Anne Elisabeth Stengl's Blog, page 41

Read-along: Chapter 17

Again, a little later posting this than usual! Will try to get back on track tomorrow and the next few days. This time of year is so crazy, as I'm sure all of you know.

But, things are heating up in the world of Heartless, and it's certainly getting to be an exciting read. Let me know your thoughts!


CHAPTER SEVENTEEN

Back to Felix: It's been a little while since we had a scene from Felix's perspective. It's kind of nice to go back to him and see some of this intense action from his point of view. He's quite a young lad, but very brave, all considering. He doesn't let himself simply get pulled away with the tide of people, but breaks out and tries to find his father. Felix definitely has the makings of a true prince!

The original scene: This scene of Felix on Goldstone Hill, struggling to find his father, is almost word-for-word how I wrote it in the original draft. And that original draft was penned in a leather journal while I sat in the middle of the woods. There was a park with a lake and various walking trails near the apartment where I lived with my beloved roommate, Charity, the year after I finished at university. I liked to go walking there for inspiration most mornings and evenings. I often took my journal (shades of Una?) in case inspiration struck.

But on that particular walk, inspiration struck and hard . . . so I climbed into the dense woods off the trail, sat with my back to a tree where I was certain no one passing could spy me, and wrote Felix's adventures on Goldstone Hill.

Oddly enough, I thought it was a pretty poor piece of writing when I first penned it. I seriously thought it was unusable. But I trotted home, typed it up into the manuscript, and told myself I'd revise it someday into something decent.

I never did.

So, good, bad, or indifferent, what you see in your copy of Heartless is a slightly polished-up version of what I penned in the woods that day.

The city in flames. So not only was Oriana Palace attacked that night. Sondhold City itself is under surprise invasion. By whom? Well, it doesn't take a great deal of puzzling to work that out . . .

We must save Una. Fidel, though scarcely conscious, is obviously terrified for his daughter. I wonder if this is more than fear for her imprisonment. I wonder if Aethelbald warned him of Una's coming fate . . . 

Monster! We knew the brave Sir Cat wouldn't abandon his charges to their fate. He cannot help Una at this point--we've already seen that he is no match for the Dragon--but he finds Felix on that darkened hill and leads him through the dark.

I wonder if Felix might have briefly walked a Faerie path while he followed behind Monster? I never say as much, but it's not impossible . . .

Captain Durand and the king's men. Thankfully, the armed men who find Felix and Fidel on the hillside are soldiers of Parumvir, not the Duke's men. But they do bring word that it is Duke Shippening who has attacked Sondhold, the very capital city of Parumvir! And during a time of peace, with no declaration of war! Does the duke's odiousness know no bounds?

They cannot rescue Una, trapped inside Oriana as she is. But they can get the prince and the king away to safety.

Fidel's harshness. Fidel, full of dragon smoke, is very harsh to Felix in this moment. I think the harshness is born from love; he doesn't want his son to risk his own life to save him. But it comes out rather cruel in that moment, and Felix probably doesn't understand.

Felix and Monster. Despite their uneasy friendship, Felix shows a moment of soft-heartedness by hopping off his horse and picking up Monster, carrying him away to safety.

My Personal Favorite Lines

1. His steps slowed unwillingly, for a terror hitherto unknown rose in his breast as he neared those familiar walls. It was most like fear of the dark; a fear  not of what the darkness could hide, but of everything the dark represented and the very absence of light. (p. 178) I am scared of the dark myself, so I sympathize with Felix here!

2. "I'm not following you," Felix muttered. "You're blind, stupid."
"Mreaaa!" the cat squawked and sank a set of dagger-like claws into Felix's leg. (p. 181)

Questions on the Text

1. Did you guess who had attacked Sondhold the same night as the Dragon's coming? Would you have believed that Duke Shippening and the Dragon were allies?

2. Do you think Felix picked up Monster for Una's sake? Or do you think he might secretly care about the cat?

3. Favorite lines?

Read-along: Chapter 16

I'm just back from a fabulous weekend away at my dear sister-friend Erin's house (where I got to play with my namesake niece, baby Annie . . . SQUEEEEE!)

But I'm scrambling to catch up a bit now, so I do apologize for posting this a little bit later than usual.

Be sure to leave comments! Everyone who leaves a comment for each day of the week will be entered in a name-drawing at the end of the week. You could win an autographed copy of Veiled Rose, Moonblood, or Starflower!

CHAPTER SIXTEEN

The Dragon's form. In the original short-story version of Heartless,the Dragon never took this other form. And when I began writing the novel, I had no intention of him being anything other than the classic, fire-breathing monster.

But when I started writing this scene for the first time, it came to be suddenly--in a bolt of inspiration--that the Dragon was not limited to this one shape. Why would he be? He is a being of pure evil, and evil can take so many, many shapes.

So even as I wrote the scene, I watched with horror akin to Una's as he crossed the bridge, folded his wings, and suddenly became a towering man with lifeless skin stretched over the black skull of his head, his eyes blazing with deep, hateful fire.

It was many drafts later that I added in the early scenes of Una's dream that foreshadowed the Dragon taking this form. But when I first wrote it, this was the first that I saw him this way. Shudder!

Vampire mythology. Some of you might notice some loose connections to vampire mythology surrounding the Dragon. For instance, Una is told to "invite him in," etc. I actually didn't realize that I had done this when I first wrote the story! It wasn't until one of my beta readers, librarian Edward Blessing, pointed it out to me that I realized that mythology had slipped in there. I believe I had been reading Dracula for the first time around  then, so that might have had something to do with it.

Once I realized it, however, I decided to leave it. Vampires are another classic symbol of evil that have been, in recent history "tamed." Just like dragons. So I thought it fitting to reclaim some of their malevolence and wickedness in my own literary endeavor.

Oh, Una, you know me. Some people have been confused by this line over time. They've asked me, did this refer to the dream? Or had she actually met him at some point in her life that we didn't know about?

I don't think this line refers to either of those possibilities. I think it refers to Una's unconscious knowledge of her own wickedness. She knows, deep down in a part of her spirit that remains unacknowledged, that she is as evil as he. That his fire lives inside her. And it's only a matter of time until that fire will respond to his voice and come raring to life. So in that respect, she knows him without ever having met him.

Everyone recognizes the Dragon. They all know who he is the moment they see him. Perhaps they don't know him by name, or even know how they know him. But he is as familiar to them as their own faces in a mirror. I think that is part of what makes him so dreadful! It would be one thing if (as in Veiled Rose) he appeared in his dragon-form, all fire and wings and scales. We would understand the immediate terror that vision would create! But this form of a man is somehow more horrible by far, and everyone knows him, and everyone obeys him.

Monster and the Dragon. Even brave Monster feels at the first whiff of the Dragon. I'll bet the Dragon disguised himself somehow so that Monster did not sense his presence long, long ago. We know this knightly cat has highly developed senses so that he can even smell out Una's dreams. But he did not know the Dragon was coming until the Dragon was in the house. So I'll be the Dragon knew he was there and hid himself.

And the Dragon's wicked comments to Una  . . . do you think maybe he knows Monster is a Knight? I think perhaps he does. But he is much more focused on Una at the moment. (For those of you who have read Veiled Rose . . . interesting to note that the Dragon doesn't seem even remotely bothered by Monster, while he is obviously quite nervous of Beana!)

Fidel. The king obviously knows exactly who the Dragon is the moment he sees him. I can't help but wonder if Aethelbald's warnings all flooded back through his mind in an instant upon that sight. How he must have blamed himself! But he is a brave man, and protective of his children and his kingdom. A futile courage, but courage nonetheless.

