A New & Glorious Morn, Precious Blood, Blessed Art Thou Amongst Women, Sisters Of Mercy & Certain Effects

I'm getting pretty fed up of the antics of the Piper family. Adelaide attempts to confront Frances, while Teresa ends up shooting her, but fortunately for the characters in the book (maybe not so fortunate for the reader) Frances ends up surviving. Meanwhile, Teresa is arrested and also ends up pregnant, even though everyone thought her crippled husband would be sterile. the last of Kathleen's affects are given to James, in a letter from her old caregivers in NYC. Frances is somehow still pregnant (she believes Teresa's bullet impregnated her), while James has a stroke and begins to get a little nutty. He is constructing something secret in his shed, but no one has figured out what it is yet. Mercedes tries to tell Lily the facts of life, only to become aware that Lily is closer to Frances, who has already had this discussion with her. The family is "happy" and act more like proper kinsfolk than ever before. James and Frances become friends, while Mercedes gets upset. Mercedes also wishes for Lily to have counsel with a higher authority, presumably so James can be put to justice. Frances leaves to have her baby.

I'm noticing that the image of purgatory or an in between state has reoccured throughout this novel: "Finally, Mercedes is neither saint nor sinner. She is somewhere in between. She is why purgatory was invented" (MacDonald 388). I like this quote, only because it speaks to the whole novel. Most of the characters are lost in a transition stage. They have many good qualities, but most possess a fatal flaw that eventually dooms them. I think MacDonald is trying to say that the whole human race is in purgatory; we are neither here nor there. Life is not so black and white. And like this book, which goes on and on and on and every character has so many aspects that could of (in my opinion) be left out completely, it is important to this theme that they are present, because they help shape our very detailed perception of these characters who are anything from the stereotypical "Good guys/Bad guys" roles. I feel both compassion and anger towards almost everyone in this book, but maybe that's just me. The shade of grey is mentioned often: "Frances stays looking at the sky in fifteen shades of grey" (MacDonald 434). Grey seems to be a purgatory-ish colour.

The empowerment of women is also more prominent as we reach the end of the book. In the beginning, Maternia, Kathleen and the daughters were passive, polite and obedient to a certain extent. Now they're gun-toting, manipulative, improper people: "She's not running like a lady. She's running like a champion" (MacDonald 403). This quote regards Teresa, after she shoots Frances. Really, I think the sudden change in attitude is a commentary on the men in this book. James and Leo all did horrible deeds. However, the women in their lives became destructive and, while a lot of good choices were made, I believe they are stronger women now. Teresa's shooting people, Frances has elaborate schemes, Mercedes pushes her father, Adelaide takes more control of her fertility. In the face of trauma, women are able to defend their own.

(Poor) James is becoming old and crippled. Though, since he has "gone off the deep end" slightly, he has become a better person. Still, he is haunted by the ghosts of his past: "He was a pit full of memory" (418). This metaphor highlights the fact that crazy James is tortured by the thoughts of how he has lived his life. Also, he falls to his knees, which is notable, for obvious reasons: "In the falling dark, she saw him descend slowly to his knees" (MacDonald 420). I think that James is finally submitting to the women of the house. While natural order return for anyone in this strange family?

I find it funny that MacDonald chose to include James reading Dante's series of books: "Having gone through Inferno years ago, he has decided to skip over Purgatorio eager for the beatific vision and the reunion with Beatrice" (MacDonald 428). I think its symbolic that James would skip over the book about purgatory, and read the book about paradise instead. James has a desperate divide over good and evil. Sometimes he is good; often he is evil. The last thing he'll ever be is bland and "in the middle". It also suits his personality type very well. He is a very hot or cold sort of individual; never in the middle. Until, perhaps his old age sets in.

The theme of jealousy and perhaps even sibling rivalry takes shape in this section: "Mercedes knows that she ought to be glad but this strange new peace between Daddy and Frances unnerves her" (MacDonald 430). Frances feels left out, and wronged. She has a very thankless job in the family, much like Maternia.  I wonder if her internal sadness will manifest itself in some other way by the end of the novel. Also, Mercedes is feeling as if she is losing her place in Frances's life: "For she knows that once Frances has a child, Frances will no longer need a mother" (MacDonald 437).

I like the island imagery used here. In the beginning, the island was isolated and full of despair. Now, the feelings have shifted and, "Outside, the whole world is hungry and forlorn. But in here is a little island of contentment" (MacDonald 431). It is interesting to see the contrast between the barren lonely rock and the shelter of the newly perceived "safe" island.


Interesting Vocabulary
Compunction: The feeling of guilt from doing something bad; Mercedes feels this way when she lies to James about what he's done.
Executrix: A female executor of a will; Miss Morriss is conducting the will for Kathleen's caregivers.
Genuflecting: Bending a knee to the ground in worship; Mercedes watches a car that is genuflecting.
Halcyon: A happy period of time; These are the halcyon days of the book.
Concubines: A woman who is second to a man and his wife, but lives in their family; The novel mentions South African concubines.
Tantamount: The same in seriousness; Mercedes dream for marriage is tantamount to wishes her family was dead.

Harem Scarem, Thief in the Night & Via Dolorosa

I feel like this section constitutes as the climax of the novel, especially Via Dolorosa (Babylonian English for the street that Jesus walked down before his crucifixion.) Frances learns the Teresa has been fired, as Mr. Mahmoud despairs over his losses, especially of his deceased wife. Frances continues to follow Leo Taylor around, much to the concern of his wife, Adelaide. It is evident that Leo is also curious about Frances, as he tries to follow her home too. Also following Frances home nightly is Boutros, her cousin from the nightclub, who believes he can help her. Leo eventually tells Adelaide who Frances really is, and decides to quit his boot-legging job with James Piper. James, infuriated, replaces Leo with Boutros, and goes to find a bayonet so that he can kill Leo, as Boutros and Jameel have informed him that Leo spends time with his disowned daughter Frances, and that Frances works at teh speak-easy. Mercedes sees James trying to leave the house with the bayonet, and pushes him down the stairs. A few hours back, Frances arrives at Leo's house, begging for help. She says she needs to escape James, so he goes behind Adelaide's back and drives Frances to an abandoned mine where she can hide. On the way to the cave, Jameel and Boutros see Leo on the road, and Boutros is so enraged to see Frances with Leo that he crashes the car, killing Jameel and himself. Frances and Leo arrive at the cave and end up having sex. Soon after, Mercedes and Lily arrive with James's car (who is at home, still passed out and drunk). It is only then that Frances confesses to Leo that this was all a ploy to get her pregnant, and that her father had not brutalized her on this specific occasion.  Leo is left having to confess what he has done to his Adelaide, who has been up all night with Teresa, waiting for him. Also a flashback from the eyes of Mercedes is given, on the night of Kathleen's funeral; James rapes a very young Frances. What a chapter!


An interesting use of repetition is used in the thoughts of Mr. Mahmoud, regarding his daughter Camille, who is filling in for the fired Teresa. Camille has many faults, and does not do her job the way Teresa did but: "He forgives her because he does not love her" (MacDonald 338) and, "Mahmoud thanks Camille because he does not love her" (MacDonald 340). This brings up an interesting point. Is it easier to forgive someone that we don't love? Is it easier to thank someone we also do not love?  I feel like this theory could be very true; love makes people take things for granted, and we feel as if the love is enough to justify being thankless and unforgiving towards them. When one does not love someone, they feel almost more obliged to be more empathetic towards them.

This section is abundant in light and dark imagery, as well as moon imagery. As Frances sneaks back into her house, "The moon may drive men mad but it can calm a savage girl" (MacDonald 351). Instead of symbolizing danger and craziness, the moon symbolizes tranquility and Frances's level head at the time. Its almost as if the moon helps her focus, and let her plan out her scheme for Leo Taylor that she is about to perform. When Leo takes Frances to the mine, he ponders, "He can't just leave her here, in the dark, can he?" (MacDonald 370). This is symbolic; Leo wants to save Frances from her own darkness. However, within Frances's dishonest darkness, she has a plan to exploit Leo. The ways of Frances cannot be reversed, she will most likely stay in her own personal darkness forever, as anyone that tries to help her out ends up getting lost as well.

Again, truth is a major theme in this section. Previously, Frances believed that when she laughed at her mother's funeral, everyone was convinced it was a cry. However, "Teresa went to the mother's funeral and saw the girl Frances laughing" (MacDonald 355). This plainly states that the truth comes out eventually, and even if one thinks they can bury some certainties in their life, it will always come back to haunt them. The idea of retribution and undying justice is very prominent throughout the book, which almost ties into the religious aspect: You can't hide from your sins, they will always come back to haunt you. Frances calls Ginger (Leo) by his secret name, that is never actually mentioned in the book: "Ginger's private name must not be written down. It's bad enough that Frances knows it" (MacDonald 372). This leaves mystery and allure to the story; since we are no more than voyeurs looking in, there are some things that we are not allowed to know. It also, obviously, makes the reader wonder. Lastly, the narrator comments, "Surely truth can be borrowed across time without perishing. Shelf life, sort of" (MacDonald 379). This quote relates to the situation in which Lily omits the truth to Mercedes. She figures that is James hit Frances once, its okay to say that he did it twice. Is it? Probably not. The ideas of how individuals, specifically children here can stretch and mould the truth to fir their own conveniences is brought up here.

