regshoe | Flight of the Heron read-along: Part IV chapters 3-4

Another couple of chapters very good for just wallowing in the iddiness, but I'll try to find a few constructive things to say... :D

These two chapters are more Proper Broster, in the emotional intensity and the 'curst tangle' of honour and betrayal. One aspect I especially enjoy is the sheer drama of Keith and Ewen's meeting—from Ewen's opening Judas!, to him actually putting his hands over his ears when Keith begins trying to explain himself, to Keith swearing on his honour as a gentleman, to many more dramatic moments throughout their long conversation. It's so intense, so all-important and Broster makes it so very believable—it's all gripping stuff. And, aww, the way they both, especially Ewen, think and talk about That Night in the Hut just makes me want to sit here and cry: 'What, are you trying to act that night over again?'; 'that night I thought you . . . generous, kind, charitable beyond anything that could be imagined. . . .'; 'There are some hours in it which I am glad I can never lose again'. Beautiful significance, which I think the whole book completely justifies. <3

I think this line is significant (as well as terribly heart-rending): All his courtesy, all his self-command, his usual rather gentle address, every quality which Keith had observed and carelessly admired in him, seemed obliterated by the event which had brought him almost to breaking-point. Really, both Keith and Ewen come to this moment having lost nearly everything that defined them: Ewen the gentleness (in both senses) and admirable courtesy that were his in the happy confidence of his comfortable position earlier on, at the beginning as a secure landowner and in the early part of the war when things are going well for the Jacobites, and now his honour and self-respect too; and Keith the military career which is introduced right back at the beginning as the one thing he really cares about and which he's been trying, increasingly improbably, to convince himself still is that. It's a really good situation to put your two main characters in! All those things are gone, and we see the strength of what is left, of them and between them. And I especially love how little Keith cares about his career in comparison to how much he cares about Ewen, which is highlighted repeatedly throughout these chapters—it's such a complete revolution for Keith, or perhaps a revelation of what was really in his character all along, but which Ewen and his love for Ewen have brought out.

Oh, poor Ewen! Especially as we see him through Keith's eyes, I think: 'looking with something more painful than pity at the utter desolation of his aspect', 'The tired voice seemed for the moment empty of emotion; and yet it wrung Keith’s heart...'. I remember the horrible suspense of wondering exactly what had been done to Ewen when I first read this bit, and its horrible resolution.

I love the movement of emotion between them over the course of the two chapters, as well, especially the gradual growth of Ewen's trust in Keith, and the quiet little moment when Keith realises that trust is restored. I confess I was reading it thinking, goodness, could I ever do anything this elegant in a fic—it's such beautiful and well-controlled writing.

I like Sergeant Mullins, and his interactions with Keith! Interesting too that he gives us another reminder of the gulf between the Jacobite and Hanoverian treatment of prisoners.

And at the end of chapter 4 Keith is, somehow, still wondering why he cares so much about Ewen—his debt of honour was terribly important but that's dealt with now, surely there isn't anything personal in there?... I love the 'But that, he supposed, was why...' that introduces his writing the letter: Keith is still unable fully to understand his feelings, but he keeps acting on them like the person much better than he thinks he is that he is. I love him. <3

As you say, the iddiness ids so hard that it is difficult to be constructive, but you did excellently!

May I add, to your collection of lines, the one that absolutely sent me?

Keith took into his own the hand he had scarred.

I am always, always, always here for ardent hand-holding, but also the symbolism of it! Making amends after offering an injury; being allowed to make amends after offering an injury...! Ewen's scar on his hand, like his honour and soul are now scarred! I read that line, and much like you, questioned whether I could ever do anything so elegant in a fic. (Certainly none of the ardent handholding I've written to date has come up to that mark!)

And what you say here: Keith is still unable fully to understand his feelings, but he keeps acting on them like the person much better than he thinks he is that he is. So very much so, and I love him, too.

Aaargh, yes, that line! Excellent ardent hand-holding, and also an excellent combination of iddy goodness and significant symbolism—you're quite right. :D

Ohhhh yes, the hand-holding of the hand he himself scarred <3333

I really loved that line about something more painful than pity - that's love, Keith, you oblivious ninny!

I confess I was reading it thinking, goodness, could I ever do anything this elegant in a fic—it's such beautiful and well-controlled writing.

Right?! It's such an object lesson in how to write intense emotion between two characters who aren't given to talking about their feelings. Which is quite a lot of favourite characters in fandom. I'm definitely bookmarking it to read again next time I write a big emotional scene.

Interesting too that he gives us another reminder of the gulf between the Jacobite and Hanoverian treatment of prisoners.

This was exactly my thought when I read that bit about Dr. Cameron. The description in the previous section of how they didn't just deny the prisoners medical help but actually took away the Jacobite surgeons' instruments really hit hard, and it creates such a contrast. Every single detail Broster provides is essential to the picture she's creating. It really is beautiful writing.

that's love, Keith, you oblivious ninny!

