Ara Sedaka
asked
Lois McMaster Bujold:
This question contains spoilers…
(view spoiler)[The ending of Cryoburn was brilliant + beautiful + heartbreaking. I was intrigued by the closing lines that link back to Shards of Honor and imply that Cordelia has come to embrace the Barrayaran concept that sometimes life is not worth living. I felt this intensifies and complicates the series' message of disability rights. Does this reflect a change in your own philosophy or were you always planning to end there? (hide spoiler)]
Lois McMaster Bujold
Well, Cordelia has had 40 more years of complicated living and observation by then. She is also at that moment about as emotionally exhausted as it is possible for a person to be. Cordelia's thoughts represent Cordelia, not a platform for the author.
I had planned to end the book upon the words, "Count Vorkosigan sir?" But the epilogue presented itself to my brain over about a two-day period during my revision stage, sluicing through at white heat from wherever such things come from. Confluence, compounding, confounding, all of those; but not planning in the sense this question posits.
That said, I have had since I wrote Shards a lot more experience, both directly and through watching friends and relatives up close, with those end-of-life issues that cluster around the body outliving the mind. (And I'd had considerable observation before then, as a hospital worker.) When I was 15 and first read the appendix to The Lord of the Rings that recounts the death of Aragorn, I did not understand it, and resisted it fiercely in a fanficcish sort of way, right along with Arwen. I don't argue with it now.
Ta, L.
Well, Cordelia has had 40 more years of complicated living and observation by then. She is also at that moment about as emotionally exhausted as it is possible for a person to be. Cordelia's thoughts represent Cordelia, not a platform for the author.
I had planned to end the book upon the words, "Count Vorkosigan sir?" But the epilogue presented itself to my brain over about a two-day period during my revision stage, sluicing through at white heat from wherever such things come from. Confluence, compounding, confounding, all of those; but not planning in the sense this question posits.
That said, I have had since I wrote Shards a lot more experience, both directly and through watching friends and relatives up close, with those end-of-life issues that cluster around the body outliving the mind. (And I'd had considerable observation before then, as a hospital worker.) When I was 15 and first read the appendix to The Lord of the Rings that recounts the death of Aragorn, I did not understand it, and resisted it fiercely in a fanficcish sort of way, right along with Arwen. I don't argue with it now.
Ta, L.
More Answered Questions
Strangeattractor
asked
Lois McMaster Bujold:
What helps with figuring out how to tell a type of story that isn't told often? For example, when you were working on the Sharing Knife books and realized you had set up demographic and long-term problems that your characters would tackle in books 3 and 4, what helped you come to grips with how to do it? How did you bridge the gap between wanting to write a story with an unusual shape and actually doing it?
Mauya
asked
Lois McMaster Bujold:
Hi there please may I have all the answers on page 24 junior English 4?
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