The presence of mines in this book is also very symbolic: "'Then forget fighting and concentrate on schooling and you'll beat the lot of them, 'cause sweetheart, most of them are going nowhere but underground'" (MacDonald 357). Mines are dark, dangerous and cold. They provide no light, and if there is a problem, they are virtually inescapable. This pertains to the family life of the Pipers. The three girls, and before them, Maternia and Kathleen are stuck in the mine of their home in Cape Breton. Because they are women in this time period, and because their father is who he is, they cannot escape. Just like generation after generation of young men go down into the mines to work, generation after generation of Piper women must endure the toils of their own metaphorical mines. The narrator comments that "Men are so innocent" (MacDonald 355). Finally, I am seeing the feminism entwined within this novel, as promised by several book reviewers. Men suffer the physical battle in the mines, but women fight a different, perhaps harder battle within their families. Maternia, Kathleen, Frances, Mercedes, Lily, Camille, Teresa, Mrs. Mahmoud and Adelaide have all suffered because of the men in their life.

Frances is described by Boutros, who truly cares about her, as being, "A diamond, passed from filthy paw to paw but never diminished. The men who handle her can leave no mark because her worth is far above them" (MacDonald 361). One might think that this comparison is one of comparing the girl to a beautiful perfect object. In my opinion, it is just characterizing her further as being cold, hard and unbreakable, something she has had to be in the wake of her family life. I admire Frances's character for being so cruel, so bitter and hardened at such a young age. It was either toughen up, or not survive.

The somewhat shocking twist of Mercedes pushing james down the stairs opens another theme that hasn't been discussed yet throughout the book. The narrator remarks that "The necessity of sin itself is a cross we must bear" (MacDonald 372). This could have a very religious meaning, pertaining back to the idea of the Via Dolorosa, but it could also have a more practical meaning. Often, bad things have to be done for good reasons, therefore sin is necessary, such as Mercedes pushing James for the greater good of the universe.

It is interesting to see how history has repeated itself with Frances mimicking Kathleen's actions. All for different reasons, most likely, but with the same result. The idea of a vicious cycle.


Questions:
-Will we ever know how Kathleen got pregnant?
-What will become of Frances? Will she be pregnant?
-How will James react to all of this? I'm hoping James died at some point soon.
-Will any retribution come to Leo Taylor?

Interesting Vocabulary
Gabled: To have gables, or canopies over the windows of a house; the Piper's house is gabled.
Skeins: A knotted length of yarn; Mercedes dreams of skeins on a loom. Symbolic for how she wants to keep the family weaved together?
Mitigated: To make less severe or painful; Mercedes thinks about making sins less severe and painful.
Callow: Young and foolish; Leo feels callow in the presence of a very grown up Frances.
Nonplussed: Surprised, confused and embarrassed; Leo Taylor is nonplussed when Frances asks him to go away.
Sacristy: The room in which a priest prepares for a service; Mercedes cleans this room.

Lady Bountiful, The Ginger Man, Don't Whine, Dark Ladies & Salt

In this section, changes are made rapidly. The three girls are starting to lead very separate lives, which results in several different subplots that are evident through these pages. In the Mercedes subplot, Mercedes graduates, and is very much attached to Ralph Luvovitz. However, Mrs. Luvovitz is not particularly pleased; she wants Ralph to marry a Jewish girl. Eventually, Ralph rejects Mercedes, sending her into a whirl of control, where she cleans and cooks as a response to heartbreak. Lily stops Mr. McIsaac from drinking, with her seemingly otherworldly healing powers, or perhaps just the power of her inspiration and good nature. As Frances draws a bigger crowd to the speak-easy, she receives a new piano. The Ginger-beer deliverer, Leo Taylor sees her and thinks poorly of her. Frances breaks into the house of the Mahmoud on almost a weekly basis, stealing things for Lily. Mr. Mahmoud fires Teresa the maid, as he thinks she's stealing.

A lot of very tragic changes are made in this section, especially surrounding Frances. As Leo Taylor enters the speak-easy, the narrator reveals: "He dislikes drunks, and the prostitutes dismay him-they are all someone's daughter" (MacDonald 304). This is dramatic irony, because the reader knows that Leo is not aware that the "somebodies" daughter is actually the daughter of someone that he knows. It also gives the reader something to think about as we learn of the debauchery of Frances's world.

This particular "book" of Fall on Your Knees is entitled "The Diary of a Lost Girl". Presumably, this lost girl is Frances: "She is a commando in training for a mission so secret that even she does not know what it is" (MacDonald 307). The reader is reminded that Frances is still lost and unsure, like a child. I think her girl guide uniform is an obvious symbol for innocence; she loses her innocence when she takes it off to perform. Alternatively, Mercedes thinks of her like a cat, "Mercedes has ceased to worry when Frances disappears like a cat for days" (MacDonald 319). This is notable, because Frances has a pet cat, and the ways of a cat are very much similar to hers; uncaring, unfeeling, comes and goes as she pleases.

There is a lot of fog imagery in this section, both metaphorical and realistic: "It's as though a window has ben left open inside his head, admitting a draft. He can't get to it to close it. But he can look out it, even though all he sees is fog. It rolls into his mind, obscuring his ease, setting him to shiver" (MacDonald 323). Fog represents unclarity, doubt and a kind of sinister presence. Most of the characters of this novel are currently going through a mental fog as they travel through a real one as well. Things happen quickly in the fog; one cannot see danger approaching, or an accident waiting to happen. I see more of the characters at this point in the story like a ticking time bomb, a potential deer in the headlights, especially Frances.

I've come to realize that MacDonald often doesn't expose her character's motivation in a logical sense. For an example, a character will do something shocking and unexpected, usually completely untriggered. It is only later that we learn of their thoughts and feelings at the time, and why they made the choices they did. Often important details are not stated directly, but implied later. I'm trying very hard to enjoy this book, but its getting quite slow again.

Interesting Vocabulary
Balustrade: The French Word for banister; Mercedes gripped the banister.
Eldritch: Sinister or ghostly; Frances wants to leave a sinister gift on the pillow of Mr. Mahmoud when she sneaks into his house.

Let Me Call You Sweetheart, We Are the Dead, The First Miracle, Baby Burlesque & Cheat Women and Cheatin' Men

Conflict arises between the sisters, when Lily smashed Mercedes's doll on account of Frances's taunting. Mercedes also shows interest in Ralph, Mrs. Luvovitzes son, but his mother does not want them to elope, because of the conflict of religion. Because of her insolence and attitude, James beats of Frances brutally, to no avail. She is not afraid of her father. After the incident, Frances takes Lily to a secret cave. rumoured to be the Old French Mine. Lily, scared of dear and the dark, passes out, resulting in the breakdown of Frances. Meanwhile, Mercedes prays for her family. Lily gets sick again, and has more lucid visions of Ambrose. Miraculously, she is revived, even after being found down by the creek, in which her twin drowned. Frances, overcome with angst, runs away for the day to Sydney, where she becomes a regular at a shady speakeasy. Frances spirals downward, performing naked in the speakeasy while James thinks she is at Girl Scouts. The section ends with Frances being overtly drunk often, and sexually assaulting a young boy in the washroom at school. She is promptly expelled. Frances is the only catalyst to the conflict in this section.

I'm having difficulty deciding if Frances is my favourite character or my least favourite character. She has told Lily that her own mother has tried to drown her, because she hated her, which makes her a pretty despicable character. She constantly holds her authority over Lily's head

Mercedes poses a very formidible thought in this section: "For what have we to distinguish us from the beasts of the field? besides, of course, an immortal soul? Manners and a suitable attitude" (MacDonald 253). It is interesting that the theme of defining humanity comes up now in the book. Are we born into the rights of society, or do we earn them? Furthermore, why do we treat animals lesser than humans, when all we have above them is attitude and manners. We are selfish, instinctive and have a survival sense, much like animals. In a way, this tory has had a very large "Survival of the Fittest" tone. Emotional and even physical strength have come into play many times throughout the chapters. This also exposed a lot of things about Mercedes; she knows the human race is not so different from the animalistic kingdom of the beasts.

Allusions are used, again, in this chapter to create a sense of darkness. When Mercedes is playing the piano after Lily breaks her doll: "Lily always wonders what happened to Clementine, the miner forty niner's daughter, 'lost and gone forever,' where?" (MacDonald 259). The main attraction in MacDonald's writing, I've concluded is her ability to make comments in the voices of the innocent characters, but in that innocence allusion, a very eerie tone is set to the novel. She has a way of writing in this innocent, creepy way that is quite enthralling.

In a somewhat disturbing moment, Frances is beaten up by James, for being insolent. The narrator describes this event like a dance: "The next two bars are like the first, then we're into the second movement, swing your partner from the wall into the workbench, which catches her in the small of the back, grace-note into stumble because she bounces, she is young" (MacDonald 263). The way the author portrays this horrible abuse is almost sing-songy; It is a kind of black humour. In fact, a lot of events that are actually horrific and very damaging are kind of played off like a humourous situation, in a bitter "C'est La Vie" fashion. Chilling and eerie are the only ways of describing this technique.

Some references to good and evil are often made around the character is Frances. The narrator comments that: "Saints and satanic vessels tend to start out the same way" (MacDonald 277). This alliteration helps to somewhat point a finger at Frances; she could have gone either way. It's also pointing out that many qualities, such as maybe leadership, authority, passion and ambition are shared between very good people and very bad people. Maybe the line is not so definite? Frances herself makes a very impactful statement in this section. After tricking Lily into getting in the cave Frances proclaims through her tears: "'I am the Devil'" (MacDonald 270). This indicates that Frances is not unknowingly bad; she is fully aware of her actions, and it seems like it the knowledge of this haunts her inside.

