Anne Elisabeth Stengl's Blog, page 39

Read-along: Chapter 35

 SO sorry for being out these last few days! I've been laid up with the flu . . . the second flu bug I've caught in the last three months. Wretchedness. Rohan, by contrast, got the flu shot and has been fit ass a fiddle. So, lesson learned. Next year, I'm getting the flu shot as well!

I'm still pretty sickly, so this is a fairly short write-up. It's also a fairly short chapter, however, so I don't think we're missing anything. I'm going to answer questions down at the bottom, so check and make certain yours were answered!

CHAPTER THIRTY-FIVE

Dying. Following her encounter with the Dragon, Una flies away on ragged wings, collapsing in the sand and prepared to die. She is utterly defeated now. Not only has she given in completely to her transformation, but she has also learned that she cannot hope to save herself. Using the Dragon's own fire against him was a brave, but ultimately foolish idea. And now, in agony, she prepares for her end.

Voices. As she lies smoldering in her final ruin, Una hears the voices of her loved ones and her former suitors, clamoring in her head. And she hears her own voice declaring that she will trust Lionheart until she dies! A foolish vow, all the more bitter here at her end. Lionheart is far away, unconcerned by her or her fate, lost in his own, more immediate struggles. It would be a miracle if his mind ever turned to thoughts of Una anymore. And yet here she is, on the verge of death, recalling this promise she made to him.

Why do you love me?Here, Una echoes the question of the readers themselves. We have watched this girl make one foolish, immature decision after another. We have watched her waste her time, efforts, talents, emotions on men who didn't deserve a passing thought. We've seen her succumb to lies, wallow in self-pity, and ultimately become a danger to all those around her.

And she is revealed now as what she truly is: unlovable. Burned, both inside and out, bald, ugly, a monster to behold. Our stubborn little princess is brought very low in this moment, as low as can possibly be. There is nothing left of what once might have been charming in her spoiled demeanor. Nothing left that could be called a grace or a virtue.

Her willfulness has brought her to an awful end. And all she can ask when she looks up into Prince Aethelbald's face is the same question we have been asking all along, "Why do you love me?"

I cannot love you. The moment when Una tells Aethelbald that she cannot love him is one of the saddest in the novel, I think. She has finally come to the place where she can understand, at least in part, and value the love he offers her. But she knows now that she cannot return it. She doesn't have it in her. She is heartless and incapable of such love.

So Aethelbald says he will give her his heart instead.

First kiss. The first kiss in this entire novel is found in this scene. Una, burned beyond recognition and on the verge of death, lies in Aethelbald's arms. And he kisses her gently on the mouth, a symbol of his great love for her . . . before he draws his sword and plunges it into the furnace where her heart should be.

Questions on the Text

1. Why does Aethelbald love Una? What does his declaration mean to you and to me?

2.  Favorite lines?

Reader Questions

1. "So have you read Hinds Feet on High Places? I can't wait for the next chapter, ha! But when I first read that chapter, I was like the scene was so similar to Much Afraid." -- Jennette

I have actually! It's been a very long time since I did, so I can't say whether or not Hinds Feet influenced this chapter or not. It might have, however. I remember the scene of her sacrifice being pretty chilling! Perhaps an unconscious literary nod?

2. "I have a question (a really weird one): How are immortal people born/come into being? I mean, do immortals have mothers and fathers and sisters and uncles?" -- Anna C.

Very good question! And not one to which I have a complete answer. I think it depends on the immortals in question. Goblins obviously have children in very much the same way that humans do (see opening of Moonblood), but they probably don't have children as often, given that they are not mortal like humans.

The people of Rudiobus are so old, they don't remember their parents. There is some slight indication that Bebo and Iubdan might be parents of them all (after the fashion of Adam and Eve), though that doesn't really satisfy since Gleamdren is Bebo's cousin. So, again, I think they form themselves into family groups according to types of animals. So all the cats would consider themselves brothers, cousins, uncles, etc. And all the birds would be another family group, and so forth. But they aren't mortal, so their ways and practices won't be the same as mortals!

Ultimately, Faeries are very other. But when a Faerie falls in love with a mortal, suddenly that changes a lot of things . . . .

3. "When does Veiled Rose take place as in the time? Is it after Starflower and Dragonwitch? Where is Hill House; is it in Parumvir, or on the other side of Goldstone Wood?" -- Caitlyn

Hannah handled this question very nicely in the comments (thank you, Hannah!!!), but I suppose I should take a stab at it as well.

Veiled Rose takes place 1600 years after Starflower. Veiled Rose actually takes place a little before the beginning of Heartless, and the two story lines overlap in significant ways. Hill House is a location in Southlands, so far, far south of Parumvir, but still in the same world, the Near World.

Does that help?

And Dragonwitch takes place about 100 years after Starflower . . . but that's still a secret, so you didn't hear that from me! ;)

4. "When we're all done with the read-along, will you be doing up the "A to Z of Moonblood" again?" -- Christa

Uhh . . . I really should, shouldn't I? I suppose I just sort of lost track of that poor A-Z series. I probably will go ahead and finish it up, though . . . .

There are a number of exciting things coming up on this blog in the near future, though! One of them being the next Fan Art contest this spring. And in February, I will be hosting an Interview-Feature month, so you'll get to hear from other authors, aspiring writers, and some professional editors and agents in the business. I'm really excited about the February Features!

5. "A while back, I watched an old tv miniseries of Jane Eyre, starring Timothy Dalton as Mr. Rochester. He said something from the book that made me think back to the wood thrush: “As I exclaimed 'Jane! Jane! Jane!' a voice- I cannot tell whence the voice came, but I know whose voice it was- replied, 'I am coming: wait for me;' and a moment after, went whispering on the wind the words- 'Where are you?'" Do I detect a literary nod here?" -- Christa

I know that version of Jane Eyre! Despite Timothy Dalton's EXTREME over-acting, I think it might be my favorite movie version of that story. It's just so very close to the book, it's amazing. And I used to be scared to death of Mr. Rochester's wife! Actually, the Mrs. Rochester from that movie was my own personal Boogie Monster growing up. I used to imagine (because it's so fun to scare oneself half silly) that she was standing at the foot of my bed, and if I moved, she'd see me and bite me, like she bites poor Mr. Mason in the movie! *shiver* Thanks for bringing back all those . . . memories . . .

Anyway, as to your question: I'll bet that was a subconscious literary nod. Because of how strongly that movie effected me as a child, I'll bet that moment of Jane calling to him (and him reminiscing about it later) embedded itself pretty deeply in my imagination. Therefore, it would be very natural for it to come up once more when I pour my imagination out on the page. But, alas it would be an unconscious nod! I don't think I consciously made the effort to tip my hat at Charlotte Bronte in that scene. (Though  I wish I had . . . I'm a big fan of the Brontes, particularly Charlotte.)

Read-along: Chapter 34

Down at the bottom, I've answered all the accumulated reader questions! Thank you for your patience, dear readers. And do keep on asking questions as you have them. I will do my utmost to answer them all before the end of this read-along.

CHAPTER THIRTY-FOUR

Una returns to Parumvir. Una demonstrates her inner warrior maiden in this chapter. Granted, Una herself is not the spunky type of heroine one expects to find in books like this. She's a princess, and she's very girly. But when the sea sprite tells her that "the dragon must die" before she can free, she sets out at once to confront the Dragon who turned her. She does have courage, for all she makes mistakes! She is ready and willing to face her foe or to die in the attempt.

For today I will burn. We also see Una facing her foe using the fire he unleashed inside her. She knows it is wrong, that it is slowly consuming her. But she does not believe there is any other hope of victory. So she decides that, rather than forsake the fire, she will accept for now and use it to fight the Dragon. She believes she needs to indulge in the fury, the jealousy, the rage inside her so that her fire will be hot enough for the task before her. She even gulps down great breaths of the Dragon's own poisonous fumes, hoping they will feed her own fire.

Hello, my child. As though he expected her all along, the Dragon welcomes Una back to her father's house and the ruin waiting there.

Meanwhile, Felix is trying to make his way through Oriana and find his imprisoned father. He has Monster's help, such as it is . . . probably more help than Felix realizes! And he sees the duke's men carrying his father's treasures up from the storeroom. He also overhears the mutterings of some of Shippening's men. They are speculating that the Dragon intends to take all the treasure, leaving the Duke of Shippening in charge an angry, penniless kingdom.

