Bell & Cheyenne Toussaint
Characters: Cheyenne Toussaint, Tobias Bell, Jack McMillan
Additional Tags: two geniuses equals more ulcers for jack, he doesn't deserve this but it IS funny, if i don't get more cheyenne and tobias interacting in season 2 i am going to be so sad, Podfic, Podfic Length: 10-20 Minutes, Audio Format: MP3, Audio Format: Streaming
Summary:

Who decided that letting Cheyenne and Tobias in the same room was a good idea?

Podfic of Folie à deux by Lirazel.



I'm seven-eighths of the way through rewatching, and I've been thinking about important things like the timeline and how to pronounce people's names:

Various thoughts )
regshoe: (Reading 1)
I have not been brilliantly attentive to my last few books due to the whole 'new obsession' situation, but here they are anyway:

Bagthorpes v. the World by Helen Cresswell (1979). Picked up from a box of random free stuff left outside someone's house to be got rid of. The Bagthorpe saga (this is the fourth of ten books; I correctly guessed it wouldn't be sufficiently continuity-heavy to need reading in order) seems to be basically a wacky 70s sitcom in book form, featuring the adventures of a variously eccentric middle-class English family. In this book financial worries lead them to attempt to become self-sufficient, while they also have to manoeuvre for an inheritance from the eccentric great-aunt and deal with the five-year-old cousin's dedication to her 'death and funerals' phase. It's funny but not brilliant; it made decent enough reading during stressful travelling, which is what I did, but I won't seek out the rest of the series.

King Lear by William Shakespeare (c. 1606). Whenever I watch or read a Shakespeare play I enjoy the brilliant intricacies of language while probably missing about 90% of them, and then decide I'll have to think about it for a bit before forming proper opinions. Perhaps I should have watched a performance before reading; my mother has recommended the film with Laurence Olivier, and I will watch it at some point but see above re. I can only watch one thing at the moment. As it is, I thought the tragic ending was beautiful ('And my poor fool is hanged. No, no, no life!/Why should a dog, a horse, a rat have life/And thou no breath at all? Thou'lt come no more/Never, never, never, never, never.'— ;__; ), and I was interested to read in R. A. Foakes's introduction to the Arden edition that a) while, as usual with Shakespeare's plays, the story of King Lear was a previously existing one which he adapted, his ending is different from that of the previous versions and b) between the late seventeenth and mid-nineteenth centuries virtually all productions used a rewritten/bowdlerised version of the play which replaced Shakespeare's ending with a happier one. Clearly the ending is an important matter! I was also puzzled by a passage where Shakespeare uses the word 'choughs' and Foakes says in a footnote that it means 'jackdaws': the scene is set on the cliffs of Dover so I thought it seemed likely that Shakespeare did mean choughs (Pyrrhocorax pyrrhocorax), but Wikipedia, citing Mark Cocker and Richard Mabey who are probably reliable sources for this sort of thing, agrees that 'chough' formerly meant 'jackdaw' (Coloeus monedula). But that's also puzzling because I have heard both birds and it seems to me obvious that 'chough' is better onomatopoeia for P. pyrrhocorax and 'jack' for C. monedula. Hmmm.

Metal from Heaven by August Clarke (2024). Set in a world undergoing a fantasy Industrial Revolution based on ichorite, a mysterious substance which causes a mysterious disease in the children of people who work with it; our narrator Marney Honeycutt (which rather inappropriately reminded me of Lucy Honeychurch) is one of the first to be afflicted, and also her entire family were massacred when the owner of the factory where they worked decided to put down a strike the really thorough way when Marney was twelve. She escapes and ends up being adopted by a gang of bandits who've made themselves an amazing socialist bandit paradise by murdering a local aristocratic ruler, pretending to all the other aristocrats that he's just really reclusive and taking over his house and land; meanwhile Marney plots how she's going to get revenge on that factory owner. Also, almost everyone is a lesbian. I thought various parts of the plot probably wouldn't stand up to thorough scrutiny, and there were some seriously questionable decisions made (e.g., if your entire plan for the future of your bandit paradise depends on the continued survival of one person, I think you can not let her go out on highly dangerous bandit raids, actually); I found the language often careless and sometimes jarringly modern for the fantasy Industrial Revolution; most of the sex scenes made no emotional sense to me (I don't want to overstate this as a flaw, I'm sure it was important and meaningful for the author and for the right kind of readers, but I was not one of them). However, I did like the book on the whole, and I think it's very good, largely for two reasons: 1) the worldbuilding is thoughtful and really interesting, especially in portraying a range of different religions, views of the world, naming systems and concepts of sexuality and gender, and in how these things vary by class; and in the eventual discovery of what ichorite really is; and 2) it is absolutely committed to being exactly what Clarke wants it to be, no holding back at all, and I respect them for that. Also the way it's narrated, with Marney speaking in first person to a specific other character, is great and used to good effect, and the ending is weird and amazing. I did guess the first big twist as soon as we found out the relevant backstory fact about the character in question, but I had no idea what was coming next.