The man with the white face.I just remembered . . . for most of this scene, the Dragon is referred to as "the man with the white face," almost as though it's his name. Want to know where I got that from? Tuck Everlasting. The villain of that story is called, throughout the novel, the man with the yellow suit. I always thought that dehumanizing title was so chilling, so I liked using that little technique, however briefly, in this introductory chapter of the Dragon. Thought you might find that tidbit interesting!

Una, ferocious. I sometimes get a little frustrated when reviewers talk about my Una as being totally helpless and spineless. Because the fact is, she several times over tries to attack the Dragon all by herself! Look at this moment when the Dragon is kicking Fidel down. Una actually grabs the Dragon's hand and bites it! She literally bites it!

So, yeah. I don't think she's as spineless as all that. She's a princess, yes. She's been sheltered, sure, and she's no warrior maiden. But she is fiercely protective of her family!

She's simply no match for the Dragon.

He will come. The one thought that gives Una peace, even as the inferno face of the Dragon leans in upon her. "He will come."

But who does she mean? Leonard seems an obvious choice. But Leonard wasn't the only one who promised to return to her . . . And she doesn't say a name here.

Whoever it is, the thought itself is enough to make the Dragon pull back, saying, "You'll be ready in time."

Alone in Oriana. So Una shuts the door, and she is alone in the enormous palace that was her safe home.

My Personal Favorite Lines

1. This is another one of those scenes that changed very little from the original scene I scribbled out by hand in the first draft. It came to me so clearly, so vividly, so horribly, and I really could hardly improve upon it. I still think it's some of the best writing in the whole book, outmatching even many of the later scenes that I composed as a "better" writer. So I'll not pick favorite lines because I really (perhaps arrogantly) love this whole section!

Questions on the Text

1. What do you think . . . did the Dragon compel Una to invite him to her home, or did she secretly, deep down inside, want him to come into her home?

2. Who do you think Una means when she thinks, "He will come?"

3. What do you make of the contrast between the first half of the book and the events taking place now? Do you like it? Is it perhaps a bit too jarring? A good sort of jarring?

4. Favorite lines?

Read-along Weekly Winners!

All right, dear readers! This week's winners are drawn! And our three lucky fans are . . . .


Anna C. -- Veiled Rose

Courtney -- Moonblood
 
Bookishqueen --  Starflower

Congrats, ladies! Email me your mailing address to: aestengl@gmail.com. I will try to get your winnings off to you by tomorrow morning . . .

Keep coming back next week for more opportunities to win!

Read-along: Chapter 15

CHAPTER FIFTEEN

A father's reaction. I think Fidel's reaction to Una's story is pretty understandable. I mean, I can't imagine I would feel any better about it if my child told me that the court jester claims to be a prince and got her to promise him her trust. Not to mention giving away her priceless opal ring like that!

But Fidel is surprisingly understanding, I think. He does tell her that Lionheart proves sincere, he will accept him gladly. He simply doesn't want Una to give her trust--her heart--away so easily.

But Una is quite determined the Lionheart is who he has said he is. She wants to believe him. And who's to blame her? I want to believe him myself!

Felix's age. Well! I'd forgotten that Felix turns fourteen here in the book. Someone asked earlier how old he was, and I said about fifteen, but I was wrong. He turns fourteen in this novel, which means he's probably fifteen by Moonblood, which is where I was pulling that age from. My bad!

Monster. Una's pet has been a bit quiet in the last few chapters. But we continue to get references to him here and there. He's close by, watching over her, even while Aethelbald is away. I'm sure it was frustrating for him, watching his mistress give away her heart to the jester while she continues to refuse the Prince! But Monster remains loyal no matter what.

Una's dream. Once more Una dreams a harsh dream. This time, it flashes quickly across her mind, the face of the evil, death-faced man. and she hears voice saying, 'It's yours! Take it!"

With that she wakes up. But the burns on her hands remain sharp and painful, and they do not fade the next day. Even Nurse notices them and thinks Una was grabbing the fire irons.

Alone in the Wood. Una shuts the door in poor Monster's face as she hastens out to the Wood on her own that cold evening. Winter is coming, and Parumvir is far north enough to promise a very cold winter. I picture it all gray and still, with dark, naked branches tangled above Una's head as she goes. And her nose is biting with cold, and her air steams before her face, but she doesn't care! She is so lost in her own thoughts, worrying about Lionheart, wondering if she will ever see him again, ready to make herself sick with this obsession.

Part of me feels, while reading this, "Wow, Una needs another passion. Something to focus her mind on. Anything to shift her thoughts a little bit! Surely this obsession over Lionheart isn't healthy!" Well, it probably isn't. But it's also very relatable. I've been there myself!

Imagined Moment. Una briefly believes she sees Lionheart return. She believes he came and asked her to come with him, now. But though she is ready to fling herself into his arms, she stops. She wonders if he has done what he said. Did he kill the Dragon?

He hasn't. He must admit that he has not succeeded. And he says that she cannot love him. Una tries to protest, tries to hurry to him.

But then she wakes up from this cruel dream.

She wakes up, and meets the Dragon.

The Dragon. At this moment, the whole of Heartless takes such a drastically new turn, it's almost unbelievable. I remember when I sent the third draft to one of my Beta readers. He told me how shocked he was by this sudden turn of events. To go from dreamy-princess-wants-to-get-married to . . . DRAGONS! FIRE! DESTRUCTION! It's a bit dizzying.

But I've always really liked this moment. And really, when you read carefully, you see that everything has been leading up to it. Even the dream she just had about Leonard . . . I'll bet you anything the Dragon sent her that dream, just to torment her!

And now, the story begins to steamroller at a frightening pace. Are you ready to keep up with it?

My personal favorite lines:

Monster was burrowed somewhere deep, a furry lump at her feet, as near to the bed warmer as he could safely sleep. (p. 166) Such a cat. LOL.

She pretended she slept but couldn't fool herself. Her nose was frozen, but Una was too tired and too cold to lift the blankets to cover it, so she pretended it wasn't cold and failed at that as well. She wondered if the faerie-tale princesses who fell into enchanted sleeps felt like this as they lay for a hundred years, frozen in time. How boring it must be for them after a decade or two. (p. 166) After Starflower, this makes me laugh particularly!

Monster placed himself in her lap and started grooming with all the care of a dandy. (p. 167) Oh, Monster. How we love you.

Questions on the text:

1. Una says the trust is believing without seeing. Fidel says trust is knowing the truth and believing in that. Who do you think is right? Or do you have another perspective neither of these two saw?

2. Have you ever been so upset about something that it consumed your thoughts to the extent Una's thoughts are consumed? I really relate to this bit with her, because I have felt this way many times over. So hard to focus on anything else, and so impossible to get that recurring thought out of your brain, even when you know it should go!

3. So, initial thoughts . . . What about that Dragon?!?!?

Read-along: Chapter 14

CHAPTER FOURTEEN

A likely story. Una is, understandably, pretty incredulous of Leonard's revelation. The jester? A prince? Um . . . right.

But it does explain a lot, doesn't it? It explains his courtly bows. It explains his pride, and his irritation at being reduced to the role of "floor scrubber."

Una does have a point, however, when she demands to know the reason for his lies. One doesn't ever like to be lied to, no matter how good the excuse!

Leonard's Story. There are a number of interesting little tidbits to be gleaned from Leonard/Lionheart's account of his adventures these last five years.

