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

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