Called to the courtyard. Suddenly, the men carrying the treasures are ordered out to the courtyard, leaving Felix a clear path to the dungeons. Unaware of what is transpiring outside, Felix hurries with Monster down the dark staircase, calling tentatively for King Fidel as he goes.

But when he finds his father he realizes that he forgot a rather important detail . . . the keys to the cell! Poor Felix.

Surround her! Once Shippening's men realize Una is there, they are quickly ordered to surround her. That's quite the startling image, that quiet girl, pale, covered in scales, standing surrounded by burly soldiers, hemmed in by their weapons. But she keeps her head bowed and does not look at them.

The duke is pleased enough to see her. As he says, her looks haven't improved much, but he doesn't care. He'll marry her anyway and claim the throne.

But Una discourages all these ideas with a single look. He sees the fire inside her, and it's enough to make him scream and back away hastily!

Too Honest. The Dragon tells Una that she does not have skill of most of his children, the skill to disguise her true nature. Even now, in her human form, she looks more dragon than human, covered all over with scales as she is. She'll not be able to walk disguised in the mortal world this way.

Rebekah drew an excellent fan art picture depicting this little moment, which I wanted to share with you! Sadly, blogspot is being a bit of a bear about pictures at the moment . . . But you can go over to this page and see it down at the bottom! It's called, "You Are Too Honest."

An order. Una surprises all those present when she tells the Duke of Shippening--without breaking the Dragon's gaze--to leave her father's house at once. She is so terrifying, that the duke, trembling, turns to the dragon for support.

The Dragon, however, merely laughs. Then he tells Una that she will carry her father's treasures back to the Village of Dragons for the Hoard.

You will not enter my father's house again. Una comes now to the moment for which she has prepared herself, for which she has made her fire build. She, still wearing her frail human shape, tells the Dragon she will not permit him to touch her father's things again.

And when the Dragon yet again laughs, she drops all her human shape and, in the form of a dragon, attacks him. Her fire is so hot that the stone steps of the palace melt under her blaze. The Dragon himself is engulfed, disappearing in flames and smoke. Even the screams of the Shippening soldiers cannot be heard over the roar of Una's furnace. She is a true dragon in this moment.

Not enough. None of this is enough. The Dragon laughs and, with a sweep of his arm, waves aside the smoke, revealing himself unharmed. Then, still in human shape, his mouth drops open, and he fires a blast of flame at Una that strikes her like a mace and chain. The fire grows and grows, and soon even her dragon scales begin to melt away so that the soft flesh beneath burns.

All she can do now is try to escape . . . and find some quiet place to die.

The Dragon calls behind her: "I'll find you later and gnaw your bones, my child! I'll gnaw and burn your bones!"

My Personal Favorite Lines

1. She found herself thankful once more that she had no heart, for it would have broken in two at the sight.

2. The fire grew as she neared the ruins of her city. Many of the buildings still stood, but they were darkened with ash, standing like lost orphans amid the wreckage. (p. 326)

3. "My, but you're an ugly thing, like a lizard you are! But you'll do, little princess. Now I'll send your father to join your dead brother, and with you as my wife, no one will contest my claim to the throne!" (p. 330)

4."Give her to me, as we agreed!"
The Dragon turned his slow smile back down upon the girl. "Your last brave suitor is most ardent. At least one of them still wants you, little princess." (p.331)

5. "Foolish sister!" he roared, snarling down on her smoldering frame. "You thought to kill your king, your Father? I gaveyou your fire! Do you think you can use my own flame against me?" (p. 332)

Questions on the Text

1. Why do you think Una does not succeed in her battle with the Dragon? Do you think she ever had a chance? Do you respect her any more for making this attempt?

2. Favorite lines?

Reader Questions

1. When Aethelbald is asking,where are you to Una, does he really not know where she is? -- Jennette

I think when Una here's the voice asking "Where are you?" it's not so much about her physical location. Una herself is becoming lost more and more in the fires of the dragon, losing her name, etc. So I think the voice asking "Where are you?" is asking her where she, Una, is vanishing to. It's more for her sake than for his. He obviously knew where to find her right away. Make sense?

2. Is Starflower's home the Southlands back 1600(?) years ago? -- Jennette

Yes it is! Connected to the Continenet by a thin isthmus and everything. Was merely The Land back then, or the Hidden Land. By Dragonwitch it is being called "the South Land" by northerners. And that eventually morphed into the name Southlands it has 1600 years later. Good spot! You'll see many references to Starflower and her story in Veiled Rose, which is set primarily in Southlands. Starflower has become quite a legend by then!

3. In "Starflower" the names of Etanun and Akilun do not seem to be spoken without spite and disdain. Yet here in Parumvir, hundreds of years later, they watch over the fortress.
What happened that redeemed the honor of the names of the Brothers Ashiun? Hmmm...looking forward to finding out...even if I'm crying at the end of it. -- Hannah

Yeah . . . I'm afraid you will have to wait to find out about that! :) But, like Rebekah pointed out in the comments, most of what we hear about the Brothers Ashiun in Starflower is from Eanrin's perspective. And he has a very narrow perspective on them! But don't worry, Dragonwitch is going to clear up a lot of things for you, I do believe.

4. Colds are such nuisances, aren't they? -- Meredith

YES!!!!!!! ;) But I am beginning to feel bit better, thank  you, everyone! Still not tip-top shape. After I finish this write up, I'm going to take some meds and then a nice long nap while my sweet guy is out grocery shopping. So still on the mend, but definitely on an upswing, not a downswing.

5. I'm not sure if I'm allowed to do this, but I want to ask the other readers a question. I'm curious, what animal do you think Diarmid used to be? Like Eanrin's a cat. Personally, I think he's a cat too. -- Maiden G.

This is a great question, so I'm going to answer it here. And feel free to speculate as well, other readers!

I think Diarmid is a cat like Eanrin, and here is why . . . We learn later on in the series that Diarmid is Eanrin's "nephew." But we also learn that the immortal folk of Rudiobus are most of them so old and ageless that they don't remember who their parents are. Eanrin can't remember if he even has parents! So that makes it a bit difficult for him to know who is nephew is either. Except, I think the Rudiobans who take on similar animal forms probably band together in "family" circles. Thus, I think Diarmid was also a cat like Eanrin, and therefore was considered Eanrin's "nephew," not because of any specific blood-ties, but simply because that's how they would group their "families." Does that make sense?

But, I haven't actually said as much in any of the books thus far. So it's still an open question! And if someone provides me with a good argument for why Diarmid might be something other than a cat, well, I might just have to write that into the series instead . . . .

Read-along: Chapter 33

I'm loving all the comments you readers have been leaving these last few days! These chapters near the end of Heartless are full of meaty bits, and it's great to see how many of you are reading so deeply and able to analyze the text. Makes for a more rewarding reading experience ultimately!

Still please give me time on all your fabulous questions. I'm battling ANOTHER cold today (blah!), so I don't have the brain-power to do them justice. But I'll hopefully catch up on them all tomorrow. In the meanwhile . . .

CHAPTER THIRTY-THREE

A moment of reprieve. This opening section of Chapter 33 gives us another moment of reprieve and reflection after the intensity of the last few scene. It's a bit of a strange scene, I think, reading it now several years later. Strange, but I like it.

I remember typing out the idea for this scene in my original outline for the first draft of this novel. And I remember writing the original scene by hand in my notebook. I can't remember exactly why I decided this moment between Una and the sea spirit should be included. Part of it might have been because the sea spirit is one of the few truly otherworldly characters we encounter in Heartless, giving us an idea of the possibilities of otherworldliness to come.

The Song. I really like that little moment when the invisible sea spirit sings the song to Una. When Una (still not going by her name, but simply "the girl") wakes, she says, "You sang my song." And the sea spirit tells her that she read it on her face and in her hand. I think that is so lovely, reading it now! This intuitive creature can see the longing which Una herself is only just beginning to recognize.

Another name. Another little moment including the importance of names. Una asks for the sea spirit's name, and the sea spirit actually gives it to her . . . but it's not a name Una could ever pronounce! Still, I think it was kind of the spirit to bestow its (her?) name on a dragon. I think this must be a very loving creature, whatever else it might be.