I've just collected a 600 page book on the history of ballet from the library, so that's something more relevant to read next.
regshoe: Geneviève slides along the floor of a big, grand room, a gleeful smile on her face and a shoe held up in her hand (Sock slide!)
I would like to write something properly long and plotty for Tobias/Gabin, but that'll have to wait until I've thought of a plot and got more of a handle on characterisation. In the meantime:

It’s not just where you lay your head (719 words) by regshoe
Chapters: 1/1
Fandom: Étoile (TV)
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Tobias Bell/Gabin Roux
Characters: Gabin Roux, Tobias Bell
Additional Tags: Fluff, Pillow Talk
Summary:

Tobias finally finds a satisfactory Parisian pillow.



I've been enjoying reading through the tag, so have some fic recs:

Some fic recs )

I've also been listening to the soundtrack via the very helpful official Spotify playlist. It's a great variety and lots of fun! Here are some of my favourites of the songs:

And some music )
regshoe: Redwing, a brown bird with a red wing patch, perched in a tree (Default)
I have a new obsession! And it's a bit of a surprise, because new American (/half-American) comedy in a modern setting is really not my usual kind of thing, but here we are. Étoile first caught my attention via a link to this gifset [er, big spoiler], then after clicking around a bit, finding some stuff about Cheyenne and deciding I had to know more about who she was, I decided to give the show a try. There is definitely some stuff about it that doesn't work for me, but the bits that do work really work, and on the whole it's loads of fun. Tobias and Cheyenne are, as I thought, among the highlights of the bits that work for me, but less expectedly, Geneviève has become my fave, and after watching the excellent finale I was inspired to write a little thing about her. I don't exactly know what I'm doing—live-action fandoms are not easy for me, especially one as fast-paced as this—and I'm not sure how far the ideas in this fic are really sound, but for now:

Not through words, but the first ray of dawn (1022 words) by regshoe
Chapters: 1/1
Fandom: Étoile (TV)
Rating: General Audiences
Warnings: No Archive Warnings Apply
Characters: Geneviève Lavigne (Étoile)
Additional Tags: Episode: s01e08 The Offer (Étoile), Post-Canon, Vignette
Summary:

Geneviève, the morning after.



I am beginning a slow re-watch of the show and would like to write some more stuff for it in future, so we'll see how that goes, I suppose. In the meantime reading all the Tobias/Gabin fic (there's huge amounts of it, by my standards) is being fun too!
regshoe: (Reading 1)
Before going to see Pride and Prejudice* (*sort of) I re-read the book, and wow, it really is an absolute delight of a book, isn't it? I've read it several times, but I feel like I noticed the details much more than I have before this time through and appreciated the structure and character arcs better. I also appreciated just how funny it is—oh, that bit near the end when Elizabeth is fully aware that she's in love with Darcy and is agonising over how he will surely never propose a second time—and then later, when he has proposed and they're all happy but her family are still being embarrassing... It does seem to me, though, that for all I love Austen's writing I just can't quite feel fannish about it. I don't know; I love some of her characters very much (Mr Darcy being probably my second or third fave, after Fanny Price and maybe Anne Elliot), but somehow none of them quite come across as the right kind of weird or messed-up for me to find truly compelling and blorbo-able. It's funny how that sort of thing works. I was also struck by Austen's sentence structure—she uses commas in a way that's definitely not standard or 'correct' now and seems much more typical of grammatically looser-feeling eighteenth-century writing, which is interesting.