Kathleen herself teases the reader with a journal entry from her when she was alive. She addresses the journal, claiming she can't wait to tell everything that's happened to her. She is also teasing the readers; this use of suspense and mystery is making us wonder what missing pieces we are soon to discover regarding Kathleen's life.

Frances grows up a little bit more in this section. She escapes on her father's boot-leg truck to attend a night at a speak-easy. The image of the tavern is very well constructed: "Wallpaper strips with traces of lords and ladies flap from ceiling corners dingy from nicotine and neglect" (MacDonald 284). In this bar, Frances becomes a wreck. Unfortunately, but probably for a reason, we aren't often let into the thoughts of Frances, much like Kathleen was sort of a fleeting mystery to us. I'm not sure what her motivation is in most of this section, especially when she sexually assaults a boy in his school. Frances is generally leaving me confused. I think the author wants us to see this section, somewhat like an outsider, much like the people at the speak-easy or her classmates might see her. Maybe acting out as a teenager? Maybe somethings happened to her that we don't know about? Maybe its guilt? Maybe she's mentally unstable? Like always, the motivation of characters in this novel is questionable. Most people have made their judgement however: "If there was any lingering faith on anyone's part that deep down Frances was good, it had been obliterated" (MacDonald 291).

I, however, still ahve faith in Frances. Later, we learn that Frances has become a sort-of prostitute. However, she keeps a fair amount of dignity (she is still a virgin, despite her promiscuous behaviour) and although she loves to drink, she puts all the money she makes away for Lily. Lily is almost like her little project, just like James made Kathleen the target for all of his doting. An interesting analogy is made regarding Frances: "Frances is a sealed letter. It doesn't matter where she's been or who's pawed her, no one gets to handle the contents no matter how grimy the envelope" (MacDonald 293). This idea that Frances is still saving something for herself, while medicating a need to escape her life, or make some decent money to her cause.

Interesting Vocabulary
Enervated; To make tired, to be made exhausted; When Mercedes learns that Valentino has died, she is enervated.
Comestibles; A food item; Mrs. Luvovitzes store has comestibles
Scoins; A young shoot or twig; There are none of this metaphorical young shoots at the speak-easy.
Palpable; A feeling of intensity and heaviness; the air in the speak-easy was palpable.
Gallivanting; Travel for fun; Frances doesn't have time to travel for fun to Sydney.
Gussied; To make more attractive; Frances makes enough money to keep herself in sure a state.

Porridge, Water Babies, A Child's Prayer for a Happy Death, Lest We Forget & Sweet Sixteen

As time moves on, the Piper family of four tries to move on too. there is a definite theme of "Life goes on, no matter what" in these chapters. Frances and Lily plant a tree where Ambrose is buried, though they do not know this. James wonders if Frances remembered what really happened to Ambrose; he is nervous. We see the beginning of a potential ghost story; Ambrose's "ghost" visits Lily in the night. Later, as the miner's go on strike, James receives a letter from Kathleen's well-wisher, Lillian Gish. We also get to see the letter that shocked James into retrieving Kathleen from New York, finally. At the end of the section, Lily hurts her foot in the Remembrance Day Parade.

A line of repetition is used throughout the first half of the story: "Who will save Frances?" (MacDonald 221). It is clear that Frances is heading down the so-called "wrong path"

The world of dreams is very heavily explored in this section. Lily, who is established as a sort of "main" protagonist dreams of Ambrose. The author makes an interesting point: "Here is the place called awake. On the other side of this line is the country of Asleep. And you see this shaded area in between? Don't linger there, it's No Man's Land" (MacDonald 226). The area that the reader is in right now is No Man's Land; we rarely know if what we are reading is a dream, or a reality. It is often difficult to distinguish Lily's waking moments from her sleeping moments. The relevancy of dreams and nightmares is questioned. What is reality? When Lily wakes up from a nightmare, Frances comments: "Nothing...I don't remember. Go to sleep. It was just a dream" (MacDonald 225). The reader is forced to question perception. Is the truth what matters, or does it just matter the way you remembered it? I feel as if this story is told from a different perspective, or narrator, we would feel very differently about each of the characters.

The miner's strike has, again, hit hard in Cape Breton. A sort of plague has taken over the towns: "At New Waterford General Hospital children lie parched amidst the new outbreak of all the old diseases with the pretty names" (MacDonald 228). I cannot help but think of our class work with King Lear. It seems almost of if the "Great Chain of Being" is yet again, out of order, due to the sins and transgressions of the Piper family. As the world around them mimics their internal family chaos, order must be eventually restored. How can this occur? By ending the lives of pretty much everyone in the family, excluding Lily and perhaps Mercedes. I feel as though James and Frances cannot be saved.

A lot is exposed about Mercedes in this section. Dealing with the theme of perception, Mercedes is the kind of person who cares a lot about what people think of them and their family. Knowing that everyone in town hates James, Mercedes: "Will have Lily give all their old story-books and clothes, as well as several pies that Mercedes will bake, to the poor children suffering upstairs. Then people will see...What a good man..." (MacDonald 233). One feels sorry for Mercedes; it is very unfortunate that she is subjugated to such cruel treatment, just because of her family name. Thus is life however, especially in a small town, bored with itself.

The idea of living on the island of Cape Breton is also explored in this section. The narrator quips that "the working poor looking to get off this cursed godforsaken rock that they love more than the breath in their own lungs" (MacDonald 241). This hyperbole emphasizes then paradox that all the characters in the story face: What they love, they also deeply despise. James loves Kathleen so much that he eventually hates her. Mercedes feels similarly towards Lily. Maternia, when she was still alive, loved James so much, but also secretly wished death upon him.

As predicted, Frances is emotionally unstable. She varies between angst and anger, and regret and sadness. She feels almost no remorse to exposing Lily to secrets that she shouldn't know about. It is unclear whether Frances is in a momentary state of disarray, or if she really is a mean and tortured person at heart.

I find it ironic that the family is attending a Remembrance Day Parade, when there is an obvious huge number of things that they would like to forget, especially James.

We still don't know a lot of things in this story:
-Who's baby was Kathleen pregnant with?
-Is the ghost of Ambrose real or imagined? Does it matter?
-What happened when James went to find Kathleen in New York?
-Who was the anonymous well wisher, so concerned for Kathleen's safety?
-What details of the "miscegenation" stated in the letter from the well-wisher pertained to Kathleen's ultimate fate?

Interesting Vocabulary
Viaticum: A communion to someone given to them when  they're dying; Frances says that this is a holy word for clean underwear.
Miscegenation: Basically, an interracial couple. Kathleen's well-wisher used this word to describe Kathleen's lifestyle.
Exodus: A mass leaving of the area; People in Cape Breon are leaving the area, to go to Boston for a better life.
Camaraderie: Friendship; Lily feels friendship with the men at the Remembrance Day Parade, an uncanny parallel to how Kathleen was only friends with the male sex.
Rudimentary: Basic; Lily has a basic understanding of Arabic.

Bootleg, The Demon Rum, Little Women, Cat's Cradle & The Family Tree

This section exposes the rapidly developing relationships between the three girls. We also learn of James's changing character, and his new job which seems to pay most of the bills in the Piper household-bootlegging during the time of prohibition in the United States. As Mercedes grows older and holds more responsibility she begins to grow apart from her two younger counterparts. She is also hastily becoming a "little woman" and is having duties thrust upon her at a very young age. One night, Mercedes thinks she sees a ghost, possibly the ghost of Ambrose in the house. The section ends when Lily finds Mercedes's precious family tree, and colours it in, much to the enragement of Mercedes.

The character of Mercedes is developed vastly in this section. though only a year older than immature Frances, "Mercedes is twelve going on forty" (MacDonald 185). She is sensible, and motherly, responsible for cooking and taking care of the house. It is clear that while she has a close friend, she feel perpetual loneliness in the household of her father. I feel as if Mercedes feels wronged by her father: "She ponders Daddy's love for Lily. And his anger at Frances. She picks up her fork and feel lonely" (MacDonald 189). Lily is greatly favoured in the household, presumably because she reminds James of Kathleen. He also spends a lot of his time and energy on disciplining unruly Frances, so Mercedes gets quite lost in the mix. The reader feel sympathy for her, forced to be mature beyond her years: "Mercedes is a pillar. And Lily is precious. And they make up for Frances" (MacDonald 188).

We are able to see the times in Canada that we know will lead up to The Great Depression. In a way, this is moment of dramatic irony; this audience knows what the dirty thirties will bring, but the Pipers do not. We can also view this as foreshadowing perhaps: "No one knows it yet, but Cape Breton is the dress rehearsal for The Great Depression" (MacDonald 192). What will be in store for Canada and the Piper family through these times? To me, the Pipers are sort of a metaphor for all of Canada: struggling to find an identity and a place to settle comfortably.