:D

It's such an object lesson in how to write intense emotion between two characters who aren't given to talking about their feelings.

Exactly! And, emotional repression combined with emotional intensity being such an attractive thing for fandom, doing this sort of thing so well just makes this book perfect for being fannish about. Argh.

Others have covered these chapters so much better than I can, and have picked up on details that I've missed. But a highlight for me is the fact that they're holding hands in front of a witness for nearly a whole page.

I, too, love Mullins. He's so kind. I also love the very correct aide-de-camp. That's a wonderful bit of characterisation.

An excellent highlight, thank you for pointing it out :D

Hehe, I liked the very correct aide-de-camp too!

Mullins and the aide-de-camp were both fantastic! I was genuinely worried about Keith getting found in Ewen's room in case Mullins got in trouble - I just want him to get his pension! I love how much thought Broster puts into even the most minor characters.

That opening Judas! just gives me chills, as does the image of Ewen covering his ears with his hands. It's such a childish gesture, and the context gives that a real poignancy: after all, Ewen is not a child, but a man pushed past the limits of his endurance, and this is the only way he has left to resist what seems like an unendurable reality.

But then it turns out the reality is not truly as dark as he thought, and in giving him back that night at the shieling Keith also gives Ewen back a lifeline of hope and faith in humanity.

Also KEITH. His continuing "BUT WHAT FEELING CAN BE DRIVING MY ACTIONS?" just sends me. OH KEITH.

Very good point about the childishness of the gesture and how poignant it is in context. As I keep saying, poor Ewen. :(

Also KEITH. His continuing "BUT WHAT FEELING CAN BE DRIVING MY ACTIONS?" just sends me. OH KEITH.

:D

I am caught up. I did like the There Was Only One Cell trope. I shall have to tuck that away for future fic use: to have character A go to visit character B in jail and have the guard lock and leave at a pivotal moment.

I did like the There Was Only One Cell trope.

XD

First the careless fleeing soldiers in Edinburgh accidentally locking them in together, then Sergeant Mullins... it must be fate! Hehe, saving it for fic use sounds like a good idea.

Well, I don't know what I can add to

regshoe's comments! I remember the first time I read this book, and the increasingly jawdropping way that it just went straight for the iddy slash. And these two chapters are a really great illustration of that, wow.

The description of Ewen and how far he has been broken down is really heartbreaking. We see the scene from Keith's POV, but from Ewen's...first the torture from Guthrie, then the tender mercies of Greening. And finally he has nothing left but to think about how he has betrayed Lochiel! So Keith finally winning through his distrust must really give Ewen back a lifeline of hope and trust again. ♥

Ha, and at the end Keith is at it AGAIN! Yet why, he asked himself, should he care what Ardroy was suffering, now that he had cleared his account with him? As soon as Ewen is no longer in his presence, he's trying to deny his feelings again.

This week's research reading does not actually have much to do with FotH, but is about the very interesting Anne Erroll, main organizer of the Scottish end of the failed Jacobite rebellion of 1708. Read if you like middle-aged competent women.

Argh, I know, poor Ewen... probably for the best that we don't get this bit from his POV, although him finally coming to trust Keith is lovely from Keith's POV too.

And good point about just how much being able to trust Keith means for him, after everything he's been through. In fact, have another amazingly iddy line, from just after Ewen faints: But Ardroy was not gone far. In a moment or two he raised a hand to his head as he lay there, and murmured something about a ray of hope.

Thank you for linking the research reading—more terribly interesting stuff. :D

Ha, and at the end Keith is at it AGAIN!

I am enjoying Keith's oblivious pining so much. At this point I think it actually makes more sense to consider his feelings romantic instead of platonic, because if it were only friendship he felt, I don't think he would have as much difficulty admitting it to himself. Especially after he'd only just told Ewen "I would as soon betray my own brother!" Oh, Keith.

If Broster were alive today she would be writing fanfiction for sure.

At this point I think it actually makes more sense to consider his feelings romantic instead of platonic, because if it were only friendship he felt, I don't think he would have as much difficulty admitting it to himself.

This is a good point! Oh, Keith. ♥

Yeah, Broster would totally have been at home in fandom.

If Broster were alive today she would be writing fanfiction for sure.

Hehe, definitely :D

Okay, going to basically post what I posted rot-13'd last week when I just had to read these chapters...

So what I really wanted was for Ewen to believe that Keith hadn't betrayed him, and I didn't get that, but that was always completely unrealistic (I didn't really think that was going to happen, because it didn't make sense with their characters/interactions so far). But at least he believed Keith when he explained himself and didn't keep thinking that (and just so beautifully and tropily done), and Lochiel hasn't been taken either, so Ewen didn't betray him, whew! <3

Hey, this way we get this amazing scene of Ewen slowly deciding to believe Keith and regaining trust in him! Beautifully tropey indeed.

Lochiel is fine! (As he was historically, of course). We haven't quite heard the last about Ewen's 'betrayal', but I shall say no more for now...