And Una, in exchange, gives the sea spirit her former name.

Even the one who loves me. Una makes the sad declaration that it's "just as well" she has become a dragon, since a dragon is what has lurked inside all along. But she also makes an interesting confession. She shows us, for the first time, how much she truly values Aethelbald's opinion of her, his love for her. And she is devastated now that he has seen her as a dragon. She does not believe he can love her now.

This is a very different reaction to what she went through with Lionheart. With Lionheart, he ceased to love her, and that destroyed a piece of Una's heart so that she gave in to this fire inside. She fights with the dichotomy of feeling she didn't deserve this to feeling that she must be worthless for him to have forgotten her so. Either way, her reaction is anger and hatred and flame.

With Aethelbald, however, she knows she does not deserve his love. And there is a much more quiet, mournful acceptance in this knowledge. She fights no dichotomy. She does not pretend that she ever did or ever could deserve the love Aethelbald offered. Her reaction to this knowledge is not fury and fire, but heavy realization.

It was for Aethelbald I waited. Una recognizes, very late, that it was  Aethelbald's voice she heard all along, ministering to her through the poison and smoke of the Dragon's torments. She also recognizes that it was for Aethelbald she waited, not Leonard. She thoughtit was Leonard, but her spirit new and longed for the truth.

The dragon must die. So Una learns how she can be free. The dragon must die if she is to be Una again.

But Una believes the sea spirit means the Dragon King . . . .

Don't cross the Old Bridge. One last time in this novel, we have it repeated that crossing the Old Bridge is dangerous. Sadly, we never learn why. But Felix is very careful to follow Dame Imraldera's instructions when he returns through the familiar Wood, out of the Between and into the Near World of his own home.

Monster's back! After many chapters not seeing our favorite blind cat, we finally get Monster back in this scene. Felix is just wondering how he's going to break into his own home when Monster turns up, all meowy and purry and happy to see his prince.

Felix, of course, curses at the sight of the cat--which, I suspect, means he was very happy to see him alive and whole! He simply would never admit it. (Such a boy!)

Monster shows Felix a way inside, through a kitchen window. Very soon, Felix is crouching in the shadows of his own home, which is now overrun with his enemy.

The Dragon. Sadly, as slinky and sneaky as Monster is, the Dragon saw them enter. And the Dragon was very pleased at the sight . . . 

He's here! He's come! But for all the Dragon smiles, he does not know that Aethelbald has come to the Haven at last. Come to retrieve his sword.

My Personal Favorite Lines

1. "Have you a name?"
"Yes."
"May I know it?"
"You'll not be able to pronounce it with your tongue."
"May I hear it anyway?"
The voice sang a quick succession of notes, soft and fast as a thrush's song, but more wild and wet and deep. Unlike a human voice, this voice sang in multiple notes at once, sweet chords and harmonies as well as melodies.
The pale girl closed her eyes and sighed. "That is a beautiful name." (p. 318-319)

Questions on the Text

1. What do you think of Una's confessions to the sea spirit? Do you think she loved Aethelbald all along, or that she's only just now come to love him, realizing what his love means to her? Or does she even love him at this point . . . after all, he is referred to in this scene as "the man who loves her," not, "the man she loves."

2. Favorite lines?

Read-along: Chapter 32

Quick note to all you faithful readers: If you want to be entered in the big giveaway at the end, what you need to do is comment between this last Monday and the end of the read-along. As long as you comment most days, you'll be entered. If you miss a day, I'll still count you, no worries. Sound good?

All right, back to the story . . . Give me another day or two to catch up on reader questions, but feel free to leave more questions as we go along!

CHAPTER THIRTY-TWO

Back to Felix. It's been a little while since we saw Felix in the Haven, so I was pleased to start this chapter this morning and see that we were back to him. Felix is a favorite! Plus this scene uses the word "susurrus," which is just an awesome word . . . .

Poor Felix is getting restless, however. As his wound heals--or, at least, apparently heals--he finds himself thinking more and more of his father and sister, far away in a dragon-ridden kingdom. Being the heroic lad he is at heart, he wants to return to them.

And when the wind brings word to Imraldera that Fidel has been captured by the Dragon, Felix cannot bear to remain in the Haven a moment more.

Blood ties. A theme is introduced here that goes on to be a very important one later in the series. Felix, when arguing with Imraldera to permit him to go to his father, reminds her that "there is power in blood ties that . . . that sometimes can overcome foes much too great otherwise."

This is a very fairy tale theme. It's only lightly touched on here, but later on in the series, it's going to be vital. Particularly in Dragonwitch . . . which, granted, doesn’t come out until this summer, so you'll have to trust me on this in the meanwhile. Watch for that theme, however!

Dragon poison. But Imraldera warns Felix that he has not yet received the full healing of his wounds. If he leaves now, the dragon poison could pump through all his veins, down into his heart. And it will kill him. Maybe not right away, Imraldera admits. But eventually, he will die.

Felix promises that he will return for the rest of his healing long before then, however. But he needs to go to his father now.

Imraldera cautions Felix that she will not be able to makehim return for his healing. If he does not come back of his own free will, there is nothing she can do about it. Felix sees no problem in this, however. He'll rescue his father before the year is out and be back before she knows it!

Of course, we readers know that this is just not how stories like to play themselves out . . .

The key and the cage. Una--who no longer believes she is Una, but simply the dragon-girl--shakes too much to turn the key in its lock. So Aethelbald reaches through the bars and does it for her. Again, I read this and think that he is not out of  control in this situation at all. But he is careful when, where, and how he chooses to use his power.

Una hastily backs away from his hand, trying to hide her arm. She is ashamed that he might see the scales, even though he knows already what she has become. This reminds me of how I am with God sometimes. I try, even in my prayers, to put on a brave, "holy" face, hoping to hide the scales. But He knows what I am, and He knows what I've been. He also knows the likeness to which He is conforming me. So what is the purpose of hiding? Of false pretenses?

Don't be afraid. Aethelbald tells Una that she needn't be concerned about the other dragons. They are so "caught up in their own burning." Like Una herself, they are consumed in selfish, disappointed, dying dreams, so consumed that they can't even be aware of what goes on right around them. They certainly aren't aware of each other's pain . . . they are all too selfish for that, include Una. They probably all believe that the pain of their brethren is as nothing to their own pain.

This is demonstrated in the image we have of the dragon's pacing. They cannot focus their minds on any real destination, on any real goal. All they do is pace, going over and over again their hurts and their betrayals, all the reasons they would give to justify their transformation.

Trust me. Aethelbald asks Una to trust him, and it is almost as though he put a knife to her ear. She's been asked to trust before, and she's seen her trust betrayed.

But it is different with Aethelbald, and she knows it somehow. Unlike Lionheart, he has already proven his trustworthiness. Has he not returned to her, as he promised? Has he not pursued her even to the depths of this evil village? She knows, deep down, that she can trust this man. So she finds the courage, even within her quivering, dragon spirit, to step forward into the darkness.

I'll die before I leave you. Una tries to show Aethelbald the way out and then make him go on without her. But Aethelbald refuses, quietly and firmly. He declares, without an excess of emotion or drama, quite simply that he will die before he leaves her. What a difference between him and Lionheart!

A difference that, at the moment at least, only stirs up Una's wrath and hatred. She wanted Lionheart to be this faithful, this true, not Aethelbald! Why did Lionheart have to prove the coward?

And why did Aethelbald have to prove himself a love she could never deserve? It is too hateful for her in this dragon form.

Leading. Una believes for a time that she leads Aethelbald, but soon realizes that he is leading her, even though he walks behind. Even this aggravates her dragon spirit, which wants to be independent, which wants to trust no one anymore.

Moonlight. A small part of Una still longs for purity, for goodness, for light. This is reflected by her reaction when she sees the moonlight--the glow of Hymlumé--shining down into the mouth of the tunnel. Later on in the series, we learn about the Sun and the Moon singing the Sphere Songs. I wonder if Una somehow heard the Sphere Song, deep down beneath the roar of her furnace, and responded to it without realizing why? Because she is so filled with sudden delight, that she runs out of the tunnel, into the night, longing to drink in as much of that moon-glow as she can.