For one thing, he mentions ancient Southlands, "back before we traded with the Continent." He mentions dragon-worship. Oh boy, is that ever foreshadowing of stories to come! Of one particular story, coming up very soon, actually . . . 

But Southlands hasn't had much or any doings with dragons since, and they had faded into stories and myths. Then, out of nowhere, this dragon dropped from the sky, laying waste to the surrounding country and imprisoning the king, the queen, and eighteen other nobles within the Eldest's House.

We learn that Lionheart had been out riding with "a friend" that day. Those who have read Veiled Rose know who that friend was and what Lionheart had intended to do with that friend on that day. But he doesn't mention any of this to Una, and we are left to wonder along with her about these details. Though Una does, quite pointedly, pick up the little tidbit that this friend was a girl . . . But Lionheart hastily assures her that this girl is nothing but a friend.

And at last, we learn that the Dragon sent Lionheart on his five-year exile. Lionheart has spent all that time searching, searching, searching for a way to kill the creature. But the Dragon seems to think that Lionheart will help him somehow . . .

The Game: We learn from the Dragon's recounted dialogue that he does not take Lionheart for one of his own because "I lost that game long ago!" So we can extrapolate from this that Lionheart's life was also played for by the Dragon and his sister . . . and this time, the Lady of Dreams Realized won.

Evasive: Lionheart does not seem willing to tell Una as many details as it might first seem. For instance, when he says he "picked up a thing or two about dragons," Una asks him if he means, how to kill them. But he answers only, "Perhaps." Much as I love Lionheart in this scene--he really is kind of adorable--I do feel a little bit of suspicion here. What is he not telling her? Is he afraid to tell the whole truth? Is he ashamed?

An almost-confession. At the end of his story, Lionheart almostconfesses love for Una. Almost . . . but not quite. He doesn't actually say the words, does he? He implies a lot, and I believe he means it, sincerely. And Una believes him as well, and suddenly all her thoughts and feelings of a few days before come raging back to life again!

But he doesn't actually say the words.

Instead, he asks, "Will you trust me?"

And first, Una thinks of Gervais, and his false charm. Then, once more, she thinks of Prince Aethelbald . . .

The opal ring. To help Lionheart pay for his journey back to Southlands, Una gives him her mother's ring. With scarcely a thought, she slips it from her finger and hands it right over to him!

Moodiness. Una gets a lot of guff from readers. She's simply notthe heroic type! She's not the tough-as-nails warrior maiden who solves all of her own problems, makes only a few mistakes, but ultimately rights all wrongs. She's not the hot chick that the super-hot guys fall madly in love with, and she's not exactly Miss Pious either.

But I really do love her.  She's so female sometimes, it's hilarious! Her moodiness in this next scene, for example. Maybe I’m alone in this (though I doubt it), but I can relate to Una's spontaneous bursts of weeping for apparent reason to those around her. Not that I go around crying my eyes out all the time . . . well, except for those certain times, you know. But when I'm feeling a bit fragile and emotional as Una is in this scene, it's a nice relief to be able to cry now and then.

Yes, she's maybe a bit extreme. But isn't that part of what makes her lovable? I'll stand by my comically naïve heroine, even in a world of monster-slaying warrior heroines!

And goodbye to the duke . . . for now. I did like the exchange between Fidel and his old nemesis. The duke seems so shockedthat Una wouldn't be interested in his suit! Even though he hasn't bothered to learn her name . . . HA!

Miscommunication. One of the most fun things to do with a pair of characters is to stick them both in a scene with two completely different "scripts," so to speak. The one firmly believes they're talking about one thing, the other firmly believes they're talking about something totally different . . . It's quite fun for a comedic scene such as this one between Una and her father.

It also shows just how bad the communication has gotten between Fidel and his daughter. It's hard for fathers to keep track of the emotional ups and downs of their teenage daughters, I know. And Fidel is a king, busy ruling an entire kingdom. And he does not have the advantage of a wife to keep him posted on what's up with his eldest child. Nurse does her best . . . but, we all see how that went!

My Personal Favorite Lines

"So what must I do to prove myself? Cut my arm and show you how blue my blood is?" (p. 153)

"Whatever your grievance may be, I hope--"
"That daughter of yours!"
"Una?"
"Whatever her name is!" (p. 159)

"You know that I cannot enter into a betrothal without your blessing."
"And you know you will have it so long as the man of your choice knows better than to eat soup with his fingers and isn't up to his ears in debt." (p. 160)

Questions for the text:

1. I really love Lionheart. Honestly, I really do. Obviously, he's gone on to star in two more novels, while my sweet Una, much as I like her, has only featured in this one novel. Lionheart just stole the show for me! But what do you think of him in this scene? Upon first reading, did you believe or disbelieve Lionheart's story? Does he seem truthful, evasive, honest, or shady to you? Did you trust him as quickly as Una did?

2. So what is the consensus on Una in this last scene? Amusing but un-relatable? Frighteningly familiar? Probably needs some chocolate?

3. Favorite lines?

Read-along: Chapter 13

CHAPTER THIRTEEN

Yet another dream-come-true gone wrong. Well, Una asked for it. She wanted suitors, and suitors she's got. Her newest one being the completely awful Duke of Shippening . . . perhaps the most un-nuanced (and yet one of the most entertaining) characters in the entire novel. He's big. He's vulgar. He's far too old. He's cruel. He's greedy. He's just absolutely everything you would NOT want in a suitor. Not even Nurse, who at first thinks, "Hey, it's a duke! Why not marry him?" is horrified at the notion of her little charge ending up with such an oaf.

But everyone must be polite. Shippening may not be a kingdom, and the duke may not be a king . . . but the Duchy of Shippening includes Capaneus City, a vitally important trade city. I wish I could show you a map, for it would explain just why. I've not yet drawn up an official map for my world, however, because it is always growing. But there are some basics set in stone.

For instance, Southlands is connected to the rest of the Continent by a thin isthmus. On one side of the isthmus is Chiara Bay, and the on the other is the western ocean. Capaneus City is built right on the end of that isthmus and controls all trade between ships from the west and Chiara Bay. Neither Parumvir nor Beauclair have eastern coasts, so any trading they want to do with the Far East, they have to send their merchants waaaaaay down south, either sailing around Southlands, or . . . putting in at Capaneus. Which means the Duke of Shippening ultimately controls a vital link between these western kingdoms and all eastern trading.

He may not be a king, but the Duke of Shippening is sittin' pretty! Not a man you want to offend.

Anyway, I don't know if that was interesting to you or not. One day, I'll draw up a final map, I promise! But probably not for another few books . . .

Una's Reaction. Una is, quite naturally, horrified. I liked the description of her face mirroring the expression of her bean-man tapestry, his mouth open in a silent scream. I always find when I illustrate that my face takes on the expression of the character I'm illustrating. I don't know why! I've caught myself, bent over the drafting table, pencil in hand, my face contorted into the most frightful expression. It's all unconscious (Do some of you artists do this? I hope I'm not the only one who does!).

I smiled when I read about Una doing the same thing. Yet another little way that she inherited my own attributes!

The scene in the Wood. Funny story! So when I was reading along in this chapter, I fully expected to come upon a scene between Una and Leonard . . . only set inside the house itself while he cleaned windows! Oh, I expected the same conversation, just not out in the Wood.

You see this scene of Una meeting Leonard down by the Old Bridge was a rewrite in  one of the very last drafts of Heartlessbefore it went to print. For a good six or seven drafts before that, I'd had them have this conversation inside. And that's where I still expect to see it, even now!