James is showing more and more signs of weakness. He has completely given up on his life, even more so than when he was in the trenches of the First World War. He thinks that, "He cannot believe in a life hereafter. Not for himself anyways" (MacDonald 195). James has given up on God, and given up on being saved.There are many reference to the story of Little Women during the chapter entitled the same thing. This is ironic, because the young motherless girls, more specifically Mercedes, have to actually be little women, in the sense that they must take on the loss of innocence much earlier than many young girls have to. Many of the allusions made in this novel dictate a character's ultimate fate. When the three girls roleplay as the characters in Little Women, Lily plays the character that dies. I wouldn't be astounded if in time, Lily followed suit. In fact, Frances plays Jo, the unruly protagonist, while Mercedes plays the eldest one, Meg, who is proper and motherly, much like herself. Very clever that MacDonald should reference a novel with characters so like her own. James also has a very sad moment towards the end of the section: "For no reason his throat tightens. His eyes sting but he isn't going to cry, this time" (MacDonald 219). While the reader doesn't particularly like James, it must be difficult to lose a daughter, a granddaughter and a wife in a few short days. The reader feels like this immense amount of pain will change James, but in what way we cannot know yet.

We also learn that Frances keeps a cat as a pet: "Trixie comes. She always does when Frances calls. She found Frances three years ago" (MacDonald 205). To me this represents Frances and her devilish ways. i feel like this black cat is a bad sign, especially in a novel that revolves very much around superstition. I also cannot decide how I feel about Frances. I like her because she is rebellious and a genuine free-spirit; I dislike her older sister's conventional nature. However I am deterred by her ability to lie seamlessly to anyone, without so much as batting an eyelash. I feel as if Frances and potentially her cat, will get into trouble; this may end in her untimely demise?

A quote that I believe sums up this book rather well is: "'It leads into the past. it tells us where we came from. But it doesn't tell us where we're going. Only God knows that'" (MacDonald 208). This is spoken by Mercedes, as she proudly presents the family tree. However, it speaks to the merits of one's memories and history. The past can be certain, depending on the perspective one has; and does the truth really matter if it's in the distant past? However, no amount of family trees, photographs or 552 page recounting of an event can ever be reassuring whilst looking to the future. the future cannot be certain, no matter what's already transpired.

The reader has to admire Lily's innocent sense of good-doing. She draws a chest under the ground in the pictures of the Piper family tree. When Frances asks her what kind of treasure is in the chest, she responds with, "'Ambrose'" (MacDonald 216). This haunting innocence that Lily exhibits gives the readers chilled; the theme of innocence versus the harsh reality of the world is forever present in this novel. Its a very bittersweet moment, that quietly parallels the plot of the story. I see a direct connection between the relationship of Lily and Mercedes, and the doomed relationship of Kathleen and Maternia in the previous pages. They share many similarities; I feel as if they will end up in similar fates.

Interesting Vocabulary
Perturbed- Unsettled or upset; Lily gets a bump on her forehead when she's perturbed.
Errant- Guilty; Mercedes tels a story in which an errant frog gets turned loose in the classroom of her school.
Teetotal- Stern Prohibition; There are many of these in Sydney.
Paramours- Lover or significant other; Helen and Valentino marry respective paramours.
Stratagems- Strategies or Plans; Frances steals money from Lily so that she does not have to live a shameful life full of stratagems, or so she describes it.
Fervour- Passion; The three girls pretend to be Saints, and plan the rolls with great fervour.
Beguiled- Charmed, entranced by; The Family Tree has all of its right angles beguiled into serpents by Lily, who thought she was being helpful

The Adoration of the Body & The Official Version.

In these two chapters, we revisit many of the dramatic events from the last couple of chapters. We learn that  it was in fact James that destroyed the scarecrow after he found the drowned baby with Frances. We also learn that a distraught Maternia visited Mrs. Luvovitz shortly after Kathleen died. James continues to unravel after Kathleen's funeral. Back into present day, Spanish Influenza has taken over the town. Fearing that a sick baby Lily will die, James gets the priest to attend a baptism of the young baby, not knowing that Frances already did the deed. Here, Mercedes is named Godmother. The two young girls pray for Lily, who miraculously gets better. James buys Mercedes a doll after Lily recovers. We also get a flashback into the New York life of Kathleen, and her first sexual experience that ended up in her pregnancy.

When James discovers Frances and the two babies (one alive, one dead) in the creek, the narrator compares it to the war that James came back from: "There is a water filled trench. There is an unhappy man with bleeding hands. There is the body of a boy" (MacDonald 158). To me, this metaphor says that life is always a war. There is always a battle to be fought, and a greater evil to kill. I feel like the depressed and unhappy James is realizing this currently in the plot.

There is a lot of tree imagery in this section, which creates several different effects. On the night after Kathleen and Ambrose die, a shadow is said to have appeared from a tree: "It's a figure that comes out from under the branches and onto the street. It stops, drifting in place like a plant on the ocean floor. Then it travels again all the way down the street to the graveyard...It looks straight out to the sea that stretches four thousand miles and sings" (MacDonald 161). I feel as if this particular tree/plant image represents the dying Maternia. Later in the section, Frances experiences a moment of weakness over the death of her mother, "She turned her limbs into strong little tree branches. She made her spine into a springy switch and her skin into new bark" (MacDonald 174). There is a contrast between the new, strong tree of Frances and the old ghostly tree of Maternia.

An insight to Maternia's mental state is given when she returns to the Luvovitzes' house one final time. Maternia is broken and helpless, much like the child she was and probably always has been. MacDonald adds that Mrs. Luvovitz "Washes her gently, as though Maternia was a newborn" (MacDonald 162). Maternia is not so different from the helpless, naked babies that Kathleen gave birth to. the reader feels an extreme amount of pain for Maternia, for she is a passive, likeable character, that meets her untimely death, simply because she is not an overtly strong person.

In The Official Version the theme of truth is extended. MacDonald plainly states that "One child was born" (MacDonald 165). There is no truth to this of course, as the Piper's had another child. The reader sees that truth is a powerful thing: It can alter perception dramatically, and it can completely erase the history of a person, specifically, baby Ambrose. The idea that seeing is not always believing has been fuelling this story (which is completely based on the recounting of the narrator,) and is present again in this chapter. It is unsettling and upsetting that the truth is hid so easily and without guilt.

Most importantly in this section, is the transformation of Mercedes from young girl to mother in a very short amount of time. After each death in the family, James summons Mercedes: "'I need you to be a big girl, Mercedes'" (MacDonald 163). These exact lines are spoken every time that James discovers a death. This repetition makes the reader understand the amount of emotional and physical responsibility that is being placed in the head of a very young girl. When Lily is being "officially baptized," Mercedes becomes the Godmother: "Thus, along with her father, and at the age of almost seven, Mercedes assumed the responsibility for the soul of Lily Piper" (MacDonald 171). Mercedes also later tells Frances that she is her mother now. This makes the reader wonder how Mercedes's character will be defined by her role as a seven year old mother, and how it could possibly effect our plot.

Water plant imagery is used in almost every metaphor in Fall on Your Knees. As we journey back into Kathleen's life in New York, MacDonald describes the act that ended up in her pregnancy: "The invisible ocean holds the room and the bed and the lovers suspended and treats them like aquatic plants" (MacDonald 176). Aquatic plants move themselves, but are fixed to a single location. I think this is a metaphor for how Kathleen tries very hard to remove herself from her situation at home, but home will always follow her, and she will always be reminded of Cape Breton and all its given and taken away from her.

A quote I really liked from this section is observed by James: "Men equal parts monster and martyr" (MacDonald 170). This is how James describes himself and others like him. I think it suits him perfectly. He is truly a monstrous character, however, he gives a lot of himself for the better of his daughters, even when his intentions aren't so honourable. We see that James feels guilt after the death of Kathleen, Ambrose and Maternia. Could his character change once again?

The curse, real or imagined, placed on Maternia by her father and mother has been fulfilled. If one believes in heaven and hell, one must wonder where the three dead characters are now...

Interesting Vocabulary
Irredeemable: Not able to be saved; James's guilt was such, but he remained strong.
Motley: A diverse mixture; Frances thoughts about her mother were a huge motley.
Reverently: To show deep solemn respect in this way; Frances treats Mercedes doll reverently, while she wishes to take it apart out of curiosity.
Unassailable: Unable to be attacked or defeated. Kathleen believes her life in the new world is unassailable to the old world of Cape Breton. How wrong she was.

O Holy Night, The Mass Card, Cave Paintings, Blancmange, See No Evil

Wow! These must be the most exciting chapters I've read throughout the entire journey of this novel. For once, I really got into the book, and didn't want to put it down. The narrative structure of these chapters is very skewed, as each chapter is sort of told from a different point of view. We begin, as Kathleen is dying in bed; a very rude awakening from the slow pace of the last chapter. She is dying in childbirth in the attic, and Maternia makes a split second decision to let her daughter die to save the twin babies she is birthing. Three days after she makes this decision, she kills herself in the oven. As we move into The Mass Card we see Frances at the church when her mother has died. From there, we go back in time to see James having a mental breakdown, because of the death of Kathleen; Maternia is still alive at this point. Young Frances decides, that since her father is not going to baptize the babies, she shall do it herself in the river. She baptizes the girl first, but then, upon hearing her father coming, accidentally drowns the baby boy. We progress to the funeral of Kathleen, and then to Mercedes point of view as she comes downstairs just in time to see Maternia kill herself. From there, we backtrack to see how Mercedes watched from her bedroom window as Frances accidentally drowned the baby boy on the night of his birth.

So much to say about this section! I feel like the pieces have finally come to fit!