And, of course, runs right into the clutches of the yellow-eyed dragon.

Hounded down. The yellow-eyed dragon begins to tell Una his story, about being pursued by the Prince and his knights following his transformation. He even uses the phrase "hounded down," which is kind of fun considering what I wrote in Starflower. I don't know if it counts as foreshadowing, per se, when it wasn't planned. But hey!

Anyway,  the Prince long ago took up his sword and offered to run the yellow-eyed dragon through, delivering him from his living death.

But the yellow-eyed dragon who had been Diarmid did not trust the Prince and refused his sword. And he tells Una now that the Prince is manipulative, that he will twist her around, making her long for the death he offers.

Don't look at me. Una, escaping the clutches of the yellow-eyed dragon, begins to transform into her dragon form. She cannot bear for Aethelbald to see her like this. Even though he knows. Even though she knows he knows. But there is a part of her that longs for him to still think well of her, and the idea of him seeing her in her dragon form is unbearable!

Thus she transforms and takes to the air, fleeing from Aethelbald once more, fleeing from the Village. And the yellow-eyed dragon calls after her, "Burn, sister, burn! Don't let him quench your flame!"

My Personal Favorite Lines

1. "What's that look for?" Felix asked, watching her.
"What look?" She blinked and turned back to him.
"That faraway, no-longer-paying-attention-to-what-you're-doing look. Like you were suddenly a thousand miles away."
"No, no!" Imraldera laughed. "I am very present."
"Good, because you've got a knife in your hand." (p. 308)

2. "Attendants! Invisibles! Can you get me some real  clothes? Something other than a nightshirt? And boots and things. And a sword! Don't forget a sword! A sharp one!" (p. 311) I love Felix. LOL.

Questions on the Text

1. Do you think Felix was right or wrong to leave the Haven before receiving his full healing? Do you think Imraldera was right to let him go, or should she have forced him to stay?

2. What do you think of Una's wish for Aethelbald not to see her in dragon form? Did she demonstrate that same wish for Lionheart?

3. Favorite lines?

Read-along: Chapter 31

Things are really starting to point toward the climax and ending now! This chapter sets in motion some of the climactic-aiming action. It also contains more hints of the history behind these characters and this world. Hints that may or may not connect to some of the hints dropped early on in this novel . . . .

Keep leaving comments for an opportunity to be entered in the big final giveaway!

I feel a little funny to keep posting this "Christmas" banner after the New Year . . . but hey, they twelve days of Christmas are still going, so that counts, right?

CHAPTER THIRTY-ONE

Last Scene with Lionheart. This is the last time we see the struggling Prince of Southlands in Heartless. And it is quite a revealing scene, I think!

Early on in the novel, in chapter four, we saw the scene between the Dragon and the Lady of Dreams as they played dice for Una's life. Now, for the first time since then, we glimpse the Lady of Dreams again. And we learn of her influence over Lionheart. She whispers into his mind, and he seems, at least in part, to believe that her thoughts are his own.

But, as the Lady whispers the words, "Rid yourself of them as soon as possible. Just as you did the girl," Lionheart puts his head in his hands and replies, "Get out of my head!"

He's not so unaware of her presence as all that. He's not so blind, though he might be mostly blind at this point. He knows he has given in and submitted to a darkness . . . a darkness to which he does not like to admit, a darkness he will excuse as much as possible.

But when she mentions "the girl," he becomes angry enough even to grab and throw burning embers with his bare hands!

We assume, of course, that "the girl" referred to here is Princess Una. But, as you read deeper into the series, you might find a different possibility . . .

Fidel. Finally, after many chapters away from him, we see Fidel again. He is in hiding, protected by Aethelbald's men as promised. He is still struggling to rule his kingdom even from hiding, however, receiving reports and sending out judgments. But ultimately, he has to admit that the real king of Parumvir at this time is the Dragon himself.

Under attack. Despite the defense put in place by Oeric, Imoo, and Rogan, the Duke of Shippening's forces--as led by the Dragon, no doubt--break through and wreck havoc on Fidel's loyal men. But Fidel proves that he is no soft-skinned king, but a true warrior at heart, despite the suffering he's endured and the dragon poison. With the aid of the knights, he battles bravely, and for a moment it looks as though Parumvir might win the day . . .

Then the Dragon himself arrives.

Rogan's death. The Dragon proves himself more than a match for Aethelbald's men. Wild-hearted Rogan attacks, but is completely destroyed in the blast of the Dragon's fire. Imoo himself only just avoids the same fate, and is soon sent flying across the yard by a single sweep of the Dragon's arm. They are like so many dolls before this foe!

Oeric and the Dragon. An interesting little exchange happens here between Sir Oeric and the Dragon. An exchange which might shed some light on various back-stories hinted at earlier in the novel.

The Dragon, calling Oeric "goblin," asks if he's found himself a name yet. Names, as we know, bear great importance in this world. And when last the Dragon and Oeric met, Oeric had no name.

The Dragon goes on to say that he will not kill Oeric because, "I owe you too much to crisp you to cinders . . . I do not forget a service rendered, however unwillingly. If not for you, little knight, I might yet be bound to the Gold Stone!"

Think back now to the ugly picture on the wall in Oriana, mentioned a few times. The picture of the Dragon in his awful man's shape, lying upon a golden altar. Might we now have some idea who one of the three men mentioned might have been?

Of course, I hope to tell the whole story eventually. And more of it is revealed in Moonblood, though not the whole of it. Just hints. Just hints . . .

Fidel taken. Meanwhile, our good King Fidel is taken by the Dragon and stolen away back to Oriana, we must presume.

By the cage. Una is almost too frightened to approach the cage in which the dragon kin have imprisoned Prince Aethelbald. But he calls to her by her name--her lost name--and though it hurts to hear, she cannot resist, but draws near. It's interesting to me, seeing the importance placed on names in this book! I had forgotten that this theme was so iatrical to the plotting of Heartless.It is a massively important theme in Starflower, but I like to see that it was set-up for so early on. I like internal consistency of themes within my series . . . whether planned or otherwise! LOL.

Felix is alive. Una learns for the first time that her brother did not die. It has been quite a while now since the Dragon whispered word of Felix's supposed death into her poisoned mind. But now she knows he lives, and for a moment, we almost think that love of her brother and joy at this news might be enough to bring Una back around to herself.

But instead, she says, "He may as well be dead, for I am dead to him, dead to all of them!"

The key. But perhaps Una isn't as far gone as even she believes. Perhaps news of her brother's life was enough to pluck at some living string. For she steals a key from the Bane of Corrilond's robes . . . they key to the cage in which Aethelbald is held.

My Personal Favorite Lines

1. "Una?"
She froze as though paralyzed at the sound of her name. It hurt to hear it, like a knife in her mind. (p. 304)

Questions on the Text

1. Did you recognize the Lady of Dreams in that scene with Lionheart? What did you think was going on with him at first? What do you think of the difference between the Dragon and his sister?

2. So in this chapter, we learn that one of the Dragon's names is "Death-in-Life." What do you think this means?

3. Favorite lines?

Read-along: Chapter 30

Happy New Year!!!!

We still have several chapters to get through before completing the Christmas Read-along, however . . . . Sorry about that! But keep reading and keep commenting, and you'll be eligible for a big giveaway at the end: a chance to win Veiled Rose, Moonblood, and Starflower all in one fell swoop!

CHAPTER THIRTY

Una dreams. I don't remember if it occurs in this book, but in one of the later books we learn that the Dragon is also known as Death of Dreams. I think this scene illustrates that. In Moonblood we learn that the sleeping dragons relive their dying dreams again and again. Their dreams are probably something like Una's . . . longing dreams that can never come true, tormenting them, building the furnace in their spirits.

Poor Una dreams she is home, on her dear Old Bridge under the familiar shadows of the trees in Goldstone Wood. She knows she's dreaming, but she tells herself that she does not care. Instead, she revels in the momentary peace the dream brings, even though it's a peace that will only accentuate her heartbreak upon waking.

But even inside this dream, she hears a song calling to her. A song not all associated with her love and longing for Lionheart. A song which I do not believe the Dragon would like to allow in her dreams, but which infiltrates her mind, down to her spirit.