I remember I switched the location because I got so tired of the scene between them. It felt really stale after a few rewrites, but it's full of important moments. So I uprooted it and put it down by the Old Bridge, and it took on new life again.

And, of course, if you've read Veiled Rose, you know there's much more to this scene than meets the eye . . . 

Remembering. Una thinks of Aethelbald in this scene! To everyone who thinks she is totally indifferent to him, I cry you mercy and beg you look upon this scene with a more careful eye! Here it is five weeks later, and her thoughts still go back to him. Sure, she's telling herself that he'll never come back, and she might even try to convince herself that she's glad. But he's still there in her mind. And I'll bet he's a little more deeply embedded in her heart than she might realize as well.

Leonard. But, ultimately this scene is about Leonard. We've got some big revelations coming up about him, and in this scene we get some set-up for them. We also get another chance to see Leonard and Una together, to see the rapport they've developed, despite the differences in their ranks and personalities.

We definitely see how resentful Leonard is at being made to sweep and mop and pursue other menial tasks. Which does seem a bit odd! He doesn't strike one, at  first glance, as being so very proud. But he is proud. And he doesn't like for Una to imply that he is not her equal . . .  even though she is a princess, and he is a jester.

But he also regrets his sharpness with her right away and tries to make her laugh. I think this scene demonstrates a number of conflicted emotions on his side! He really cares about Una, wants to see her happy. But he feels so confined, so restrained.

Or, perhaps he's just playing a game of his own . . . 

A pity he's a jester. One way or the other, after this exchange, we notice a sharp difference in Una's attitude. Suddenly, she's comparing Gervais to Leonard, and the Prince of Beauclair is coming up wanting. And Una even indulges, however briefly, in the thought, A pity he's a jester.

Her feelings have shifted suddenly and--in typical Una fashion--very strongly into a new avenue. And no matter how much she tells herself to stop, she does not have so much control over her wayward heart as all that . . . 

Enter the Duke. It is with the arrival of Una's third and most obnoxious suitor that we begin to hear more solid rumors of dragons and the fate of Southlands. Shippening is not very far from Southlands, and the Dragon's smoke can easily be seen from Capaneus City.

We learn from the duke that the Dragon is "looking to procreate." Not quite the first thing you'd expect from a dragon, is it? But when Felix questions further, wondering just how it is that dragons procreate, Fidel cuts off the duke and won't let him speak anymore on this topic.

The duke also tells us that the crown prince of Southlands, Lionheart, was killed by the Dragon.

Retired to the sitting room. I confess, I got a chuckle of the mental picture of the duke puffing pipe smoke Una's way just to watch her cough. What a completely odious man! He's so over-the-top, which technically isn't very good writing on my part. But I have to admit, I really love him! He's hilarious and just so hideously villainous. Even though I knowbetter--I know that villains should have good qualities as well as bad to make them fully fleshed-out--I don't think I'd change a thing on the Duke of Shippening.

The Beastly Lout. Oh, great Lights Above! The jester demonstrates tremendous gall by  singing that horrible song to/about the duke. And the duke appears to oblivious to the insult . . . though the rest of those listening are not! In one moment of irritable jealousy and maddening foolishness, Leonard the Lightning Tongue loses his job and is ordered by King Fidel to pack his bags and leave.

Much to Una's dismay!

A revelation. Una, horrified, makes a hasty getaway from the sitting room, following in the wake of the jester . . . who is waiting for her, as it turns out. Interrupting poor Una in the midst of one of her fumble-tongued tirades, he makes a stunning declaration: "I am Prince Lionheart of Southlands."

Dun, dun, duuuuuuuun.

My Personal Favorite Lines

1. Una paused with her needle pulled partway through a bean man's eye. "The Duke of . . . But Nurse, he's older than Father!"
"A sturdy age, practically the prime of life."
"Practically?"
"Close enough, anyway." (p.141)

All romance seemed to have vanished from life in one fell swoop. She might as well give it all up now and begin preparing herself for the role of spinster princess of Parumvir--
"Ouch! That was my foot." (p. 142)

"Don't be silly," Una said.
"Can't be helped. It's my job." (p. 143)

"And what brings you down here, Princess Una?"
She sighed. "Suitors."
"You make it sound like the descending hordes. How many this time?" (p. 144)

"Then I think you are a very brave Fool," Una said quietly.
"If I were not a Fool, do you think I could be brave?" (p. 146)

When (Fidel) had received word that the duke wished to "pay his respects," his own heart had sunk--not so much for fear of losing his daughter to this man, but because he'd known the duke since childhood, when they'd been obliged to play together as noblemen's children should. He retained vivid memories of being sat upon by the large boy which had not improved with time. (p. 148) Hahaha! Sounds like young Fidel had his own set of adventures back in the day!

Questions on the text:

1. So, tell me honestly . . . how many of you guessed Leonard's identity the moment you heard the duke mention the supposed-dead crown prince Lionheart of Southlands?

2. When you first read this novel, what were your thoughts on the mysterious rumors of dragons? Could you guess how a dragon might procreate?

3. What are your favorite lines?

Reader Questions:

1. "I have a question about Aethelbald's father, the High King. Will we meet him some time in a future book or is he always in the land of Farthestshore? Was the thrush the representative of the Holy Spirit?" -- Little Brown Sparrow

The High King beyond the Final Water will be mentioned throughout the various books. At this point, I don't have an active plan to introduce us to him face-to-face. But that could change . . . And yes! The wood thrush does represent the Holy Spirit, at least loosely. Good spot!

Read-along: Chapter 12

Welcome back to the Christmas read-along of Heartless! Things are getting tense for Princess Una now as her dream becomes more vicious. The story itself is also getting more complicated, so be sure to ask questions if you have any, and I will answer them in the next post or two!

Don't forget to leave a comment each day of the week. Everyone who does will be entered in a namedrawing to win a free book! I'm giving away copies of Veiled Rose, Moonblood, and Starflower.

CHAPTER TWELVE

The dream. All right, prepare yourselves, my dear readers! The former Literature Major is about to rear her ugly head and literacize at you. (Yes, I just made up that word. It's a Lit. Major thing.)

Some of you may be interested to know that many of the themes and moments found in this first scene of chapter 12--the scene of Una walking in her dream--were directly inspired by Robert Browning's epic poem, "Childe Roland to the Dark Tower Came," one of my favorite poems of all time. I've memorized huge chunks of it. At one point, I was really trying to memorize the whole thing, but got sidetracked (met a handsome stranger) and never got back to it (got married). Maybe I should finish that memorization project now?

Anyway, that was a rabbit trail. Back to the point in hand.

This little scene of Una's dream is something I like to call a "literary nod." These are when I take a moment within the text of my own manuscript to acknowledge the great writers whose work inspires (and awes) me with a subtle reference. Una's ring could be considered a "literary nod" to George MacDonald and his own Princess Irene's opal ring found in The Princess and the Goblin. The Game played by the Dragon and the Lady of Dreams Realized is another literary nod, this time to Samuel Taylor Coleridge. In the first example, I use an object. In the second, I use an event and even a couple of borrowed lines.

This particularly literary nod is more subtle still. In this scene, I use ideas.

Take for instance this line: "No growth grew higher than Una's knees before it was chopped and trampled, as though some brute force could not bear to catch a glimpse of thriving green and had blasted all to grays and blacks." (p. 133)

Compare that to this stanza from the amazing "Childe Roland":

If there pushed any ragged thistle-stalk
Above its mates, the head was chopped; the bents
Were jealous else. (XII)

Do you see how the idea, the theme, is mimicked from "Childe Roland" into Heartless? Browning's poem created in my mind such a ravaging hopelessness . . . something I desperately wanted to communicate in this scene. Even the landscape itself is full of jealousy and brutality . . . testimony to the jealous brutality of he who devastated it.