And while reading I also took the opportunity to try another adaptation that I'd never seen before, the 1980 TV series (which is on Youtube, albeit in a somewhat unwieldy scene-by-scene format). I really like this one! It's basically faithful to the book; where it adds and changes things the choices are always interesting and feel like they were made from a place of love for and joy in the original—often expanding on something from the book, showing in specific detail things that Austen gives in summary—even if some of them are a bit strange. It feels quieter and more subtle than the more famous adaptations, which I like. Elizabeth Garvie is just perfect as Elizabeth: she gets 'there was a mixture of sweetness and archness in her manner which made it difficult for her to affront anybody' completely, and (er, according to my taste) her looks also get 'the very great pleasure which a pair of fine eyes in the face of a pretty woman can bestow'. David Rintoul's Darcy is very stiff and formal in his manner in a way that's easy to read as autistic, which I approve of on general principles and as an interpretation of Darcy. The adaptation also has an absolutely lovely Jane; a Lydia who is completely her mother's daughter; a Georgiana who suits the character perfectly in her brief appearance; a Mr Bennet whose sharp edges of cruelty are completely not softened. The opening title sequence of each episode pans over a period-style cartoon summary of the episode's events, which is charming. I really liked the house they used for Pemberley, also!
regshoe: A woman in a black Victorian-style dress, holding an acoustic guitar and raising one hand to the audience (Frances)
Well, said I to myself, if I can't see Kidnapped live again I can at least go and see another play by Isobel McArthur...

Pride and Prejudice* (*sort of), McArthur's first big success, made its debut in Glasgow in 2018 and has since enjoyed three tours and a run in the West End; the current tour is nearing its close, but judging by the trajectory so far there may well be future ones. At the end of the play there was a big sign on the stage saying 'IF YOU LIKED IT, TELL SOMEONE', and I am dutifully telling all of you; if you don't want to read the long spoilery review, please read this bit here where I tell you it's very good and you should go and see it if you get a chance. :)

I'm giving you a longing look... )
regshoe: Black and white picture of a man reading a large book (Reading 2)
The Bee-Man of Orn and Other Fanciful Tales by Frank R. Stockton (1887), which I read a little while ago when one of the stories from it caught my attention in the [community profile] once_upon_fic tagset. Although I didn't end up matching on or writing for it, I'm glad I read the collection! The stories are weird and sideways in their priorities in an enjoyable way that I really like in original/modern fairytales—especially 'The Griffin and the Minor Canon', the story that was nominated for [community profile] once_upon_fic; many of them, including that one, aren't centred around romances, which was refreshing; and Stockton's writing style is also enjoyable.


Moby-Dick by Herman Melville (1851). Things I had osmosed about this book before reading it: 1) it's about a mad quest for revenge after a whale; 2) it's really gay, 3) it contains a lot of long digressions full of dubiously accurate whale facts and 4) it's completely bonkers. These are all true; osmosis failed to prepare me for just how true. It's an amazing book, well worth reading, and I can't quite sum up what it's like. It's kind of like if Victor Hugo was American and the French Revolution was whales, perhaps. The structure and style are very funny, even besides the passages—they take up too much of the book, both in length and significance, really to call them digressions—in which the narrator Ishmael tells us everything he knows about whales and whaling. While Ishmael's voice is very important throughout, he's not really the POV character of a lot of the narrative sections, which frequently include scenes he's not apparently there for, focus on other characters and explore their thoughts in detail; much of the dialogue consists of theatrical soliloquies, quite a few chapters open with stage directions and occasionally the whole thing actually switches into script format for a chapter. This book is also incidentally the most ethnically-diverse nineteenth-century novel I've ever read.

As for being really gay, the book opens with canon There Was Only One Bed (and I do mean the fanfic trope There Was Only One Bed, not simply bedsharing) between Ishmael and Queequeg the fascinating Pacific Islander harpooneer; a day or two later they're declaring that they are now married and going off happily to sign up on a whaling ship together, whence the rest of the plot. Though there are occasional good moments, Ishmael/Queequeg is rather neglected later on in the book in favour of whale drama and whale information, which was a bit disappointing. On the other hand I very much enjoyed the whale drama and whale information—Melville(/the narrative written by Ishmael) sees the whole world in whales and whaling, and has an amazing talent for making things significant, besides a distinctive, chaotic and frequently hilarious narrative voice.

As for the main plot, however, I was on Moby Dick's side. What a conservation icon.
regshoe: Redwing, a brown bird with a red wing patch, perched in a tree (Default)
I received and wrote fic in the same new-to-me fandom, and very good fun it's been :D

My lovely 'Christabel' gift was by [archiveofourown.org profile] avaloncat555—thank you!