I really enjoyed how MacDonald began this chapter suddenly, with Kathleen almost dying. It gave us a sense that death is sudden, and a life full of promise and youth can be snuffed out by death, with no forgiveness or mercy. The reader contrasts the youthful cheeky Kathleen, who seemed to be the centre of the story in the previous section, to the dead Kathleen in this section. Kathleen, fearsome, powerful in life is now: "An abandoned mine. A bootleg mine, plundered, flooded; a ruined and dangerous haft, stripped of fuel and coal, of fossil ferns and sea anemones and bones.." (MacDonald 136) It made me think that, everyone is the "hero" of their own story, just as Kathleen was the main character here. But death can occur at any given time, without empathy or discrimination, and it will leave you bare and empty, with no use to the world. It was just a really powerful way of saying that life is very delicate, and one isn't guaranteed any time in this world, before one's great resources become an abandoned mine.

Obviously, guilt is a big theme in this chapter. Maternia killed herself because she felt guilty letting Kathleen die. She knows that "the real reason I let my daughter die was because she was better off that way" (MacDonald 138). Here, we see an interesting contrast in Maternia. She told The Devil previously that she'd let him take Kathleen, if he'd spare her other daughters. However, it is now apparent that he's taken Maternia with him, as well as Kathleen. However, Maternia swore she had no love for her daughter. Her guilt does not stem from her religion; she did the right thing in God's eyes. The guilt was enough for her to clean everything in her house meticulously (not unlike Shakespeare's Lady Macbeth,) before succumbing to her grief. It guilt inevitable in some situations, no matter what good choice is made?

Mr Mahmoud refuses to come to Maternia's funeral: "For him the funeral is redundant" (MacDonald 141). Did Maternia really die when she met James and became unhappy? She has been described as being a zombie-like woman for the majority of her time with James. Was she just ready to leave her body, as her "spirit" had already passed with such traumas at such a young age? This reader personally feels a little relief for poor Maternia; she is not suffering under the roof of James any longer.

The tragic innocence, and loss of innocence is explored through the characters of Frances and Mercedes in this section. When Kathleen is close to dying the two girls "have made a little shrine and given up sweets for as long as it takes her to get well" (MacDonald 146). Here, before the loss of innocence, the girls are still young, and still believe that not eating candy and sweets with result in their sister getting better. Such adorable behaviour, is turned around when the events begin to spin out of control. Mercedes becomes a stronger character, "When her nerves have heated up enough, when they are white-hot, they'll be plunged into cold water, tempered and strong for ever. Strong enough to support a building or a family.." (MacDonald 155). We also learn that Frances has learned how to lie (as mentioned in the above paragraph. We can begin to see the outline of both their characters; Mercedes is courageous and righteous, while Frances might have a manipulative side to her. MacDonald foreshadows from Mercedes' eyes: "Why is she so bad? Some people are just made that way" (MacDonald 156).

Again, the theme of perception is revisited. Frances, in the church laughs, but her father thinks she is crying: "Frances learns something in this moment that will allow her to survive and function for the rest of her life. She finds out that one thing can look like another" (MacDonald 142). This section is also told from very different points of view, as we see almost each scene from a different character's eyes. Like the memories we are being presented by the narrator, how much of what we see is what we get? Are there other secrets, just like in any family, that have yet to be uncovered?

Strange to me, Pete, the demon that haunts Kathleen appears to her before she dies. Is this the devil that Maternia has allowed to take Kathleen? Is it symbolic of James and his chilling relationship with his daughter? Is it symbolic of the environment she grew up in? After Frances accidentally drowns the baby, "The only thing different about this morning is that, if you look out at the garden, you'll notice that the scarecrow is gone, and in it's place there's a big rock" (MacDonald 156). The reader is left to wonder where the scarecrow went, and if it had any correspondence to the loss of Kathleen and the appearance of Pete. The reader is not not if the scarecrow leaving is frightening, or a relief. MacDonald uses cliffhangers in many of her chapters; this page is no different.

I love the dark humour that is a constant throughout the story. MacDonald uses witty, sharp lines to add grim laughs into the story: "Mercedes was going to bake it in the oven. But her mother is using the oven" (MacDonald 152). This of course is a reference to the time that Maternia has killed herself in the oven. this casual, innnocent approach to the suicide of a mother is horrible, yet sort of hilarious in a very evil way.

The baby that is accidentally drowned is named Ambrose, and St. Ambrose's quotes appear on each of the dead Piper's mass cards. The name Ambrose means immortal in Latin. From what I can gather about the next few chapters, the metaphorical ghosts of the dead Pipers "haunt" the pages of the novel, as in they never really die. As in they are immortal. Just a thought!

Interesting Vocabulary
-Respite: A short period of rest. Kathleen has a respite before she dies in childbirth.
-Wimple A cloth headdress. Frances observes that the Nun's wimples look like gothic cathedrals.
-Phalanx A group of people together for a common purpose.
-Complaisant Agreeable or pleasing. James observes his mental picture of Mary and Jesus, saying they look as such.

The Candy of Strangers, Lady Liberty & The Children's Hour

In these chapters, James comes home from the war and, in his newfound manic state, asks Maternia's parents for money to send Kathleen to New York. Strangely, Kathleen has fallen out of favour with James; he sees her as a completely different person Somewhat reluctantly, they oblige, and Kathleen heads off the the big city. However, while here, she falls in love and becomes somewhat frustrated with her craft of singing. A mysterious letter comes to James, that is signed by an anonymous stranger. Upon receiving this well-written letter, James immediately ships Kathleen back from New York City. This chapter was generally really confusing. I think it is so, because as a reader, we are supposed to feel like voyeurs, only seeing about half of what is really going on, speculating and gathering memories of the Piper family.

A big theme in this section is change. The narrator notes that: "The Great War was the greatest changer of them all" (MacDonald 115). Here, there is a historical turning point, and a directional change in the plot. The reader gets the feeling that things will begin to rapidly escalate, in wither a positive or negative direction. Also, we get the feeling that characters' attitude towards each other, and even their own personalities will evolve, or perhaps even backtrack. MacDonald wants to inform her readers that what they know from the previous chapters is almost null and void; that was then, this is now.

Throughout this section we get an intimate look on the private lives of Mr. and Mrs. Mahmouds, Maternia's well-off Lebanese parents that disowned her when she chose to leave their household for James. It becomes clear that the relationship between Maternia's parents and the relationship that Maternia has with James share certain similarities. Both men in the relationships are stern and cold, while the woman is quiet and demure, always looking for ways to please their husbands. Mrs. Mahmoud tries very hard to make her spouse happy: "She is wearing her moonstone ring and strand of genuine pearls to please her husband" (MacDonald 119). Mr. Mahmoud is ironically, a lot like James. He thinks always like a businessman, thinking only of ways to make himself look better, and exploiting every oppurtunity to get ahead: "He tells himself that he does it for Giselle. But as he writes the third zero, he reflects upon the future of the family voice. Universally acclaimed. The crowning glory of his success in the New World" (MacDonald 120). This remins me of several psychology articles I have read, who observe that when a woman looks for a partner, they look for someone who subconsciously reminds them of their father. While I understand that the Mahmouds' interpretation of marital roles was somewhat the social normalcy at the time, I believe MacDonald included this so that the reader could ponder family relationships. Do our parents' relationships dictate our relationships? Are we always doomed to repeat what we have seen growing up? Is our fate wholly or partially decided by those around us? Will we, without a doubt, become our parents inevitably? Could the relationship of Maternia and James be part of a vicious cycle?

When Kathleen makes her departure to NYC, a quote is placed, like at the start of most chapters, before the action starts. The quote is from Claudia, a book Kathleen read under her schoolbooks back in Holy Angels school: "Girl as she was, Claudia looked upon the world before her like some untried knight" (MacDonald 122). We see that Kathleen will soon embrace the new world she lives in. She already feels as if she has control over her life. She is a very confident, unshakeable young lady, as she leaves Cape Breton for the first time. While Kathleen is a strong character (admirable for such a quality,) she is not a particularly nice character. Ruthless, selfish and egotistical, the problem with Kathleen is that she does not realize her faults.

We are also introduced to Kathleen's guardian in NYC: a woman named Giles. She volunteers at a convent, and often tends to dying nuns. The narrator grimly exposes that, "Ancient sins bloom afresh, fragrant with the purity they possessed a moment before they were named and nipped in the bud" (MacDonald  124). Here, MacDonald compares the old sins that concerned nuns blurt out before they kick the bucket, to flowers that bloom when time is running out. This is discomforting to the reader, and it gives a sense of insecurity, simply because of the uncertainty of death. If nuns panic before they die, what can be said for the rest of us?

A well used alliteration helps bring to life the chaos and fast-paced lifestyle that Kathleen has been swept into whilst in NYC: "Between sadistic singing lessons with the maestro and suffocating sedate suppers with Giles, Kathleen walks the length and breadth of the island of Manhattan" (MacDonald 125). This adds momentum to MacDonald's writings.

Finally, the two younger girls at home learn to read all by themselves: "The glass of the mirror has simply melted away, and now they are free to enter as many worlds as they like, together or alone" (MacDonald 131). This metaphor is used to illustrate that the girls have grown up; they no longer rely on others, and are now "free" from their parents. For better or worse, they are close to being emancipated.

When James is bonding with Frances and Mercedes, a short poem is included entitled The Children's Hour, hence the title of the chapter it is located in. The poem was written in the 1860s, and the narrator, Henry Wadsworth Longfellow depicts a wonderful life with his three daughters. This is ironic, considering the crippled relationship James has with one of his daughters, and the overall strange family parallels that the Piper family harbour. This book is so full of allusions and obscure references, that it is difficult to look up every single mention throughout the story. It is a challenging read, mostly because I know very little of popular culture in the early 1900s.