Moving on, you find this line in my novel: "As she looked, Una felt hatred rise in her soul. What a wicked place this must have been, what an evil house to deserve such ruin. Never had she loathed a place so much." (p. 133-134)

Compare that to this line from Browning's work:

          One stiff blind horse, his every bone a-stare,
          Stood stupefied, however he came there:
          Thrust out past service from the devil's stud!

          Alive? he might be dead for aught I know,
          With that red gaunt and collop'd neck a-strain,
          And shut eyes underneath the rusty mane;
          Seldom went such grotesqueness with such woe;
          I never saw a brute I hated so;
          He must be wicked to deserve such pain. (XIII-XIV)
That passage illustrates, I think, the descent of the narrator, Childe Roland, himself. He has become so overcome with the despair of his surroundings that he can feel no compassion for the skeletal horse he comes across. Instead, he looks upon its gaunt frame and feels only hatred and condemnation. Whether or not the horse deserves it, who can say? Might not Roland himself, for all his pious intent, ultimately find himself prey to the same fate?

This mood was what I wished to capture with Una as she approaches the shell of this unknown, decimated house. The ash, the lingering dragon smoke, even in her dreams sinks down into her very heart so that she cannot look upon the house and feel compassion. Only hatred. Only condemnation. It must deserve this, else how could it suffer so?

We, the savvy reader, may interpret this as a foreshadowing of what's to come to Una herself. Whether or not this strange house deserves its fate, we cannot say. But we do know that, ultimately, Una does deserve hers . . . which makes that fate far, far more dreadful!

All right, there was a little "Oh, dear, this was written by a Lit. Major" moment for you. I hope some few of you found it interesting!

Moving on . . . 

The house in the dream. Una does not know where this house is or to whom it belongs. But based off of what we just heard in the chapter before about Southlands--and Fidel's somewhat callous remark that it can "burn to dust for all he cares--this is probably a location in Southlands, recently dragon-savaged. And, as we'll learn in Veiled Rose, it was not necessarily an evil place, nor did it deserve this ruin.

And the man with the dead-white face says to the apparition of Una, "Princess, you have come to me."

But, does he speak to Una here? We assume so, of course. But come Veiled Rose, you might find yourself developing another opinion . . .

Dreams recalled. For the first time, Una remembers her dream up on waking. The desperate landscape and the face of the dead-white man haunt her even as she scrambles out of bed and seeks comfort, first from water, then from the night air. But there is no comfort for her that night. Not even Monster and his sweet little chirrups can ease her troubled mind. She feels she must get out, must get away from this room where dreams press too close.

The wood thrush sings to Una briefly as she makes her way through the moonlit gardens of Oriana that night. And when she turns toward the sound, she sees Prince Aethelbald coming up the path toward her.

Leaving. Aethelbald announces his intention of leaving. He is journeying down south where he says, "one of mine is threatened." We never learn what he means by that in this book. But in Veiled Rose, we learn how vitally important what he just said to Una is.

One critique I have received several times over on this book was that Prince Aethelbald cares for no one but Una and is really very selfish. Even some who have recognized that this story was meant to be an allegory have said it is a very poor one because of his fixed focus on Una and her family. I would like to counter that, yes, in this story, since Una represents the Bride of Christ, that is true.

But in the series, it is not true at all. We see the Prince reach out in concern to many of those around him. Here, we see him leaving Una, even though he knows the peril she is in, because of someone else who needs him. Someone who--we will later learn--does not want to need him, but does need him so desperately. And he will not leave his own to suffer, not in the end. So he leaves Una and ventures down south to rescue his own. We don't learn that story until Veiled Rose, of course. But we know it exists even here in Heartless.

Una's Pain. I think the pain in Una's hands as she talks to Aethelbald indicates that she knows she needs him. That she knows she needs his healing touch and his love to make her whole. Look at the way she allows him to take her hand. With the presence of the evil dream so near in her mind, she is much softened to Aethelbald. But she is so stubborn and resisting! She fights what she knows is true.

The more Una resists, the more she forgets her need of the Prince's help. Even the images of the dream fade, and she can't remember why she's out in the garden. How strongly I relate to Una in this moment, as much as I would rather not!

This is another moment of the story where allegory may be seen. The longer I resist God's call for me to turn my troubles over to Him, the more I forget my need. Soon, I become so lost in my sin, in my anxieties, in my selfishness, in my pride, that I don't even remember that God is right there, ready to relieve me of the burden.

Una really is a picture of me. I'd forgotten how clear a picture! And I suspect, she's a picture of you as well.

Una weeps. After her angry outburst, Una begins to cry. I wonder if those are tears of rage, or if she is actually very sorry for what she has just said? I believe deep down inside, she knows that his is the only real love, the love she needs most desperately. I believe deep down inside, she knows that she wants to love him. But still, she is so stubborn!

Aethelbald leaves. Though he declares his love for Una once again, Aethelbald still leaves Parumvir the next they. He has promised to return, but Una is probably left wondering if he ever will after her angry outburst.

Felix. Felix is really sad to see the Prince go! I don't care what protests he makes. "I don't care. Let him go, I say. It's not like we ever needed him." Whatever, Felix. You're glum that Aethelbald left!

The Prince of Farthestshore left an impression on all of them.

Leonard with a mop. Here we discover that lively Leonard the Jester was not hired purely for his jesterly talent. He's expect to earn the rest of his keep through menial labor as long as he wishes to stay on at Oriana. He is obviously not at all pleased with it. How bitter he sounds, when he speaks to Princess Una. And how condescending, really!

Then, Leonard steps way out of his place by telling Una his opinion on Prince Aethelbald. He does not think she should accept him.

My Personal Favorite Lines:

No growth grew higher than Una's knees before it was chopped and trampled, as though some brute force could not bear to catch a glimpse of thriving green and had blasted all to grays and blacks. Even the sun, where it shone through an iron sky, appeared as a red scar overhead. (p. 133)

Sitting up, she tore the coverlet away; it seemed to cling and suffocate her like a snake squeezing her in its coils. (p. 134)

Again she tried to speak, but her tongue was thick in her mouth. Her frowned deepened, and her fingers curled as though forming claws. (p. 136) Foreshadowing!

"Can't I even take a stroll without you hounding my footsteps?" (p. 137) Foreshadowing! But this time to a later novel. Starflower, anyone? J

Questions for the Text:

1. How often, in your daily life, do you act like Una and resist the truth, even when you know it is best? I know I do so all the time! I sink into anxiety and stressful grouchiness, even when  I know that God is close, waiting for me to turn all my anxieties over to Him in prayer and let Him carry them for me. But sometimes, odd though it might be, I stubbornly want to cling to my sinfulness. Even when I know it hurts. How about you? Do you relate to Una (and me)? Do you think Una makes a good symbol of Fallen Humanity?

2. So, literary nods . . . what do you think? Can you see the difference between a literary nod and outright literary theft? How might you be able to use literary nods in your own writing?