And I wrote the other Christabel fic in the collection, for [personal profile] flo_nelja:

The Twice-Stolen Child (2882 words) by regshoe
Chapters: 1/1
Fandom: Christabel - Samuel Taylor Coleridge
Rating: General Audiences
Warnings: Major Character Death
Relationships: Christabel's Mother/Sir Leoline, Christabel/Geraldine (Christabel)
Characters: Christabel's Mother, Sir Leoline, Christabel (Christabel), Geraldine (Christabel)
Additional Tags: Fairies, Changelings, Backstory
Summary:

The curious story of Geraldine’s true origin—and Christabel’s.

regshoe: Text 'a thousand, thousand darknesses' over an illustration showing the ruins of Easby Abbey, Yorkshire (A thousand darknesses)
Once Upon a Fic works are revealed, and I have received this weird and lovely femslash story for the poem 'Christabel', which I picked up shortly before sign-ups. It develops the mystery of canon in an intriguing way without quite explaining everything, and its mysterious, richly-descriptive mood is very fitting!

Why Have You Called me Forth? (4437 words) by Anonymous
Chapters: 1/1
Fandom: Christabel - Samuel Taylor Coleridge
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Christabel/Geraldine (Christabel)
Characters: Christabel (Christabel), Geraldine (Christabel)
Additional Tags: Supernatural Elements, Haunting, Ghosts, Religious Guilt, Implied/Referenced Character Death, Dreams and Nightmares, Dreams vs. Reality, Psychic Abilities, Implied/Referenced Homophobia, Implied Relationships, Secret Crush, Emotionally Repressed, Sexual Repression, Unresolved Romantic Tension, Unreliable Narrator
Summary:

Christabel closes her eyes.

Within the dream, Geraldine waits.

regshoe: (Explaining Alan)
Pacing is a point that's repeatedly come up as I've been reviewing adaptations of Kidnapped. It's interesting to compare which parts of the story different adaptations choose to spend more or less time on, and frustrating that there seems to be a tendency to spend more time on what are IMO the less fannishly appealing and historically interesting parts of the story (viz., the Alan-less and non-Highland bits). Then I thought, this is something I can analyse with numbers and graphs!

So, which adaptation is the most faithful in its pacing? The answer may surprise you! )
regshoe: (Reading 1)
Right, let's see if I can tear my brain away from the Raven King for long enough to contemplate the other books I've been reading in the last few weeks...

The Wind Boy by Ethel Cook Eliot (1923). Difficult to summarise or explain; the sort of weird children's fantasy novel which is completely committed to and confident in its own weird priorities, sensibilities and worldbuilding, and really enjoyable as such. (I'm not sure about Cook Eliot's views on art: only bad artists actually create things, true artists unconsciously reproduce things that already exist in the Platonic realm of ideal forms??)

The Adventures of David Simple by Sarah Fielding (1744). I was in the mood for something eighteenth-century and found this one on archive.org, though I ended up having to read the text ebook from Wikisource because I couldn't get the pdfs to work on my e-reader. I missed the ſ and other eighteenth-century formatting; I'm really getting quite fond of it. Anyway: this book opens with our hero, the good and true-hearted David Simple, being cheated out of his inheritance by his wicked brother, and I was chuckling at the similarity in fate to another David you wot of and wondering if the rest of the book was going to be about him winning it back, but no, that plot gets resolved quite quickly; the rest of the book consists of the now justly-enriched David wondering what to do with his wealth, deciding—since he's so good—that there's no happiness to be got from money but in using it to help one's friends, and thus setting off into the world on a quest to find someone good and true enough to be a Real Friend to him. Then we get a lot of satire/commentary on the various sorts of wickedness and falsehood to be found in eighteenth-century London, a lot of David meeting different people who narrate their dramatic backstories in long digressions, and eventually David finds some True Friends (his love interest, her brother and his girlfriend) with whom he lives happily ever after. This was all good fun—I do enjoy sentimental, dramatic eighteenth-century novel digressions. There were no long-lost parents in this one, though there are other coincidental reunions and family reconciliations. At one point the love interest and brother are accused (obviously falsely) of incest, in so many words, and I was slightly surprised that that wasn't too shocking to write about openly. Fielding also wrote two further books, an epistolary spin-off and a sequel; I'm intrigued by the idea of continuing the story after what's clearly the conventional ending point (the last chapter is literally titled 'Containing Two Weddings, and Consequently the Conclusion of the Book') and will read those at some point.