We who were never bound are swiftly torn apart. The original ideas for this song--which has become known as "The Sphere Songs" as the series developed--actually stemmed from an Anglo-Saxon poem I read my junior year at university. The poem is called "Wulf and Eadwacer," and it is a very difficult piece that defies classification. Some would argue that it is a riddle; some, that it is a romantic ballad, or even a selection of an epic.

One way or the other, I found it haunting and intriguing . . . a mystery centuries old. What I love about literature, old literature, is that link it creates between us and those so long dead. As though we were never truly separated by this flimsy thing called Time. Through literature, we can have the smallest glimpse of what Eternity might be, unbound by Time, all of mankind united in brotherhood.

Reading "Wulf and Eadwacer" made me want to reach out to that link, to join with it in my own small way. So I wrote the rough draft of the poem that is now featured in Heartless and in other Tales of Goldstone Wood. It and the original share some similar lines and thoughts.

I thought of my Wulf with far-wandering hopes,
Whenever it was rainy weather, and I sat tearfully,
Whenever the warrior bold in battle encompassed me with his arms.
To me it was pleasure in that, it was also painful.
"Wulf and Eadwacer" (translation)

Cold silence covers the distance
Stretches from shore to shore.
I follow in my mind your far-off journeying.
But I will walk that path no more.
"The Sphere Songs"
_____

that one easily sunders which was never united:
our song together.
"Wulf and Eadwacer" (translation)

We who were never bound are swiftly torn apart.
Won't you return to me?
"The Sphere Songs"

Give and take. I think the song, as it is used in Heartless, becomes a give and take between two spirits. Some of those lines are Una's spirit, crying out into loneliness and despair. But others are a response from the Prince himself, from the ministering wood thrush even. Both sides of the song are a gift, for it gives voice to Una's longings and hurts that she could not otherwise understand or express. It also answers that longing and hurt.

It has definitely, over time, become much more than a mere response to "Wulf and Eadwacer." Still, can you see how a study of ancient poetry and literature can make a huge difference in your writing? I highly encourage those who wish to pursue the writing life to also pursue literature of all kinds, ancient to modern. And if you can pursue an English Lit. degree, so much the better!

No. Wait for me. In this scene we see Una, lost as she is in this dragon dream, believing that it is Leonard she waits for, Leonard she longs for. But the song reaches to her even there, even in the confusion of her dream, and whispers the truth to her. It is not Leonard for whom she should wait or hope.

Imoo and Rogan. Two knights of Farthestshore stand guard over the gates of Fidel's northern fortress, watching over the king. We don't know a great deal about either of these knights based on the information in Heartless. I suspect, based on his description, that Rogan is a Rudioban like Eanrin. Possibly even a cat, since he's described as having eyes that "shone like those of a cat." We really don't know where Imoo is from, however . . . at least, not at this point in the series!

But he has a story. Most of them have stories . . .

Diarmid. And so Prince Aethelbald strides right down into the midst of the Dragon Village. The dragons do not recognize him at first. Many of them have met him in another form, but they have never seen the Prince of Farthestshore so humbly clad a human man.

But the yellow-eyed dragon recognizes him at once. And Aethelbald calls the yellow-eyed dragon by his former name, "Diarmid."

Someone, at least, never forgets the names of those lost to the fire. And he has not forgotten Una's name.

My Personal Favorite Lines

1. With a laugh that filled her whole body with feathery lightness, she jumped from the bridge and splashed into the water, soaking her skirt up to the knees. It was cold, bitingly cold, and delicious to feel. She spun around, searching the trees. Sunlight gleamed through branches, spattering the ground with touches of gold. Beyond the light, shadows thickened. (p. 289-290)

2. "I feel I shall become like one of those before long." He indicated the stone watchmen carved and set within alcoves of the fortress wall. There were two of them, solemn figures from legends of Parumvir's past. It was the custom for statues of these men to stand guard over the king's fortresses, but Imoo found them uncomfortable company in the long watches of the night. (p. 292) I wonder if these two men might be Etanun and Akilun? I'll bet they are!

3. "Hello, Prince of Farthestshore," he said.
"Hello, Diarmid," Aethelbald replied.
"What do you call me?" The yellow-eyed boy snorted. "Is that a name?"
"It is your name."
"Funny thing that. No wonder I forgot it. I have no name now, Prince." (p. 294)

Questions on the Text.

1. Many different poems have inspired portions of Heartless.Have you ever been inspired by poetry for your own works of fiction?

2. Some might look at this scene as a situation where Aethelbald is not in control. Considering his role as a Christ-figure, this might seem incongruous at first glance. What are your thoughts? Do you think Aethelbald was overwhelmed and unable to help these dragons? How does this scene fit into his role as Christ-figure?

3. Favorite lines?

Top Picks of 2012

In honor of the closing year, I decided to quickly insert a post of my top three favorite reads of 2012. I don't believe any of these actually released in 2012, but 2012 is when they came into my life, so that's what that is . . . .

Anyway, at the very top of this prestigious (in my mind) list is a novel you have heard me mention once or twice . . . Jasper Fforde's incomparable Shades of Grey.


Welcome to Chromatacia, where the societal hierarchy is strictly regulated by one's limited color perception. And Eddie Russet wants to move up. But his plans to leverage his better-than-average red perception and marry into a powerful family are quickly upended. Juggling inviolable rules, sneaky Yellows, and a risky friendship with an intriguing Grey named Jane who shows Eddie that the apparent peace of his world is as much an illusion as color itself, Eddie finds he must reckon with the cruel regime behind this gaily painted facade.


This book is a dystopian to beat all dystopians. The first three chapters I spent scratching my head going, "Whaaaaaa . . . . ???" And then I stopped trying to make everything make sense and just allowed myself to be pulled into the world. Eddie and his dad open the novel on a tour, planning to visit the Last Rabbit? Okay. One of the most common forms of death are deadly swan attacks? Okay. Spoons are the most valuable trading commodity? Okay.

And, weirdly enough, it all made sense another few chapters in. I was part of Eddie's world and totally caught up in the bizarre and compelling plot! And that kick-in-the-gut ending? Absolutely pitch perfect. This book, despite all the fabulous reads of this last year, easily took First Place as My Number One Pick.

Warning: This is not a YA read. I would rate it at least PG-13. All of you younger readers should make certain you have parental permission before you pick this one up. Fabulous as it is, I would caution discretion to teen readers.

My next pick is a very recent read, but I did read it before the end of 2012, and it more than deserves its second place standing. This is The Perilous Gard by Elizabeth Marie Pope.


In 1558, while exiled by Queen Mary Tudor to a remote castle known as Perilous Gard, young Kate Sutton becomes involved in a series of mysterious events that lead her to an underground world peopled by Fairy Folk—whose customs are even older than the Druids’ and include human sacrifice.

That summary swiped from Amazon really does not do this amazing book justice. I was particularly interested to read it because I heard it was retelling of the Ballad of Tam Lin. My untitled Book 6 is a very loose retelling of Tam Lin as well. I wondered if I would like Elizabeth Marie Pope's version, or if I would find it a little disappointing after my recent forays into that famous legend.

IT IS NOT DISAPPOINTING. It is rare that I come across a hitherto unread YA author whom I truly look upon as a master and a mentor. Elizabeth Marie Pope is one of those rare writers. I want to sit at her metaphorical feet and drink in whatever she might teach me! I adored this book . . . it kept me up until 2:00am, and then I needed another hour to unwind after the breathtaking finale!

This is a YA appropriate read, and one I highly recommend. There are some very frightening passages, particularly toward the end that gave me real chills. But in a good way. This book is my Second Pick of the Year

And then last, but never least, Sir Terry Pratchett's Snuff stole my readerly heart.