3. Favorite lines?

Reader Questions:

1. "Quick question: I read in one of your interviews that Eanrin has one of the more tragic stories, and this concerns me. Do you mean that he has a tragic background, or that... that... he might-might... die... by the end?!" -- Anonymous

Oh, dear! I did not mean to inspire concern for the fate of a fan-favorite character! Let me assure you, Anonymous, and all of you readers, that I have no plans to kill my poet-cat . . . at present. (As the author, I do reserve the right to change my mind if I see fit!) But he's my favorite, so I fully intend to keep him around for a nice looooong while. By his tragic background, I was refering in part to how he loses his eyes, and the immediate consequences of that loss. But I can't tell too much about that story just now!

Read-along: Chapter 11

CHAPTER ELEVEN

The strange picture on the wall. Another little enigma found in the pages of Heartlesswith only half a resolution. Leonard is struck by something in this picture of the three identical men by the lake, two bound in chains, one wearing a crown. Then, in the center of the lake is a golden altar beside which stands a weeping woman.

And lying upon the altar is another man, a ghastly figure with a skull-like face. More strange still, Leonard the jester claims he has met this person . . . though he laughs it off and makes a joke directly after!

As for the other characters in the painting, they must remain a mystery. But I will give you a hint . . . you have, as of this chapter, already met one of the three identical men. But I'm not saying who!

This would be another interesting picture for one of you talented artists to tackle if you felt so inspired. According to the narrative, it's gracefully worked, though Una dismisses it as ugly.

Lunthea Maly, the City of Fragrant Flowers, is mentioned for the first time in this scene. We've heard tell of Beauclair and Milden, all countries near to Parumvir. But Lunthea Maly is a city in the Far Eastern empire of Noorhitam, ruled by young Emperor Khemkhaeng-Niran Klahan . . . which is a mouthful if there ever was one! We don't get much more information about the great nation of Noorhitam in this particular story. But we get to journey there briefly in Veiled Rose, so if you're curious, you should certainly pick up that novel.

And I sincerely hope to be able to set an entire novel there one day . . . one day very soon . . . 

Misguided Protests: Una overhears her father talking to Prince Aethelbald. She doesn't hear what Aethelbald says, but she does pick up her father's end of the conversation. Including a particularly chilling phrase, "Southlands can burn to dust for all I care."

And so we hear of the kingdom of Southlands for the very first time. And we get our first hint of the drama unfolding there. But it is all so distant and so strange, hard for a man such as Fidel to believe.

He also the protest, "Parumvir has never been a temptation to their kind." Which is, quite frankly, wrong. Parumvir has not been dragon-plagued for many centuries . . . but there was a time in its history when it was very much a target for dragons! But that time has sunk into legend, and few people believe those old stories any more.

So Fidel can't believe whatever warning Aethelbald gives him. A warning that includes Una herself, judging from Fidel's statement of, "But you don't know Una, not as I do."

The opal ring again: As Una listens to her father's protests, her ring tightens up uncomfortably.

Quick question for all of you who have read ahead . . . can you remember whether or not Leonard has spotted her ring yet by this time? I'm sure it says something about it in Veiled Rose, but I don't have my copy on hand and can't quite recall at the moment!

A job for the jester. So Fidel and Una both brush aside whatever warning Prince Aethelbald has offered. Instead, Una begs her father to hire Leonard as their court jester. Despite a bit of hemming and hawing, we can see the Fidel does like to please his daughter . . . perhaps even more so after whatever he just learned from Prince Aethelbald. He sees her as the sweet, affectionate girl she was five years ago, bringing a needy cat home and wanting to give it love and comfort. Sure, she's a young lady now, and instead of a needy cat, she's got a needy youth with her. But surely such a darling girl couldn't be destined for anything too dreadful?

So Fidel agrees to give the jester a chance to prove his skills . . . despite learning that Leonard originally hailed from Southlands. The same Southlands which Fidel just declared could "burn to dust" for all he cared. Did Leonard overhear that remark? No one knows.

Una stops at the strange paintinga gain on her way to her father's sitting room that night. She sees how the stone altar gleams gold (gold . . . stone . . . hmmm . . . .)

Aethelbald finds her studying it, and bids her come in, out of the dark hall (symbolism? Maybe. Not sure if I meant it or not, but it could be read that way, I think).  Once more, he takes hold of one of her hands and tries to ask her to let him tend her wounds. But she pulls away quickly and hurries in to her father and brother.

But she has a feeling as though she has met the white-faced figure in the painting, the one sleeping on the gold stone. She simply cannot place where or when. But we know that this figure looks the same as the terrible dream Una keeps having.

Felix's game. I like the mental picture of Felix playing his game by the fire while Monster sits by. Being blind, of course, the kitty can't watch. But his ears are perked with interest! Sounds like my kitties, who always like to be involved in whatever I'm doing. But Monster senses Una's presence the moment she enters the room and goes sweetly to greet her, allowing himself to be scooped up. I think Sir Eanrin has become very fond of both Una and Felix during his stay in Parumvir. J

Contrast. Leonard is set up as quite a contrast to Una's suitors. Particularly to Prince Gervais, whom he resembles to a certain extent. Like Gervais, he's very charming (and he carries a lute!). Unlike Gervais, he doesn't seem to take himself quite so seriously, which makes him immediately more appealing! At least, I think so.

The jester's performance. I love that Felix tries to pretend disinterest when Leonard starts playing. Sounds like any one of my brothers in their teenage years, determined to be cool. But he is interested, and Leonard does get him laughing in the end! Leonard even gets Prince Aethelbald grinning . . . though it is a solemn night for Aethelbald, and he is aware of many more dark and dangerous things than the little royal family surrounding him. But he's not without a sense of humor, and the jester's antics are pretty humorous!

The jester is hired. Fidel compliments the jester on his skills . . . and remarks that he will have a job, so long as he is willing to work menial household tasks as well as jestering. The jester agrees, and sweeps another elegant bow. Not a bow such as one would expect from a mere Fool.

My Personal Favorite Lines:

She returned to the waiting jester and found Leonard contemplating a series of portraits in the hall where she had left him. They were not very good pieces; or rather, Una hoped they were not. If they were accurate, then her ancestors had been distinctly lacking in forehead and tended toward greenish complexion. (p. 124)

"What in the world have you dragged in this evening, child?"
"It's a jester, Father."
"It is, eh?"
"He is indeed." The jester offered the king a graceful bow. (p. 127)

"Another lost creature lugged in from the Wood, Una? Does this one just need a good meal and a bath as well?"
"Heaven help us, he'd be grateful enough," the jester muttered. (p. 127) Poor Leonard!

Una returned to her room for a light supper and a not-so-light scolding from Nurse, paying neither much heed (p. 128)

Questions for the Text:

1. There are several key moments of foreshadowing in this scene, moments that hint at the danger to come. Can you pick out a few of them?

2. So, what are your thoughts on Leonard at this point in the story? Hero? Villain? Romantic interest? Comic relief? What were your original impressions?

3. Any guesses about that strange painting? What do you think it means? Can you guess who some of the characters might be?

4. And again . . . favorite lines?

Reader Questions:

1. "Gervais is supposed to have an accent. What accent does he have? I'd always thought it was like a scottish brogue." -- Rebekah

Well, with a French name like Gervais, and a French-sounding country like Beauclair, I would imagine his accent is probably French . . . ;) However, this is a fantasy world! Not, our world. So his accent very well sound Scottish. I do not mind if that's how you hear it. :)

If anyone were to have a Gaelic accent in my world, however, it would Eanrin and all the folks of Rudiobus, who were inspired from Gaelic mythology. I don't write that way because I find written accents a bit annoying. But I hear it that way in my head even so!