Interesting Vocabulary
Civvies- Slang for street clothes. James walks back to his house in these. It is a symbol; his wartime heroism has been forgotten and he is just plain old James again.
Pre-eminent- Very important and distinguished. James looks for the pre-eminent teacher of music for Kathleen in NYC.
Trousseau- A dowry for a single woman. Teresa is getting hers ready for when she marries.

Three Sisters, Women of Canada, Dulce Et Decorum, The Bobbseys At Home & Boots (Chapter 16-20)

In these series of chapters, some very important advances were made in the characterization of James in the war. As the plot of the story becomes stranger and stranger, the reader begins to question the motives of the author. MacDonald adds several things into the story, that are seemingly unnecessary filler. However, the experience of the last few chapters tells me that everything added into this book is there for a specific purpose. Kathleen and her younger sisters begin to bond. Maternia receives letters from James that are almost useless, as he never adds any details into his messages. Maternia feels somewhat guilty, for she wishes death on James. Meanwhile, James in the trenches is changing as a character. He is eventually discharged, for what they say is a severed toe, but in actuality, he is mentally unfit to continue in the war.

A part of these chapters that really struck a chord with me, and I suspect many other readers, is when the author reveals that Mrs. Luvovitz's children are going to fight in the war. However, there is a twist to this development: "Her boys will be fighting their own flesh and blood. The Luvovitzes are real Canadians, and the Feingolds are real Germans" (MacDonald 102). Here we see that there is an obvious struggle with identity, not only for the children of the Luvovitzes, but for Canada as a whole. We are reminded of the changing of times in Canada in this time period. The Second World War mimics the conflicts that are occurring in the home of the Pipers.

Maternia contemplates suicide in this chapter. She wishes to jump to her death off the cliffs that she has visited for so long, and be dead in the ocean. For Maternia, the water here symbolizes a fresh start, almost as if it is a rebirth in death. MacDonald uses personification to highlight this fact: "It's where she belongs, she craves the caress of the violent shore, to come alive like that once more in a clash of stone and then to die" (MacDonald 105). Maternia feels dead already, and expresses that she would find a relief in death, as the fall would make her feel alive once more. The reader is on Maternia's side; she is one of the many characters that we sympathize with in this novel.

We also sympathize with the tragic Mrs. Luvovitz, who is proof that tragic things can happen to otherwise good people. Mrs. Luvovitz is only human, however, and humans have good and bad points. She wishes for James to be killed in the war, much like Maternia secretly does: "Benny says that's prejudice. It isn't. It's superstition" (MacDonald 105). Judgement and prejudice, as well as perception are huge themes in this novel. While everyone judges each other in the novel, the reader is able to see the positive and negative in everyone. There are no "black and white" characters; everyone is a spectrum, so judgement should not be used.

The Secrets of Fatima are mentioned in this section. However, this was a title in the pervious sections of the book. Could it be that MacDonald is using the titles of the chapters as foreshadowing to what could happen? It seems a little obvious, but I'll be looking for that pattern in the remainder of the novel.

James's characters becomes more complex and troublesome. He is described as having "'Total disregard for his own safety'" (MacDonald 109) by his fellow soldiers. It becomes evident that James doesn't want to live anymore, though it is not clear why. He has generally been a pessimistic and dangerous charcater. However, his grand plans for Kathleen and his newfound want to die are conflicting. I think a combination of war, his failing reltionship with Maternia and the fact that he has lost/is losing Kathleen to distance and her rapidly increasing age has made him feel like he has nothing left in his life. I'm not sure if the average reader feels sorry for James, but I do. His character reminds me of the mention of the fatal flaw in our class discussions. MacDonald paints him as a tragic character, with several weaknesses, such as Kathleen and his exremely high expectations, that will eventually lead to his demise.

James has a highly competitive nature. He likes to win, and he likes to be correct. In the chapter entitled Boots, James decides that in order to win the war, he must make the best boots: "We will win because we have more and better boots. Boots determine history. Warm dry feet will allow us to go on being killed longer than the enemy. When the enemy's boots wear out, they will no longer be able to run in waves into our machine-gun fire, and they will surrender" (MacDonald 112). I am struggling to understand why MacDonald included James's bizarre logic into the novel. I think this is here to show his descent into possible insanity. While his point is somewhat logical, he obsesses over boots. James has become more obsessive and more obsessed by unfeasible illogical ideas. I predict that the boots are just symbolically representing Kathleen. I feel like the Piper women will be in greater danger upon the homecoming of the man of the house.

In describing James, MacDonald used an interesting allusion: "James's superiors do not refer to him as 'Rudolph'; they call him 'Lady Macbeth'" (MacDonald 114). James is being compared to Lady Macbeth, a greedy, vicious character that committed horrible crimes and died because of their own guilt. When Lady Macbeth died, natural order was restored. Could a similar fate be in store for James?

Before learning of James's homecoming, Mercedes, Frances and Kathleen read The Red Shoes, a story by Hans Christian Anderson that tells of a girl that was to vain and rude to her adoptive mother, that she was forced to dance in her red shoes, until she cut her feet off. She was only saved by praying to God. It is an ironic allusion, considering that Kathleen fits the description of the girl in the story perfectly. MacDonald uses a lot of allusions for the purpose of foreshadowing, and I wouldn't be surprised if this was included.

Interesting Vocabulary
Bodechean: Has different meanings for different regions. Generally thought of as a demonic/mythical creature. Kathleen describes Pete as such. It is still unclear why Pete is haunting Kathleen. Is he real, or is he imaginary?
Unabsolved: To un-free, or be contained. Maternia is this way when the priest does not understand her perceived level of sin.
Untrammelled: Not censored or chained in speech or thought. Kathleen believes that the free untrammelled girl must be brought to the throne of fashion for sacrifice.
Dulce et Decorum: Translates roughly into "For one's own country". Title of the chapter in which James describes his wartime life.
Parapet: A wall.

Moving Pictures, Limbo, Over Here, Holy Angels (Chapters 12-15)

To summarize, in each of these respective chapters, James is going off to war, so he gets a picture taken of Kathleen. Meanwhile, Maternia has her fourth baby named Lily,who, sick from the start, dies. Shortly after, James goes off to war. Maternia, in his absence flourishes with her two favourite daughters, Frances and Mercedes. Kathleen becomes more and more alienated at school, as we see her personality start to become more distinct.

The progression of dark humour in this novel is getting more apparent. The reader is starting to becomes more and more concerned with Kathleen. It seems that the Piper's oldest daughter has an antisocial personality type, with possible narcissistic tendencies. Kathleen has very dark thoughts for a young woman. She is arrogant, proud and shows no affection for any of her peers. It is not completely clear whether this is just a defence mechanism for her, or if she really does not care for the feelings of others. Even her daily observations are laced with darkness: "Taylor carries the boxy camera across the yard, its long hood trailing 'like the severed head of a nun,' thinks Kathleen" (MacDonald 79). Kathleen is extremely cruel towards her mother, much beyond the rudeness of the average teenager: "What upsets Kathleen most is the blank face on her mother. A baby factory. Insensate. My life will not be like that" (MacDonald 83). The young girl becomes frustrated and angry instead of sympathetic when confronted with others being sad or upset; in fact for every emotion that Kathleen has encountered, she has rebuttled with hostility. MacDonald uses an excellent metaphor to describe Kathleen's personality: "No, Kathleen's fortress, her tower of creamy white is steep and terrible. No one comes in or out. Except for her father, Sister Saint Cecilia and a select few minions necessary to support life" (MacDonald 97). It is known to me now that Kathleen eventually dies. Will her seemingly cold, vain and antisocial exterior be a factor in her demise? And how much of her attitude is fake, and how much is really her, just trying to protect herself? One thing is true, she very much takes after her father James.

Maternia also becomes more assertive in this section of the book. She finally finds some comfort in Mercedes and Frances, two daughters that embrace her culture and let her be a true mother to them. Throughout Over Here we see how MacDonald is slowly building up Maternia's self esteem and self of worth. It is also clear that Maternia is not emotionally attached to James anymore, as when he goes off to war, "She prays so hard that her head really does seem to get a little wobbly. She prays he'll be killed quickly and painlessly in Flanders" (MacDonald 85). It is clear that Maternia is only sticking around for the security of having a husband, and for the sake of her children. Also in this chapter, we see Maternia revisiting the Hope Chest, and dancing the dabke, a dance of Arabic origin, that is said to be danced in celebratory times. We see that since the bully James is out of her life, she is free to express herself without the fear of being reprimanded. Both the Hope Chest and the dabke are symbols of her personal freedom in the absence of Mr. Piper.

When Maternia is describing Lebanon, and her culture, she using some striking imagery: "The buildings are white, they sparkle in the sun like diamonds and the sea is crystal-blue. Lebanon is the pearl of the Orient. And Beirut, where I was born is the Paris of the Middle East" (MacDonald 87). Here, she uses similes, metaphors, imagery and comparisons to paint a picture of Lebanon. The author really wants the readers to feel as if Maternia's unique culture has been very poorly judged by James. This is said to make James look ignorant and unappreciative.