Picnic at Hanging Rock by Joan Lindsay (1967). This book, set in Australia at the turn of the twentieth century, is not really either a mystery novel or a boarding school novel, though it's about a mystery that takes place at a boarding school. Three girls and a mistress go missing while on a picnic in the Australian outback; one of the girls is eventually found, uninjured but with no memory of what happened, and beyond that the mystery is never solved. Much of the book is rather following the ramifications of the disappearance, beginning with the big dramatic event and then exploring what happens afterwards, and as it goes along not solving the mystery it quite cleverly obscures that it's actually building up to a dramatic and properly chilling climax which, while in a sense also a consequence of the mystery, is not directly related to it. I knew going in that the mystery wasn't going to be solved, and I'm not sure how disappointed I would have been if I hadn't known (sometimes it feels like a more typical mystery, with apparent clues to what happened, and at one point the omniscient narrator even saying that something is an important clue which the police missed and so never followed, but not explaining what its importance is!); I was a bit disappointed by how little there was of typical girls' boarding school material (in fact quite a lot of the page-space is taken up by a rather slashy cross-class friendship between two male characters; though there is also a younger girl with a tragic crush on one of the girls who disappears). I did really like Lindsay's omniscient narrator, who comments freely, dispassionately and ironically on events, and who seems to know the truth of what really happened. I think this book will stick around haunting me for a while.

Tragedy at Law by Cyril Hare (1942). This is a proper mystery novel, although the structure is entertainingly subverted (
spoilers not many murder mysteries where the murder only happens a few chapters before the end of the book!
). It's very enjoyably written—Hare really knows how to end a chapter, among other things—and all the details of the legal setting are great. The victim character is a judge who's just going on circuit at the start of the book, and we see various aspects of how provincial assizes work and also the more domestic non-legal details of how a judge on circuit lives; there's also a lot of interesting stuff about sexism and gender roles, with the judge's wife—who, years ago, qualified as a barrister herself but was prevented by sexism from advancing in her own career, and who it's suggested has used her marriage essentially to have a legal career by proxy, playing the wifely role to support, not to say create, her husband's success—also being a major character. I was not convinced by Hare's commentary on the unequal application of justice: early in the book the judge injures someone in a drink-driving accident, and of course it's terribly important that the whole thing be covered up and he not face the consequences that an ordinary person would, because it would destroy public trust in the legal system, and anyway isn't the agony of conscience he feels and the threat that his career will be ruined far worse than trial and imprisonment would be??? That last bit might or might not have been true of powerful people in the 1940s; I certainly don't believe it now; Derek the indulgently-mocked idealist is right, there's no justice if it isn't justice for everyone. Anyway: This is apparently the first in a series featuring detective (well, 'detective'; the police do a lot of the actual mystery-solving here, he just puts the final and most legal-specialist pieces together) Francis Pettigrew, and it was really a bit of a spoiler to read this book in an edition (on Faded Page) presented as 'book 1 in the Francis Pettigrew series', because Frank is actually an otherwise-plausible suspect for quite a bit of the time. I shall continue with the rest of the series eventually!
regshoe: Black silhouette of a raven in flight against a white background (Raven in flight)
Susanna Clarke has just, suddenly and unexpectedly as far as I was concerned, published a new short story about the beginning of the Raven King's reign. I read it yesterday morning, and now I have Thoughts. This won't be a proper review post, it's an 'omg new canon material about blorbo!!' post, so here we go:

SPOILERS )
regshoe: Redwing, a brown bird with a red wing patch, perched in a tree (Default)
I haven't been writing very much lately, but I thought if I'm not going to write I may as well use the time for another fandom-adjacent activity, and so I've returned to ebook making and have been working on The Life and Adventures of Christian Davies.

It really is a fascinating book. I've tried to find out a little more about Christian Davies, and haven't found much; the broad outline of her life is attested, but this book appears to be the main source for most of the writing about her and its authenticity and accuracy are rather doubtful. Her entry in the Dictionary of National Biography makes interesting reading: it calls the attribution of the anonymously-published book to Daniel Defoe 'mistaken' and notes the difficulty of historical interpretation; the record of her admission to Chelsea Hospital apparently gives her name as Catherine, not Christian. I'm sure a thorough investigation of available historical sources could turn up more, but if anyone has done one I haven't found it yet.