2. "So, is the Bane of Corrilond a different dragon than the Dragonwitch?" -- Jennette

Yes, the Bane of Corrilond and the Dragonwitch are two different dragons. The Dragonwitch was the firstborn of the Dragon King, and she used to be a Faerie Queen, so she had three lives. The Bane of Corrilond was a mortal queen, so she has only one. However, her story is similar to the Dragonwitch's in enough ways (SPOILER ALERT!!!! For instance, they both destroyed their own kingdoms after transforming into dragons) that the Bane of Corrilond was declared to be "like the Dragonwitch reborn" (a reference you will find in Moonblood). But they are two different dragons with two different stories. You'll hear the Dragonwitch's story in Starflower and the rest of it in Dragonwitch. The Bane of Corrilond's story will have to wait for a while, however . . . .

3. "How far apart are Una and Felix?" -- Caitlyn

You know, I answered this question a few days ago, saying Felix was fifteen. I was WRONG!!! I actually just read in a later chapter of Heartless that he has his fourteenth birthday in the book itself. So they are actually a good four, nearly five years apart! (My bad.)

4. "Are you going to put any maps in your books?" -- Caitlyn

I hope to one day. I almost put one in Heartless . . . but then I realized that, as the series grows, so the world grows! I was afraid that if I put a map in Book 1, I would limit myself too much. I have maps for my own reference . . . maps of the various kingdoms individually and the Continent as a whole. But it will probably be many books before I'll have the courage to actually include one. I'm not like Tolkien where I invented my whole world and geography, then wrote the story into that. My world and geography keep morphing and growing along with the books! I make every effort not to contradict myself, of course. But I also don't want to corner myself early on . . .

Translation of The Geestly Knout:

Yesterday, all you lovely people worked to find the translations of the odd words in Leonard's Geestly Knout poem. I hunted up a few more, and this is the resulting first stanza (I've made a few tweaks with verb tenses to help it make some modicum of sense.

With biting wit sly, the Superficial Soil ScourgeWould baffle his supernatural water horse and tryTo use his snout as a loop of rope for securing items on a ship at the poor tenant farmer And be disreputable and sordid at the thread-producing fly.
Wow. I think that might be art. Raw, primal art. Or something.

Read-along: Chapter 10

CHAPTER TEN

Una screamed. I mean, is there a better opening to a chapter possible? Not sure that there is! Poor Una opens this scene with a bang and a crash as she falls down beneath her mysterious assailant. Then he grabs her and covers her mouth and . . . I don't know about you, but I'd freak out under those circumstances!

I say! Really, I'm sorry!Okay, so the first words out of her "attacker's" mouth aren't so terribly threatening as all that. Maybe he's not such a bad bloke? Wrong place at the wrong time . . . it could happen to anyone.

I'd still freak out. And kick. And elbow. And possibly bite.

A thorough apology. I laughed when I wrote it, and I laughed all over again when the poor jester began making his apology. EXTREMELY over-the-top, and really quite adorable when you think about it. Granted, I probably would have screamed again and booked it up the garden path by this point. But I'm glad Una didn't and therefore allowed us to witness the whole of the jester's apology.

The siege of  Rudiobus. The jester makes reference to this siege and Lady Gleamdren. Would you believe it if I told you this "siege" is recounted in Starflower?Yes, it is . . . but it might not be quite the epic event that poets (coughEanrincough) have made it out to be in later years. By the time of Heartless, it is considered quite the catastrophic episode, and Lady Gleamdren is a tragic heroine. Heh.

And yet another reference comparing Una to Lady Gleamdren! Just how pretty is this Lady Gleamdren?

Leonard. I'm not certain if there is anything in this world more pathetic than an out-of-work Fool. I mean, it's hard enough being a Fool in the first place! Leonard seems to enjoy his foolery well enough, though. I love how he continues his introduction while still lying on the ground. Don't think he realizes he's talking to a princess!

The Geestly Knout: Okay, a song that random must have some meaning behind it, right?

Right?

Wrong.

I wrote that poem a good year and a half before Heartless was even dreamed up. I was in my sophomore year of college at the time and taking a wonderful poetry class with Professor Lehman (a long-suffering man if there ever was one). He taught us great things about poetry and also how to make a whistle out of an acorn cap. I mean, how awesome is that?

He also had us writing various types of poetry as class assignments. Now, I am no great poet! But I did have a lot of fun experimenting around with these various poetic types. "The Geestly Knout" was something  called a "Carrolian Carol." We were supposed to find a whole slew of actual English words, archaic or simply strange, and put them together into a nonsense poem, Jabberwocky-style.

"The Geestly Knout" was my contribution. And when it came time for my jester to begin jestering, it was very nice to have a bit of nonsense at the ready to simply hand over to him.

You never know when nonsense will come in handy.

Ooops. And a little late, Leonard realizes that he jumped on the princess. Not a great beginning to his jesterly career! But his charm and easy manner seems to have delighted her, so there's not too much to fret about.

Do notice that he bows quite gracefully for a jester. Foreshadowing . . . 

My Personal Favorite Lines:

. . . he sprang to the pedestal on which stood the marble statue of her many-times-over great-grandfather, Abundiantus V, whose head was turned to look over a marble shoulder. He seemed to glare directly down at the strange young man who wrapped an arm around his stone waist in a familiar manner, balancing beside the old king.
"She says I must die," the stranger told the statue, waving a hand toward Una. "Will you mourn for me?"
King Abundiantus looked severe.
The stranger turned away with a sob. (p. 116)

"The siege of Rudiobus was hardly a greater tragedy, but then, Lady Gleamdren was not such a one as thee!" (p. 117)

"I don't suppose my end could be put off until tomorrow, could it?"
"I--" Una began.
"No!" he cried. "For you and your wounded dignity, I must perish at once. Go to, foul varlet! Meet thy doom!" (p. 117)

"Composed in the immortal spirit of the great Eanrin himself, it is bound to bring tears to your eyes!" (p. 119)
Heheheh. Given Leonard's later-revealed dislike of everything Bard Eanrin ever wrote, I think this line might just have a double meaning.

Questions on the Text

1. See if you can find definitions to one or two of the following words: "geestly," "knout," "foiter," "noggle," "becket," "louche" and "filiferous." If everyone can find a definition to at least some of these words, we'll try to put them together and find out what the first verse of this poem actually means . . .

2. So, based on what you've seen of Leonard the Jester, would you have been as quick as Una to forgive being jumped upon and invite him up to your palace? (Assuming, of course, you live in a palace . . .)

3. What were some of your favorite lines?

Read-along: Chapter 9

Don't forget to leave me questions if you have any! I'll do my best to answer them at the end of the next post. And feel free to get discussions going in the comments below as well!

CHAPTER NINE

Back to classes: In this chapter, we see Una hustled back into her regular study routine. All the hope of romance and adventure that the last few days brought is now thoroughly squashed, and humdrum seems to be the order of the day. I feel a little bad for the poor girl . . .

The Imposter's War: Another delicious little hint of history! There are so many of them in this novel, it quite delights me. Trying to decide how much more of a hint I can give you without giving away too much . . . Okay, I'll tell you this! Sir Oeric is involved in the Imposter's War. Does that intrigue you?

Monster and the Prince: Would you believe me if I told you that this scene between Monster and Prince Aethelbald was the very last scene written for this novel?

With just a month or two before the book went to print, my publisher asked me to include one more scene between Aethelbald and Una, after Gervais left and before Leonard arrived. And I tried. I really did. But I just couldn't think of anything more to say about them!

But it's always so easy to come up with a scene for Monster.