At long last, Lady Sybil has lured her husband, Sam Vimes, on a well-deserved holiday away from the crime and grime of Ankh-Morpork. But for the commander of the City Watch, a vacation in the country is anything but relaxing. The balls, the teas, the muck—not to mention all that fresh air and birdsong—are more than a bit taxing on a cynical city-born and -bred copper
.
Yet a policeman will find a crime anywhere if he decides to look hard enough, and it's not long before a body is discovered, and Sam—out of his jurisdiction, out of his element, and out of bacon sandwiches (thanks to his well-meaning wife)—must rely on his instincts, guile, and street smarts to see justice done. As he sets off on the chase, though, he must remember to watch where he steps. . . . This is the countryside, after all, and the streets most definitely are not paved with gold. Show More Show Less


I am a huge Terry Pratchett fan, so I knew I was going to love this book. I'm also a particular fan of his character, Sam Vimes . . . who really might be my favorite Pratchett character of all time. I was not expecting this book to take me so much by surprise, however! But then, that's my own fault. Terry Pratchett always takes me by surprise. This is an action packed and yet thoughtful novel, with tender moments, tragic moments, laugh-out-loud moments (by the dozen), and even a few tearful moments. And Lady Sybil is just awesome. No two ways about it.

I always know a book is going to be a favorite if I walk away from it inspired about my own writing. Even if the stories I write are nothing like what I just read, a good book will feed my creative soul. Snuff did that for me. I really loved it! It is my Third Pick of 2012

I recommend it to fans of Sir Terry Pratchett. If you have not yet read any Terry Pratchett, I would recommend starting earlier in his series, however. Perhaps with Guards! Guards! which first introduces us to Sam Vimes. These books are adult, not YA, and though I don't recall anything inappropriate (Pratchett is not given to dirty writing), there is definitely some innuendo and more "mature" humor in places.

So there you go! Let me know your top picks of the year, and if you've listed them on your blog, send me a link! I'd love to see.

Happy end to 2012, dear readers!

Read-along: Chapter 29

And the end of the year is upon us. What a year it has been! But there is still much more to come . . . as there is for Princess Una in this story we are reading together. So, despite what it says on the banner, we will go ahead and keep up this read-along into January until we are through. It won't be too much longer now! And there's a big giveaway at the end of it, so be sure to keep commenting, faithful readers.


CHAPTER TWENTY-NINE

An eclectic chapter. Wow, this chapter covers a lot of ground! It also jumps to a variety of points-of-view. We start out with Prince Lionheart, from whom we have not had a point-of-view scene up until now. Then we move back to Una, deep in the Dragon's Village. And then we end up in the point-of-view of an entirely new character, Captain Catspaw of the Southlands guard.

You will notice as you read Heartlessthat we never once get a scene directly from Prince Aethelbald's point-of-view. This was an intentional choice on my part. For one thing, it keeps him much more mysterious to the reader, which I like. And this mystery, I think, adds to the romance. We don't know anything of him that he does not reveal to other people. But we do enjoy a variety of perspectives on him, including Lionheart's perspective in this first scene of Chapter 29.

The Council of Barons. We learn in this scene that the Council of Barons is watching Prince Lionheart. It's merely a brief mention, but becomes so much more important in later books. In fact, reading this book again after Moonbloodgives you a very different perspective on this whole scene!

The addled Eldest. I think the Eldest's greeting to Aethelbald is proof of how dragon-poisoned he really is. He makes the comment, "I cannot remember the last time I beheld a man from Farthestshore." The fact is, he has probably never seen a man of Farthestshore, because very few people believe Farthestshore even exists! It is hard to disbelieve Prince Aethelbald when he is standing right in front of you. But I can imagine that more than a few of the courtiers gathered that day thought it was all some sort of hoax, some cruel trick being played on their sickened king.

Prince Lionheart doesn't doubt him, though. He merely dislikes what he knows to be true.

Aethelbald's Purpose. I think this scene is yet another example of Aethelbald caring for more than just Una. He came to Lionheart, not for Una's sake . . . as we see later on, he does not need Lionheart's help, or the help of Lionheart's men. He is not so limited.

But Lionheart desperately needs Aethelbald's help. He needs to turn from this path he has chosen. And Aethelbald, full of compassion, comes and offers him an opportunity to forsake his own will and journey with him into the heart of dragon country. A journey which would, I believe, have changed Lionheart's life forever.

Lionheart, however, is unwilling to accept Aethelbald's offer. He is full of more excuses, more common sense, more good reasoning. And sends others in his place, somehow hoping to atone for his own reticence. It's not enough, of course. It never will be.

I don't believe that Aethelbald has given up on Prince Lionheart. I don't think he's the sort to ever give up.

The dragons of the Village. This scene actually gives some insight into the Dragonwitch character from Starflower (those of you who haven't read it, feel free to skip this section!). We see the dragons in their former forms pacing to and fro in the darkness. Una watches them as they pace, crawl, and mutter to themselves. We can only imagine that they are going over and over in their minds the hurts that led them to this place of evil fire. Just as Una thinks over and over of Lionheart and her heartbreak. When the fire mounts up too great, they burst into flame, transform into dragons, and race up the tunnel to go vent that flame on the worlds beyond.

The Dragonwitch can't do this.

Because of what she rebellion, the Dragon King took away her wings and her dragon form. Thus she is a dragon, but trapped in the body of a woman. When her fire mounts up, she cannot take relief in transforming to the body of a dragon, which can stand the violence of that flaming furnace. Her immortal woman's body  does not die, but the fire consumes her, burning her mind, taking her memory and driving her insane.

The Dragonwitch, firstborn of all the Dragon's children, truly is the most cursed of them all.

Do you wish to burn? The yellow-eyed dragon asks Una this question as she stands at the base of the upward tunnel. He tells her about his last time, burning soldiers in Parumvir . . . and Una does not realize that he also burned and poisoned her brother. I don't know if she would even truly care at this point, so lost as she is in her flame.

Dragon skin. The yellow-eyed dragon gives Una a black robe made from dragon skin. (Shudder!) He tells her to hide her exposed humanity.

And Una, thus clad, retreats back into the cavern. She's not ready to face the worlds above again. So she hides herself in the darkness, knowing that she can never be truly hidden. And she slips into dangerous dreams . . . .

Captain Catspaw. Poor Catspaw and eleven others are selected by Lionheart to travel with Aethelbald into the Red Desert. And the poor men have no idea what's coming! But things start out weird enough when Aethelbald asks them, "Will you follow me?" then proceeds to walk out of the gates without a horse! Worse still, he leads them away from the city, over the King's Bridge, an on at last . . . to one of the gorges.

He then leads them down into the Wilderlands.

None of them want to follow him in there. It is an unspoken rule that no one enters the Wilderlands. That's why they have bridges, for Lumé's sake! And there's a little reference saying: "No one climbed down to the Wilderlands below unless banished in cruelest punishment for the most vile of deeds." Foreshadowing!!!! But not until a later book . . . .

The Red Desert. The men follow faithfully enough, however, stepping onto the strange Faerie path behind Aethelbald. And they cover leagues upon leagues in mere strides! And when at last they emerge, they find themselves no long in Southlands at all. They've crossed to the Continent, over Chiara Bay, without so much as dampening their feet!

 Now, then men are truly terrified. And when Prince Aethelbald asks them to enter the Red Desert behind him, they cannot bear to. Not even the honor of Southlands is motivation enough! A Catspaw himself says, "We have all of us breathed in dragon fumes and lived under the shadow of dragon smoke for five long years, and it's a miracle any of us is alive."

And so Aethelbald enters the Red Desert alone.

My Personal Favorite Lines

1. "Their hearts fear us even if they don't know why. I hate their fear. Nothing incites my fire more. I find I can scarcely enter a town before the fire bursts out of me now. So I come here when I need quiet. Here among my family." (p. 283)

Questions on the Text

1. This one is for your writers out there. Have you ever tried refraining from giving a main character a point-of-view in order to contribute to the mystery of that character? Have you maintained this mystery through an entire manuscript before? Do tell!

2. What difference do you think it might have made in Lionheart's life had he agreed and followed Prince Aethelbald?

3. In honor of the coming New Year . . . what book or books are you most looking forward to reading in 2013? Have any of you made reading lists?

4. Any favorite lines?

Reader Questions

1. I also think I discovered another literary nod within this chapter. Una's attempt to brush her hair and the resulting hurling of the shell-edged comb at the mirror. "The mirror cracked". Alfred Lord Tennoson's "The Lady of Shalott?" Una, too, is waiting for her love just as Lady Elaine pines for Launcelot. "Out flew the web and opened wide ... The mirror crack'd from side to side. "A curse has come upon me!" cried The Lady of Shalot". Just a thought. -- Meredith

Good spot, Meredith! I am impressed! I do believe this was a little nod to Tennyson. I memorized most of the "The Lady of Shalott" when I was in high school, and I like to reference it here and there in my writing.