And working on the book is interesting in light of that. Is it authentic at all, or a total fake? (Its publication the year after Christian's death does look a bit suspicious; OTOH, Hannah Snell's autobiography was written in the same way and is AFAIK well-attested as authentic, so it's not implausible.) Are the historical parts describing the war an interpolation by the writer, while the biographical parts are really by Christian? Is it authentic, but Christian herself was heavily embellishing and/or making stuff up?

It's a fun and fascinating read, anyway, even if parts of it sometimes feel a little bit like being stuck sat next to Tristram Shandy's Uncle Toby at a dinner party. I've just got to the part where Christian, having found her husband again only to learn that he's been cheating on her with a random Dutch woman, refuses to return to him and then goes off and starts flirting with a different random Dutch woman whom she meets while travelling. I do think the biographical parts ring true as a portrayal of a believable character, even if it's not actually an accurate narration of events, and I do like her very much.

The eighteenth-century style and formatting are proving a bit of a challenge to the automatic text-recognition, so I've got a lot of correcting to do and am going slowly. Long ſ is a frequent problem, though not always: sometimes it gets it right, sometimes it turns it into f or l or /, sometimes the unexpected weird-looking S causes a misinterpretation of the whole word (ſo becomes to, ſelf becomes felt, ſuch, amusingly, is often rendered as fuck). The book puts proper nouns in italics, which was standard at the time, and also uses italics for dialogue, which I've not seen elsewhere, and the resulting long mostly-italicised passages are another challenge for the text recognition.

Incidentally, I'm disappointed to see that Gutenberg have recently started adding AI-generated summaries to ebook pages (which are, from a brief skim of some of them, not always accurate and also rather disconcertingly point-missing in the way of AI-generated text). I think when I submit this one I'll write my own summary and see if I can request that they use that one instead, then if they say yes I might ask to replace the ones on the existing books I did.
regshoe: Black and white illustration of a man swinging from a rope below the bow of a ship; illustration from 'Kidnapped' by Louis Rhead (Alan)


I like that poster very much, so I thought you ought to see it. :D Made in 1960, the Disney-film take on Kidnapped stars James MacArthur as David and Peter Finch as Alan, and was written and directed by the very aptly-named Robert Stevenson (no relation).

Thoughts on this dramatic-looking film... )

On the whole, then, I'd rank this film around the middle amongst the Kidnapped adaptations I've seen so far. I would recommend it; it's good fun and it has its points; but it's not brilliant, and it doesn't quite do the characters justice.
regshoe: (Reading 1)
The Man Who Planted Trees by Jean Giono (1953; translated by Barbara Bray, 1995). See, the thing about tree-planting is that I read Oliver Rackham at a formative age and so whenever I hear any encouraging good-news conservation story about big tree-planting efforts I just think 'is this really a good idea?' (the trees planted may not be suitable for the local conditions; planting trees can destroy ecologically valuable non-woodland habitats) and, perhaps more importantly, 'but is it even necessary?' (trees don't need humans to plant them! Anywhere where the local conditions are suited to woodland, as long as it's not overgrazed or too far from established trees to provide a source of seeds, will succeed to woodland on its own if you just leave it alone for a few decades*, and so you should save your active conservation efforts for places that need them, e.g. ecologically valuable non-woodland habitats which will succeed to woodland in a few decades if you don't keep cutting down all the birch saplings). All of which is to say that I was sceptical going into this book. But to his credit, while Giono isn't making any particularly careful effort at realism, he does address ecological issues: the tree-planter finds that some species do well in particular areas and others don't, and has to adapt to local conditions; he starts out as a shepherd, but ends up getting rid of the sheep because they graze the saplings (he becomes a beekeeper instead). More unexpected and more troubling was Giono's consistent and deliberate deceptive presentatation of the story as non-fiction, as described by Richard Mabey in the foreword and Giono's daughter Aline in the afterword of the edition I read. It was apparently widely effective and he regarded it as a good joke. I could get all high-minded and talk about our twenty-first-century knowledge of the harm done by misinformation, but to be honest, I am actually just a 'reader with no sense of humour' as Aline puts it. Still, that rather soured the whole thing.