So this scene developed instead. It serves to give us some little extra insights into the lives of the Knights of Farthestshore and into Prince Aethelbald himself. You can see here how fond he is of Monster/Sir Eanrin . . . but he obviously doesn't take him too seriously (nowhere near as seriously as Monster takes himself!)

There are so many delightful little hints about upcoming books in this scene as well. Most specifically concerning Lady Gleamdren, Sir Eanrin's epic "true love" to whom all his famous poetry is dedicated . . . and who hasn't been speaking to him for more than a thousand years! Foreshadowing of storyline to come? Maybe . . .

It's also interesting to note that Sir Oeric, Sir Rogan, and Sir Imoo all bowed to Monster when he passed. Sir Eanrin the blind cat is actually their superior!

Advice on Women: All right, it just made me laugh out loud to watch Sir Eanrin offer the Prince of Farthestshore advice on women! Especially as you read further books in the series and learn just how old and how powerful the Prince of Farthestshore is . . . I mean, the idea that Monster thinks he can offer his master romantic advice really tickles me. The egoon that cat is just enormous! But Aethelbald is very patient with Monster, all considering.

Princess in Disguise: Yet another reference I had forgotten slipping into Heartless! Una remembers reading a story about a princess who disguises herself and sneaks out of the palace into a grand a glorious adventure . . . Little does Una know, that story is completely true and part of her own history! The princess in question was named Amaranda, and she has a wonderfully epic story that I hope to share with you one day . . . 

The first glimpse of the jester: One of the most important characters in this story . . . and in the series as a whole! And his first line is: "Oi! If you don't let me through, I'll be certain it gets back to your superior officer!" Not a particularly propitious beginning. But rather appropriate for Leonard the jester, when you think about it.

The Bane of Corrilond: Yet another reference to the Bane of Corrilond makes its way into this chapter. You know she must be an important figure in this world to be featured both in Una's tapestry and in this garden statue. Though the statue certainly isn't as menacing as it might be!

A Stroll in the Wood: Between ages eleven and thirteen, I and my very-bestest-buddy Erin (yes, the same Erin to whom Moonblood is dedicated, along with my namesake "niece," Annie) would go exploring in the forest behind her house all the time. We had our own favorite hideaway spot that was completely our secret: An enormous old tree that had fallen over, exposing its roots, lying at fairly steep slant. We would climb up that trunk and sit in the upper branches, talking for hours, reading books aloud to each other. Often, we'd take picnics. I remember one morning especially when we got up at dawn and took a picnic breakfast out to our special tree: Fort Annerin, we called it, a combination of our names.

Anyway, all that to say, I was remembering those walks and that old tree when I wrote this scene of Una making her way down to the Old Bridge. Like Una, we didn't have a trail, but we followed landmarks and were never lost, no matter how deep we went. Reading this scene makes me so nostalgic . . . just as it did when I first wrote it!

Una's Dream: She's still having the recurring dream . . . and still unable to remember it. Developing foreboding!!! Despite what Una thinks, we know it's not caused by her disappoint over Gervais. But what does it really mean?

The Wood Thrush's Song: For the first time in this chapter, Una really hears the wood thrush singing. And when she hears it, she suddenly has ideas for a poem, which she hastily writes down. Did this poem spring from inside her, or is she merely putting the wood thrush's song into her own language? I think the latter. And keep watching as the book progresses . . . the wood thrush's song is going to return and develop.

Here's a fun fan art image! The beautiful Clara posing as Princess Una, composing poetry.

The Old Bridge: When Aethelbald appears on the far side of the Bridge, Una is very surprised. Other than Monster and the occasional bird, she's never seen any living thing in the Wood on the far side!

But Una's own surprise is nearly overwhelmed by Aethelbald's concern that she get off the bridge. Obviously there is much more to that bridge than meets the eye. Sadly we won't discover what in this particular novel . . . but keep reading! Everything is important, and everything will come back into play eventually.

Una and Aethelbald: I think this scene between the two of them is kind of cute. He is so concerned for her and so solicitous. And he's interested in her poetry! I really feel Una should try to appreciate him a little more than she does here. But she is so set in her mind about what sort romance she wants and what sort of hero she's waiting for . . . and Aethelbald just doesn't fit the bill. Why must she be so stubborn?(Okay, I know she's so stubborn so the story can be told. But still!)

And I love the picture of above! Clara as Princess Una again, in a portrait titled "Glaring at Aethelbald."

Cliffhanger ending!!! And someone leaps down on Una from the wall! Okay, be honest . . . how many of you read ahead to see what would happen?

My Personal Favorite Lines:

"But my head is splitting in two!"
"It's doing a remarkably neat job since I can't see so much as a seam." (p. 101)

Monster passed through the halls of Oriana, his tail high as a banner, and the servants made certain not to get in his way, being under strict orders from their princess to "treat him nice." Thus in that small way, Monster received the respect due a lord, and he accepted this as his right, scarcely deigning to acknowledge those he passed. (p. 102)

"I may be but a humble house pet," said the cat, "but if there is one thing in which I hold complete confidence, it is the conviction of my own desirability."
"Spoken like a true cat." (p. 103)

"No matter how antagonistic the object of my current affections may be, a well-timed purr, a sweet trill, an expertly hunted and scarcely nibbled gift will work magic every time! Consider, my Prince."
Aethelbald raised an eyebrow. "You suggest I take up mousing?"
"Shrews work well too. I leave toads for Prince Felix. On his pillow."
"And we all know how great is his affection for you," muttered Sir Imoo. (p. 103-104)

"Every princess loves a chap who will serenade her from the garden on a moonlit night. I do it myself every full moon, filling the air with the dulcet sounds of my voice!"
"Until the housekeeper throws cold dishwater at you," said Sir Imoo.
The cat flattened his ears. "That old hag is tone-deaf." (p. 104)

"I think you must let me make my suit in my own way."
"By circumnavigating the girl at every turn? Mrrreeeowl! Is that the spirit that won the undying devotion of Gleamdren the Fair, Queen Bebo's golden-eyed cousin?"
"And when did you actually win Lady Gleamdren's devotion? Last I'd heard she was not speaking to you."
"A minor setback."
"For the last thousand-odd years."
"But I sensed a distinct softening in her demeanor when I visited Rudiobus last century. She looked at me once."
Aethelbald smiled. "She would have found it difficult to throw her shoe at your head without looking at you, Eanrin." (p. 104)

Out in the gardens, sunlight greeted her, and she tipped her unprotected face up to enjoy its brightness. Let her nose burn! At least it would disguise any blotches. (p. 106)

There were so many meanings in life, and so few of them meant anything. Why did life have to be so very confusing? (p. 110)

"Do you seek to follow in the footsteps of the great Eanrin of Rudiobus?"
"Lights above, no!" she said quickly. "I wouldn't dream of comparing myself to his genius."
"Well, that's a relief in any case," said the Prince. (p. 112)

Questions on the Text:

1. As part of Una's history lesson at the beginning of the chapter, she studies the Imposter's War and the building of Oriana Palace. Later on in Moonblood, we learn for whom Oriana Palace was named. Can you find the reference? And, can you be even cleverer and name the king who ordered it's building?

2. I've had a number secret hideaways over the years, including Fort Annerin. Later on, when my family moved to Wisconsin, I found a mossy bank by a water inlet deep in the forest where I would go to be alone and draw, write, or just think. I took Erin there when she visited, but no one else. How about you? Do you have any secret hideaways that you go to by yourself or with a special friend? Tell us about it if you do!

3. So what did you think when the stranger jumped on Una from the wall? Did you guess who it was right away? Do you think he's a friend or a foe?