One thing you'll notice in all of my books is a tendency for my characters to make "three paces" here, there, and everywhere. This is an unintentional nod! Everytime I need them to take a step or two, the line from "The Lady of Shalott" comes to mind: "She left the web, she left the loom/She made three paces through the room." In fact, when I was doing a final read-through edit of Moonblood, I had to  very consciously go through and take out several "three paces" references! They just keep slipping in. A case of a literary nod gone wild . . .

2. Do most of the characters represent fallen humanity in this way? I mean do all have the possibility of becoming dragons? Yet some are given to the sister of the dragon. If I have this correct - The dragon represents dreams that are destroyed (so dismay over what can not be) and the lady represents dreams that have been fulfilled (dreams that consume the heart of man). So depending on which way the character's life is going they will end up meeting with one of the two Fates? Do the people under the lady's power have a physical transformation as well? Lionheart did not so I am guessing no. Do only certain characters represent humanity? I noticed some characters, like Starflower, did not really go through this process. -- Courtney

Good questions! I don't think all of the characters represent fallen humanity in the same way Una does. Una is a very distinct representation of the church. Even her name, "Una," is taken from the princess in the St. George and the Dragon legend, who is said (by some) to represent The One Church. Thus she is fallen humanity, rescued by the blood of Christ in a very specific way.

The other characters are all flawed and fallen in some way, but they aren't such distinct symbols as Una is. They are more personal, less universal . . .

Some of those taken by the Lady undergo a pretty drastic transformation, but it's a much slower process than what we see in the Dragon's children. She is far more subtle and insidious than the Dragon is, so the transformation worked on her victims is also more subtle. If you read Veiled Rose you'll get an eyeful of one of her servants deep in transformation, however. I don't know if that character reflects the coming fate of all the Lady's children or not, however it is a possibility.

I see the Lady and the Dragon as two sides of the same coin. They have their own personalities, but they are basically just two different anthropomorphizations of Evil.

Read-along: Chapter 28

And here I am, rather late, but back with today's write-up for the read-along! This chapter was quite long and quite full to the brim of interesting little details. I hope you'll enjoy exploring it more deeply along with me . . .

Don't forget to continue leaving comments! At the very end of the giveaway, all of you who comment will be entered in a drawing to win a grand prize of Veiled Rose, Moonblood, and Starflower. You don't want to miss out!

CHAPTER TWENTY-EIGHT

Glimpse into the Far World. We never actually see the Far World of Faerie within the pages of Heartless. At least, not up close. The closest we get are Felix's glimpses as he stands in the Haven, which is built in the Wood Between. Looking out from his chamber, he glimpses a vista of mountains and a snaking river . . . the mirror images of the mountains and river of his own mortal world, except much bigger and more wild and strange. The Far World of Faerie seems to lie right over the top of the Near World of mortals, sharing much of the same topography.

It's quite a staggering sight--and still more staggering concept--for recovering young Felix.

Imraldera's Outfit. I had fun inventing this style for Imraldera . . . or rather, not inventing. It's inspired by a salwar kameez my Pakistani friend, Aqsa, gave to me. Aqsa loves to host enormous banquets for all her Pakistani friends, and she would invite me to attend. I would wear salwar kameez and say, "Assalamu alaikum," to anyone who spoke to me, and most of them believed I was Pakistani . . . until they asked me questions in Urdu which I could not hope to understand! But I really enjoyed those epic evenings, surrounded by the beautiful sights, sounds, and smells of a culture very different from mine. And Aqsa's traditional Pakistani cooking was to die for!

I ended up collecting quite a few salwar kameez outfits, including a red one embroidered all over with tiny mirrors, and a gold velvet and black one with "bangle" trousers. But my favorite was a green and lavender ensemble with a lovely matching headscarf, or "dupatta." Maybe I'll dig it out and model it for you one day . . . .

Imraldera's age. One of the first mysteries surrounding Imraldera is her age. At first, Felix assumes that she's right around Una's age, maybe a little older. But then he believes she might be quite old indeed, despite her youthful features! We learn in a later book that Imraldera is actually over 1600 years old . . . but aged physically since she was about sixteen, younger than Una, in fact. But Felix, who doesn't know this, is understandably baffled.

The silver pitcher. Imraldera offers Felix drink, and the poor boy immediately asks, "Will it . . . do anything to me?" He is in a strange new world now, where his room is both a room and a forest grove, and monsters snuffle on the fringes of the night. And here is this girl who is both very old and very young, offering him drink. What's he supposed to think?

Crooked Teeth. Felix wonders if Imraldera is a Faerie since she is able to the invisible attendants surrounding him. "Mortals cannot see Faeries within the Wood," she tells him. But she obviously can, proving that she is not mortal. But neither is she a Faerie.

This is further proven by one little physical detail added in about Dame Imraldera . . . she has slightly crooked teeth. Now an immortal Faerie would not deign to suffer such an imperfection! If nothing else, it would probably cast a glamour so that all who looked upon it would see nothing but perfection. But Dame Imraldera, with her lovely face and features, smiles and displays her crooked teeth without shame and without glamour. Clearly not a Faerie!

And Felix thinks this imperfection of hers somehow makes her more beautiful. I think someone might be smitten! Just saying . . . .

Invisible Attendants. It pleases me to read this scene with Felix trying to catch a glimpse of his invisible attendants, Faeries of the Haven who will not show themselves to him. For one thing, I just finished drafting the novel where we learn who these invisibles are and where they came from! But here in Heartless they are just one more little enigma experienced by my characters . . . and by you, my dear readers.

The vista vanishes. Felix glances back to look at that sweeping view of mountains and rivers . . . only to discover that he is now looking on a forest of thick trees! The great view is gone, as though it has never been. More than a little terrifying for our poor addled prince!

But, Imraldera carefully explains to him that the Haven rests in the Halflight Realm between the worlds. It chooses what view it wishes to look upon for itself, be it the Between, the mortal world, or the Faerie Realm. And poor Felix had better get used to it or just not look!

Poisoned Wound. We also learn that Felix has been badly poisoned by the yellow-eyed dragon in the Wood. Those claws pierced him deeply. Imraldera's not even entirely certain that it will be safe for Felix to ever leave the Haven, so deep is that wound . . . which notion does not please Prince Felix in the least!

Strange names. Felix thinks Imraldera's name is strange . . . and is strange, being one of the few "made-up" names in this story! Most of the names in my world are derived from real-world sources. Even outlandish names like Aethelbald and Vahe (the goblin king briefly mentioned in an early chapter) come from our own world. But Imraldera's name is derived from a Faerie language and spent a good bit of time in high school inventing . . . with the foolish delusion that I would somehow prove a skilled linguist!

Heheheh. Skilled linguist I am not, but there are many hours of creativity sunk into those grammars and dictionaries, so I make use of them now and again. "Imral" is my Faerie word for "star," and "dera" is the feminized version of "flower."  The gender-neutral version is "deri," and the masculine form is "deru." Which is why, in Starflower, when Eanrin first references the blossoms growing on the vine, he refers to them in the gender-neutral form, imralderi. But when he names Imraldera, he gives it the feminine form. (Yeah . . . way too much time spent on that!)

"Felix" is a Latin name that means "happy," and Imraldera is right when she says the name suits him, somehow.

The Prince is my master, Imraldera tells Felix, mentioning that Aethelbald once rescued her from "an evil such as I will not describe to you here and now." FORESHADOWING! I had written copious notes and even a longish short-story version of the novel that becameStarflower years before drafting Heartless. So, of course, I wanted to drop a mention here and there of that story!

Meanwhile . . . Una flies from Southlands in her dragon form, seeking nothing. By some unknown instinct, she makes her way to the Red Desert . . . the world of dragons, as she believes.

It is interesting to note at this point in the story, Una is not referred to by name anymore. She is merely "she" or "the dragon-girl" or sometimes "the dragon-princess." But her name is gone. This is something that happens to most dragons when they are transformed.

Names are one of the most important elements in Starflower, but it's interesting to me to see a similar theme running through  Heartless.I'd almost forgotten about it! But names have always been important features of fairy tales. Look at Rumpelstiltskin as a prime example.