As Maternia teaches her two youngest daughters the dance dabke, the narrator describes the movements: "Your hands are supple seaweed, waving on unresisting wrists, encircling, grazing, flirting with one another" (MacDonald 89). There is a lot of water imagery in this novel, and I believe that the reference of seaweed is one as well. Perhaps if Maternia is dancing like seaweed, she is in the water? Perhaps this is a rebirth for Maternia; is she being reborn as a more confident, assertive woman with her two daughters by her side?

I really like how MacDonald has, throughout the entire novel so far, been able to switch back and forth seamlessly between points of view in the plot-line. For instance, one paragraph will be discussing how Kathleen's teacher is feeling, but then return to the point of view of Kathleen in the paragraph after. It is an interesting technique that makes the reader feel as if they were almost like God, watching down on the characters of the novel, knowing their secret thoughts and feelings.

The theme of animosity occurs most prominently in Holy Angels, a chapter dedicates entirely to Kathleen's school experience. For example, when Kathleen is taken down a few pegs by her teacher, the narrator quips that, "Kathleen's ordeal at the hands of Sister Saint Monica soothes a lot of badly ruffled feathers" (MacDonald 95), or when Kathleen "Skirts them cautiously as if they were dangerous wild animals loitering about a common watering hole ready to pounce" (MacDonald 96). Animal comparisons were abundant, obviously. I think this speaks to the fact that not only is school simply a jungle, but the author wants us to understand that nobody is above Kathleen; they are all but animals to her. Whether they were jealous birds with ruffled feathers, or feisty wild animals ready to attack, they are all still beasts, while she is the untouchable Kathleen.

Interesting Vocabulary
-Insensate Lacking in physical sensation. Kathleen describes her mother as such.
-Heifer A female cow that has not given birth to a calf. James describes a fat Maternia with this word.
-Boche The German Soldiers
-Antechamber A small room leading to another larger room
-Moraine Rocks in a glacier
-Unalloyed Pure
-Gregarious Someone fond of being social.

Quanto Dolar, The First Solution & The Third Secret of Fatima (Chapters 9, 10, 11)

A lot has occurred in these three chapters. I found the title choices to be of particularly interest. Quanto Dolar is Italian for "How Much Pain". In this chapter, James's demon surfaces for the first time. He hits Kathleen in a fit of accidental rage, loosening her tooth. Kathleen however, remains unphased and devoted to her father, a curious trait considering she is a selfish and pompous individual. The bond with her father continues to disturb everyone, including Maternia. One could only imagine how she must feel during this ordeal. However, the reader can tell that she is a person of great selflessness and strength. She does not dwell on the fact that the love of her life James belittles her, openly mocks her and is completely unattracted to her, but she tries to protect her daughter that she doesn't love and that apparently doesn't care for her from her own husband. How many modern women would stay so quiet in such a situation? Not me, for one.

In addition, Chapter eleven is titled The Third Secret of Fatima. In this chapter we see James lust after Kathleen even more, and as Kathleen becomes more and more aware of herself, we see their relationship become more and more dangerous. The Three Secrets of Fatima are a prophesy supposedly shared with three young girls in Portugal in 1917 by The Virgin Mary. The third prophesy is regarding the attempted assassination of the Pope, but from what I can gather from various sources, the prophesies are widely believed to be a hoax, or at least an exaggeration. Could Maternia's discussions with the Virgin Mary in this chapter be in vain as well?

The character of Kathleen is slowly becoming more questionable. She refuses her mother's dinner (a symbol of her detachment from Maternia,) and she is becoming more overtly sexual. We see little hints of her innocence slowly fading away, especially through her traumatic vanity exploration in the mirror after her show, that results in terror. Maternia herself sees this in Kathleen, comparing her own motherly protections to a cocoon that Kathleen will one day break free from: "But no one can spin forever, and cocoons must yield, whether to release a butterfly or a meal" (MacDonald 68). This metaphor, comparing Kathleen to a delicate, fragile defenceless butterfly forewarns the readers: This metamorphosis may bring something ugly. As she succumbs to her own vanity in the mirror: "It's a self portrait, and the artist is in love" (MacDonald 76).

MacDonald has once again proven herself to be the Queen of Allusions. Most of them are in relation to Opera singing, in which Kathleen excels at. Some of the more engaging ones are listed below:
-"What did Stendhal say of Elizabeth Gafforini?" "Whether you see or hear her, your peril is the same." I had a hard time finding any information on this reference. I believe Gafforini to be a somewhat famous singer, but most information was in Italian...
-"Rigoletto cries 'Figelia!' Rigoletto is an Opera. Here, the lead female role is played by Kathleen. There are uncanny similarities to Fall On Your Knees and Rigoletto. The themes of mystery, magic, hatred, revenge, inappropriate love and love triangles all appear in the Opera, as they will most likely appear in the novel. A fulfilled prophesy and a violent end wrap up Rigoletto. In fact, Kathleen's character, Gilda dies in the play; will she die in real life? Foreshadowing? Most likely, says this reader.

Something that MacDonald does very well throughout this book, but that I have not addressed with is characters thinking within the text. It's an insight into their mind as we actively follow their thought path as the events unfold in the book. We are able to hear them wrestling with their conscience. For example, as James thinks of his demons, "In the ensuing panic, there was a physical accident. Meaningless. Hanged men get hard-ons for heaven's sake" (MacDonald 65). This is very effective; the reader is let inside each individual character's head.

The season changes to a hot and sweaty summer: "July is sweltering" (MacDonald 70). Summer represents adulthood and the peak of life. Indeed, in this chapter, many things are going well, especially for Kathleen. It is no longer her "spring" or new beginning; she is an adult now. The beginning of the war is a parallel, in my opinion to the beginning of the "war" that is going to occur within the characters of the story. There is another bird comparison in this section: "Teresa, the maid sees the avid white face with the boy-blue eyes and bird of prey bones" (MacDonald 75). It is notable, that James is a bird of prey, while Kathleen is often compared to a songbird. What would a bird of prey do to a songbird? Kill it. Hmm..

There is a lot of demonic imagery in these three chapters. Previously, the characters have only communicated with God or other God-like symbols. Both Maternia and James compares James's "ticking time bomb" attraction to Kathleen as a demonic figure. This metaphor is extremely haunting and very effective, "But the demon isn't satisfied...If the demon will limit itself to one daughter, Maternia will allow it to have Kathleen when the time comes. The demon grins. Agrees" (MacDonald 69). This imagery says a lot. Firstly, we recognize that even those who are not demonic people can have demons inside of them; James is not, in my opinion an evil person, he just has a lot of faults and a lot of "skeletons in the closet." I find it interesting that Maternia eventually sacrifices Kathleen to the demon. is she damning her own daughter, or was her daughter damned from birth? Has this all been predetermined, in fate's hands, or is Maternia solely going to be responsible for her daughter's end?

My favourite quote from this section is another cynical pass on religion: "Mrs MacIsaac watches her inch by the drugstore window (as she goes to church) and worries for her: No one should be that close to God" (MacDonald 67). I quite enjoy MacDonald's little quips of almost-not-funny-dark-humour that she throws in at every possible point. The style of this book reminds me of someone winning an argument that just needs to throw on their finishing remarks to sink their opponent even lower. Does that sort of make sense? In addition, I look forward to discovered to what point and purpose Mercedes and Frances have been added to this story. My main focus, however is that of Kathleen, James and Maternia. The one thing that confuses me about this chapter was Kathleen's reoccurring demon, Pete. Why is this young girl being terrorized by this imaginary(?) person, and who is he? I feel as if there are big things ahead.


Interesting Vocabulary
-Arcana: Specialized knowledge; the girls in Kathleen's class has a specialized knowledge or "secret" in femininity, and Kathleen had no clue. 
-Insouciant: A lack of concern.
-Masticating Chewing food (interesting choice of word.)
-Strathspey A dance in 4/4 time. Used to describe the feeling in summertime.
-Sinew: Tissue uniting bones to muscles; all of these on James's body were tense of Kathleen began to sing.
-Prostrates: To lie flat on the ground, often in prayer. Maternia often does this when she goes to visit Mary.

Third Critical Summary

My third critical review was published in the Studies of Candian Literature Journal. In this lengthly article, Joel Baetz makes the initial comparison of Fall On Your Knees to a ghost story. The haunting first lines of the novel accelerate this theory. Baetz also argues that the very reason this book is as well respected and critically acclaimed as it is, is for the reason that it paints Canada as being a very exciting place, full of suspense and mystery, rich culture and racial conflict; this is a polar opposite to the usual tame and friendly Canada that readers are used to. It also adds interest to the Candian population, a spectrum of people that is often disregarded by its American neighbours, and thought of an inferior by Europeans. This novel gives Canada itself an edge, and therefore some credibility on a global scale. The author also points out that the geography of Cape Breton, being isolated and gloomy only adds to the chilling eeriness of the story, making it that much more haunting. Indeed, much of Canadian literature is taking a turn for the more haunting, which leads Baetz to ponder, "What kind of ghosts do we have?" (Baetz 66).

Baetz makes another interesting conclusion in regards to MacDonald's novel. The presence of the teachings of Freud in MacDonald's Fall On our Knees is also apparent. It is directly referenced to in many occasions. However the plot line contains many topics that Freud would find interesting, if not completely applicable to his own science. Baetz sums up the list perfectly: "Phallic imagery, incest, unconscious responses, automatons, repressed childhood memories, alter egos, doppelgangers, apparent deaths and reanimation of the dead" (Baetz 67). Further into Freud's theory, the paradox of the "strange and familiar" comes into play in this novel. The word "Uncanny" is used by Baetz in almost rhythmic repetition; it is a good adjective to describe the events of Fall On Your Knees. Generally, the themes of the novel are very Freudian, a trend in many of MacDonald's works.