Oh, and re: the song you linked! I hadn't heard that version, it has lovely harmonies. I've mostly listened to the Dick Gaughan and Band of Burns versions.

And it's fitting for Guthrie and some of the other Scots in the story...

I did think using an actual Scots version might be better—but yes, Steeleye's harmonies are lovely. They're so good at using those multi-layered harmonies to add depth and resonance to a song. (Which reminds me, I haven't listened to 'Gaudete' yet this year! Must do that...)

And it's fitting for Guthrie and some of the other Scots in the story...

Heh, true!

What I really appreciate about these chapters is that they just freaking talk over the problem and reconcile! At, like, almost the earliest possible opportunity (barring some hilarious ear-covering). We've all gnashed our teeth at Big Misunderstanding plots that could be resolved if the characters listened to each other for five minutes, so thank you, D.K. Broster, for not going there!

Indeed! It's lovely to see.

However, you don't need to manufacture a misunderstanding for your conflict when there's a whole war -- or at least its aftermath -- holding them apart...

Haha, that is a good point! An excellent combination of sensible talking out of things and emotional drama.

Something that

tgarnsl mentioned to me, but which she hasn't popped in to say yet: evidence for Keith's faceblindness continues in this chapter: on entering the cell, he claims hardly to be able to recognize Ewen with his beard. But how extensive could that beard be? He saw Ewen only a week ago!

It is a very good thing Neil and Lachlan shaved Ewen at the schieling -- this novel would have ended very prematurely otherwise!

Oh, yes, that's true!

These chapters absolutely wrung my heart. (Wring? They still do, no matter how many times I reread them.) From Ewen's anguished 'Judas' to the ardent handholding to the heightened emotion that never crosses the line into sentimental stodge... I love this bit. I like how very early on Broster mentions that Keith is a fundamentally passionate and impulsive, and here we get to see him in all his glory, being both passionate and impulsive, even if he doesn't understand on what is driving him to such extremes. For a military man who has likely been with the army since he was sixteen (when he would have been an ensign, I assume), and who has held a commission since the age of eighteen or nineteen, he seems very willing to throw that away for the sake of his honour and Ewen, even going so far as to insult a commanding officer and put himself in danger of court martial, the one thing that any self-respecting army officer should fear. And yet he still can't pin down just why he's doing this, and in fact tries to distance himself from whatever feelings he may have by thinking Ewen would've been better off dead on a mountainside. Oh Keith. What a numpty.

Poor Ewen. Between being left in the hands of Guthrie to being left in the hands of Greening, he's had an awful week, and I wonder how much of his broken-ness comes as much from his believed betrayal of Lochiel as much as his (perceived) betrayal by Keith. For one bright moment his faith in humanity that had been sorely tested these last few weeks had been restored, only for that fragile faith to be dashed to pieces by someone's lie. I find Ewen at the end of his tether to be quite fascinating: with his gentle spirit broken he will lash out at Keith but he is never cruel in the way that some might be in such a circumstance. He's snide and sharp, but he doesn't really attack Keith on a personal level, more on what he's done, which speaks greatly to his character. And Keith, doing all that he can to prove himself to Ewen! Their reunion, though brief, is so tender and sweet, and I love how quickly they move past their upset to focus on each other again. Ugh, these two.

It is all brilliant, isn't it...

very early on Broster mentions that Keith is a fundamentally passionate and impulsive, and here we get to see him in all his glory

Haha, that's very true!

Yes, definitely agree about the importance to Ewen of thinking Keith had betrayed him. That Night in the Hut clearly means a very great deal to him, both at first and after he learns that Keith didn't betray him after all—I certainly think the dashed hope in between must have been equally meaningful in the other direction.

I find Ewen at the end of his tether to be quite fascinating: with his gentle spirit broken he will lash out at Keith but he is never cruel

Good point! Yeah, the polish of courtesy is gone but his fundamental decency is not.

I love how quickly they move past their upset to focus on each other again.

:D

And only now I remember what I wanted to say during this chapter. Note this juxtaposition of "Achilles" with Ewen's injury:

“I have so much to be forgiven myself,” answered Keith, looking down unhappily at the dirty, haggard wreck of his ‘young Achilles’, “that I can scarce resent what you, of all people, have thought of me. Oh, Ardroy, what a curst tangle it has been!—Are you well like that—your wounded leg . . . ?”

In the Iliad, Achilles' principal epithet is "swift-running" -- and indeed, very nearly the first physical description we are ever given of Ewen points out that he is very likely a swift runner.

And how is he wounded at Culloden? With a wound to his leg that may well lame him for life. I have so many feelings about the symbolism inherent in that.

Oh, that is interesting! The call-back to 'Achilles' struck me as a good tragic detail, but I wasn't aware of that, which certainly adds an extra layer of significance.

Those meanings simply hadn't occurred to me. Wheels within wheels.

Also, there's the whole Achilles and Patroclus thing!

Flight of the Heron read-along: Part IV chapters 3-4

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject

no subject