*This can happen even despite tree-planting efforts: there's an area of my local wood where some people earnestly planted a lot of oak trees twenty or thirty years ago, and now the patch is mostly scrubby birch woodland full of brambles, because that's what does well in early-successional woodland habitat.


The Shortest Way to Hades by Sarah Caudwell (1984). The second Hilary Tamar book has confirmed the series as a fave for me! It's a really enjoyable, well-constructed mystery with clues intricately worked into apparently incidental details; it's just the kind of absurd humour I love, an absurdity of character and incident perfectly confident in its own internal logic and reasonableness; Hilary is a great narrator and detective; have I mentioned how much I love the prose? etc. I don't know whether you could have worked out the solution to the mystery ahead of time: I realised early on that
spoiler the twins not seeing Deirdre fall was an important detail
but didn't trouble to reason any further beyond 'well, maybe they did it then, let's see'. I am definitely shipping Julia/Selena.


The White Cockade: or, Faith and Fortitude by James Grant (1868). A fairly early Jacobite novel, as far as I can tell: on my list only Scott's novels and The Pastor's Fireside are older. And I think it has more affinity with those older books than with later adventure novels like Kidnapped, at least in style—it's fairly long, wide in scope and written with proper mid-Victorian density of prose. It's also rather oddly structured. The first half or so follows our Jacobite hero Henry, Lord Dalquarn as he returns to Scotland in advance of the '45 and has an original adventure plot involving dramatic smuggling, Dalquharn's romance with the lovely Bryde Otterburn, the dastardly schemes of the evil Baillie Balcraftie and a lot of scenic description of East Lothian and the Firth of Forth, while the early part of the '45 happens in the background. But then Prince Charles arrives in Edinburgh and Bryde and Dalquharn join him there, and from that point onwards the book closely follows the historical course of the rising, apart from the odd detour for things like Bryde getting rather tediously abducted by a moustache-twirling Frenchman; the earlier plot is largely forgotten, and what loose ends remain from it are eventually dealt with really rather perfunctorily.

There's a lot of long-winded and not always very relevant historical exposition, and I suppose both this and the plot that follows the '45 so closely (only not the first bit between Eriskay and Edinburgh, for some reason) seemed more interesting and original at a time when few Jacobite novels had yet been published. Several incidents bear amusing similarities to later Jacobite novels, and again, I may have read those other books first but the incidents are more original here! Grant makes a couple of odd historical errors: e.g., he places both John Cameron of Fassiefern and Simon Fraser of Lovat in Edinburgh with the Prince in September 1745, when in reality the former never joined the rising and the latter only did so much later; he also makes, amusingly, the same mistake Edward Prime-Stevenson does in White Cockades of describing Charles's eyes as blue (they were actually brown). His actual view of the Jacobites is more positive than Scott's or Porter's: he balances an acceptance of the moral rightness of their cause according to the ideas of the time, and a lot of admiration for their loyalty and tragic nobility, with a very Victorian Whiggish 'well, the defeat of the Jacobites ultimately led to the present state of affairs, which—God save Queen Victoria and the Empire—is obviously the best possible, so all's well that ends well, right?'. The characters and relationships are not very interesting, apart from a few details that could have gone somewhere good but don't, but the adventure is enjoyable, especially the pre-rising bit. Overall I'd say this is not one of the best Jacobite novels, but it is worth reading—the first half more in its own right, and the second for historical development of views of the Jacobites and the '45.


Also read 'Hornblower and the Big Decision' or 'Hornblower and the Widow McCool', a short story written and set shortly before Lieutenant Hornblower. It's a very interesting story and has given me much to think about vis-a-vis how Hornblower's attitude to an Irish rebel (and deserter) might inform 1750s!Hornblower's attitude to a Scottish Jacobite (and deserter). I was a little bit sceptical of
spoilershow possible it would really be to conceal a mechanism in those carved letters, but charmed by Hornblower carefully inspecting the mechanism and experimenting to figure out how it works
alongside agonising over his moral quandary.
regshoe: Close-up of a woman, Jannet from NTS Kidnapped, wearing a bonnet and shawl; she holds her chin in one hand and pulls a frowning face (Jannet hmmm)
It's been a while since I've done any of this figuring-out-canon-details meta, and writing this reminded me how much fun it can be :)

Anyway: where is the house of Shaws?

Ooh, Cramond, fancy! )

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