Meeting in the desert. When I first drafted this novel, I had a short, chapter-by-chapter outline which I followed to keep me focused. Only a sentence or two described each chapter, but for the most part I followed it fairly closely.

When I reached this scene of Una in the desert, everything took an unexpected turn, however. Out of the blue, the yellow-eyed dragon (who in the first draft hadn't shown up yet) appeared on the scene, calling Una "sister" and offering to take her to the Village of Dragons. As intrigued as Una herself, I allowed the scene to keep playing out, following the yellow-eyed dragon down that twisted path. And there we met the oft-mentioned Bane of Corrilond and saw the dreadful squalor in which the dragons lived, as they suffered the burning of their own spirits. A living hell, full of torment and vengeance and sorrow . . . and the loss of names.

The one thing they have is their kinship. They are a hell-bound family of monsters, united in hatred and in flame.

None of this scene or the ensuing scenes of the Village were planned in my outline. But outlines are merely guidelines, not set in stone!

The Bane of Corrilond. And so at last we meet the figure from Una's tapestry, and from the little marble statues down in Oriana's gardens. A giant of a dragon-woman with a harsh, almost manly voice. Long ago, she was betrayed by her lover for a chest full of rubies . . . but there's much more to the story than what the yellow-eyed dragon tells Una here. Much more, which you will have to wait until later to read! But I do hope one day to be able to tell the whole of that tale. Then we can learn more about Destan, Aysel, and the Queen's City of Nadire Tansu, and the last Queen of Corrilond, lover of riddles . . . betrayed and forgotten.

With my uncle. The yellow-eyed dragon claims to have seen Nadire Tansu destroyed. He also mentions his uncle and how the Queen's was more beautiful than the halls of Iubdan Rudiobus. Can some of you figure out who his uncle might be? If he is familiar with Iubdan Rudiobus, perhaps this yellow-eyed dragon was once a Rudioban himself . . . .

The throne of the Dragon King. The yellow-eyed dragon shows Una the stone throne, covered in blood, from which the Dragon King reigns and devours his own children. The Dragon has been a fierce foe up until this point . . . but here, in this scene, even though he is not present, I think we finally get a true glimpse of just how horrible he really is.

Home. So Una finds herself in this hell of a village, and she tells herself that it is her home. All she can now hope for is to make a infamous name for herself, a name that will not be forgotten . . . .

My Personal Favorite Lines

1. "Will it . . . do anything to me?" he asked.
She laughed. "If you're afraid it will doom you to an eternity as my slave or something along those lines, no, it will not. It is water, nothing more." (p. 266)

2. "But you must listen to me and do as I ask, or things may go the worse for you."
He scowled a little. "I'm not a baby," he muttered, low enough that he didn't think she would hear. But the corner of her mouth lifted, and he knew she had. (p. 268)

3. Soon she would have to rest. But if she rested, she might have to think, and that would be unbearable. (p. 270)

4. "No one understood me before, you see," he said. "Tried to control me. But I showed them."
She did not answer.
"Here they understand," he said. "No chains, no obligations. That's what I like."
She remained silent.
He squeezed her hand almost encouragingly. "And you?" he asked.
"Forgotten," she said.
"They always forget as first," he said. "But they won't later. He will show us how to make them remember." (p. 272)

Questions on the Text

1. What do you think it means that the dragons all lose their names soon after their transformation?

2. Both the yellow-eyed dragon and the Bane of Corrilond make comments about "always being forgotten at first." How do you think the Bane of Corrilond and Una might be similar, based on the information we are given? Do you think the yellow-eyed dragon might have a tale similar to theirs? Why are they so determined not to be forgotten?

3. Favorite lines?

Read-along: Chapter 27

So sorry I missed posting yesterday! I had every intention of getting a chapter in, but the day just swallowed me. I'm going to make up for it with two posts today, I hope. This one is a little bit shorter than usual, and done in a slightly different format. I hope you will find it interesting even so! Check back later today for chapter 28.

CHAPTER TWENTY-SEVEN

The Chapter that almost ended Heartless . . . and my writing career as we know it.

So many of you know already that I started out writing this story in a much shorter version, by hand. The first novel-length version of Heartless was no more than 40,000 words long, and it was entirely focused on Una's part of the story. I penned it in a selection of spiral notebooks and my leather-bound journal of the time.

During that summer of composition, I took a trip out to Oklahoma to visit my USAF brother, Tom, who was at flight school at the time (he's now a decorated search-and-rescue helicopter pilot). Anyway, I took along my notebook on the airline flight to have something to do. I had written all the way up through Una's escape from Oriana in dragon form, her flight across country, all the way to Southlands. Indeed, I had come all the way to the point of Una's confrontation with Prince Lionheart . . .

And sitting there, at 4:00 in the morning (I always purchase early tickets. Saves money), my knees tucked up to my chest, waiting to board my flight, I stared at my page and thought, I can't write this.

I just couldn't bear the thought of Lionheart betraying Una so utterly! Up until this point, I, along with Una, could tell myself that the Dragon was a liar. That it was all part of his wicked ploy to transform Una according to his will. But that maybe . . .  just maybe. . . Una would come to Southlands and discover that it was all a trick! That Lionheart was indeed faithful, that he had not betrayed her as she thought!  That something else had kept him back, but he all along intended to come through, to find her, to fight his foe, to liberate the captives and become the hero!

I wanted it almost as badly as Una did. I had fallen head-over-heels for Lionheart myself, after all. He's so charming! He's so funny! And he has suffered so much. I knew when I started out writing him into the story that I had to make him convincing. I had to make the reader fall for him as hard as Una did . . . and in my case, at least, I succeeded!

So I put aside the notebook. I knew deep down in my heart that this scene had to play out the way it did. But I put aside and for about a month tried to consider some alternate path. Tried to tell myself that there was still some way I could rewrite the novel, making Lionheart the hero.

I even considered not finishing the book entirely.

Which, of course, in retrospect would have been disastrous. Heartless was the book that got my career up and running. I had written other things and toyed around with other ideas, but most of them were too complicated for my skill-level. Heartlessstruck the perfect balance of being a simple enough plot for my writing skills of the time, while maintaining some complexity and depth that can surprise the reader. It was the perfect gateway story into this series, and the perfect gateway story into my career.

I knew this. I knew God had planted this story in my heart for a purpose, and I suspected that part of that purpose at least was getting my longed-for writing career started. But I had to finish the book first . . . .

It took some time and some prodding. I kept starting and stopping this scene again, unwilling to watch the conversation play out as I knew it would. I focused on developing my teaching studio, taking on  art students and taking another teaching position at a local learning center. I sketched and painted and pretended that the story just wasn't as important as all that.

But it was. So eventually, after some serious prodding from God during moments of prayer, I picked up the notebook, and I finished this scene. Along with Una, I experienced the heartbreak of rejection, of final rejection. Of knowing that those little lies I've told myself can never become truth. Of knowing that those dreams I cherished were truly dead and burned.

Lionheart was indeed the antithesis of his name. Lionheart was the coward.

But, because of his cowardice, this book came to life with a story that resonates. And just a few months later, God opened doors for me. I signed with an agency, and soon after, signed with Bethany House Publishers.

And to think, I might have missed all of that because of this one scene!

My Personal Favorite Lines

1. "There is something odd about your face, something not--"
"Again, I could say the same," Una replied, and a tiny smile lifted the corner of her mouth. "That beard . . . " She reached out a hand to his face, but he caught it and pushed it away. (p. 260)

"This is no time for jokes," he said.
Una drew back and wrapped her arms about herself, still keeping the scale-covered hand hidden. "Then it is true," she said. "You have killed him."
"Killed whom?"
"My jester." (p. 260)

"I must do what's best for my kingdom. That includes not being devoured by monsters. Can you understand that? My people need me alive, not roasted." (p. 263)

Questions on the Text

1. Lionheart spends a great deal of his time in this chapter making excuses. But don't you think that some of these excuses might be valid? What are your thoughts on Lionheart's explanations to Una in this chapter?

2. What do you think of Una's reaction? Should she (if she weren't a dragon) have been more understanding? Do you think this reaction of hers is understandable? How would you have felt in her place?

3. Favorite lines?