Another major theme in the novel is the merit of past, present and future, as well as the impact of memories and history that may even be dead and buried. We have two histories at work here: The history of the Piper family within the story, and the nonfictional history of Canada as a country, that bears many ugly time periods and viewpoints we may want to forget we once had. This parallel look at history is obvious in the book, but both have very different effects.

Second Critical Summary

The second relevant article I found is a critical review by August Bourre, who hails from a reputable, but fairly unknown book blogging website called The Vestige. The review is short, sweet and to the point, and contains no smartly-worded speculations or theories on themes and messages. However, it was the only article I could find that was in any way negative about this seemingly untouchable book. Bourre states that while he doesn't hate the book he "Not sorry I've read it, but I wouldn't ever actually say to someone 'Hey you should read this book'" (Bourre 1). He lists the main plot mechanics, which he dubs cliche and overused, particularly the fact that the book revolves around a broken family living in isolation, a death in the family and an abusive spouse. However, it is not for these reasons that Bourre does not particularly care for Fall On Your Knees. Bourre in fact claims that the real reason the novel does not live up to its high praise is the fact that it drags on and on; It is much too long for this critic's taste. The reviewer does praise the first half of the story, especially the death of Kathleen, which he describes as being "bold...exactly the sort of thing that could have made Fall On Your Knees great" (Bourre 1). However, Bourre insists that Kathleen's life is never really over, and she haunts the rest of the story with her unneeded presence. He also is quick to point out the MacDonald's book is repetitive, a quality I must admit that I have noticed, even in the first few chapter that I have read. The ending is described as being predictable and too obvious.

PS no feedback on the first summary...am I doing this right?
Riona confused.

What is The Price of a Song? (Chapter Eight)

I've decided, that while I have a lot to say on each specific chapter, I would be better off, for the sake of time to group short chapters together.

In these two chapters, we see Kathleen grow up. She is no longer a little girl anymore, but a savvy, cheeky and witty young lady.  In the previous chapters, we have heard Kathleen's singing voice being compared to that of a bird. Also, in James and Maternia's respective jobs, they have compared many of the things they hear to the chirping of birds. Here, we see the comparison made again: "...Kathleen, goes to Holy Angels, sings like a bird" (MacDonald 51). The birds in this story represent freedom and a sort of mystique. One would watch a bird, though not get very close, as birds are very shy. This must be how outsiders feel when they observe the Piper family. However, Kathleen herself is more like a caged bird, put unfairly on display for others to watch. For now, this is fine for her because she is young and does not know of the outside world. I predict there will be a day that she will tire of her cage.

The reliability of James is also called into question in this chapter. He has described Maternia as being completely incompetent and not able to even play simple songs on the piano. However because of her playing at the theatre, "Maternia became a bit of a celebrity, especially among the young folk" (MacDonald 52). Up until now, we've only heard of Maternia's competence from James. How could she be a celebrity if she was as terrible as he describes? Are other things James say correct, or is he so biased that the reader cannot rely on his opinion anymore? In fact, when Maternia gets so popular that it makes James uneasy, and he forces her to quit, the narrator comments that "How unhappy are they who have a gift that's left to germinate in darkness. The pale plant will sink invisible roots and live whitely off their blood" (MacDonald 55). Maternia's gift is an unused seed, becoming dark and wasted. What a shame.

We see Maternia struggle with herself once more in this chapter. She thinks of all she has done, mostly on the basis of defying her religion: "I have to go to confession, she thought, but then...in order to be forgiven I must be heartily sorry but to be sorry for eloping means to be sorry for everything that came with it" (MacDonald 55). Maternia feels awful for disobeying her parents, not loving her own child, still wanting her husband, but mostly for not feeling sorry at all. I can absolutely relate to this. It's a nagging feeling, not being able to feel sadness or remorse for something you know you are expected to feel for. I completely understand Maternia's position right now.

As always, MacDonald makes a lot of allusions in this chapter. James wants to inform Kathleen of Aesop's Grasshopper and The Ant. Basically this story is about an ant that works hard, while a grasshopper wastes his time. At the end, the grasshopper asks the ant for food and doesn't get any. The grasshopper dies. In the context of the story, this is James wanting to install the value of hard work and preparation in Kathleen, so she will not turn out like the miners he so very detests.

AND, right in time for another page of water imagery, I have a chart to decipher it's symbolic reference. Maternia often goes down by the sea to think, as mentioned in other chapters. In this chapter, the sea "talks" to her: "'Give it to me, my daughter. And I will take it and wash it and carry it to a far country until it is no longer your sin; but just curiosity adrift, beached and made innocent'" (MacDonald 56). Here she is talking about the sea taking her guilt and making it not sinful, I think. The water is her place to think, as water represents emotions and intuition. She also looks to the future, while she's by the water, which could represent her life potential.

This chapter interested me. It was fairly predictable however, and I hope something exciting will happen.

Interesting Vocabulary:
-Gawping (Stare openly in a "dumb" way. Obviously used to describe Maternia by James)
-Swarthiness (Having a "dark" skintone; also used to describe unwanted qualities in Maternia by James)
-Picaninny (Derogatory term for black people)
-"Scab" (Australian term for freeloader. How does James know this term?)
-Gumption (Resourcefulness)
-Galling (Annoying)
-Garett (An attic)

Oh and Just One More Thing...

Being one of them "Active readers" I decided to look up mining strikes in Cape Breton in 1909, since the date in the book was suspiciously significant.  I discovered that there was, in fact a notable strike in that year. There was also a significant working class revolution ongoing throughout the early years on the 1900s, with free-thinking union leaders demanding more rights and better benefits for their workers in the mines. The article I plucked out also added that there was a significant class struggle in the same time period. This all ties in with James's elitist attitude regarding his own social and intellectual status. Very interesting...

Two Pits, and the Softer Side of James (Chapter Seven)

In this chapter, James sends Kathleen off to boarding school at Holy Angels when she is only a young girl, on account of the fact that all the children in the area are getting sick with various life threatening illnesses. There is a crisis of a strike, that is ongoing with the miners in the town as well. James and Maternia pay for Kathleen's expensive boarding school by both acquiring new jobs. Firstly, Maternia gets a job presumably to play the piano in the orchestra pit in the prosperous movie theatre, while James goes against his mother's only wish, and makes some extra money in the now-vacant mines.


When Maternia is playing the piano for the orchestra some excellent personification and imagery is used: "hurtling over the keys until all erupts in chaos, notes and birds flies asunder...the music creeps down the winding stairs" (MacDonald 46).


A comical part of this chapter was when James satirically thinks "Who's to help me do that? The piano teacher's union? The piano-tuners-of-the-world unite party? Jesus Christ on the cross no. I'm on my own" (MacDonald 48). I like Ann-marie MacDonald; she is very witty sometimes.


On a more serious note, the character of James is given a sense of humility in this chapter. From one point of view, he is betraying his mother's wishes, and his own sense of pride by entering the mines. However, I believe I was wrong as to his initial intentions with Kathleen. He of course, goes into the mines because he wants to provide for her, whilst Maternia seemingly only works because she is required to. While naturally, the reader has a preference for Maternia's character of James's, one cannot argue that she is the better parent. It seems as though James is accepting the fact that one day he will have to let go of Kathleen, as he says "'You're going to sing for people all over the world. I won't always be there, but i'll always be your daddy'" (MacDonald 45). He also has "consecrated his life to being a worthy caretaker of God's gift" (MacDonald 45). Could this love for his daughter become overbearing? Maybe, but maybe not. Maybe I judged James too harshly?


Unfortunately James and Maternia have not patched their marriage in any way. A mixture of fear, entrapment, helplessness, denial and shame seem to be the only glue keeping these two together (as is the  glue in most failed marriages, I would assume.) He is still incredibly conscious of her intellectual, physical and religious inferiority to him, and is still embarrassed of her. Though he wants Maternia to obtain job so that she can make money to support the family, "It mustn't be known that Kathleen Piper's mother was a maid" (MacDonald 46). Though it was once believed that maternia was immature, we can now see that the obvious immaturity culprit is James. He believes he can have all he wants with no consequence, becomes infatuated and then disenchanted in the blink of an eye, is generally selfish and a bit of a "stage mom" to the unsuspecting Kathleen. He himself has a lot of growing up to do. Maybe I didn't Judge James too harshly...


More obvious stabs at religion were made in this chapter, including when the narrator describes how the Catholic Bishop ordered the striking miner's starving families out of the schools, convents, rectories and churches. For a religion that believes in "Love thy neighbour," the jaded narrator point out that not a lot of loving is occurring. I also see that many of the deeply religious characters in this novel, including James and an anonymous woman who "said a prayer for him, then hurled an iron door-stopper, missing him by a hair" (MacDonald 49) often house the most internal demons.


 I think a prominent theme demonstrated in this chapter is that there are many sides to every person. For example, James is (so far) a very loving father, but also a racist self-important emotionally abusive husband. Maternia is a kind-hearted and gentle young woman, but is also a whiny and naive little girl. The anonymous woman James meets coming back from the mine loves God, and her family (for she is willing to stand up for them towards James) yet she is also capable of hurling an iron doorstopper at a man she's never met.


Though I couldn't recall the author, I can apply this quote to the chapter and the novel as a whole: "The greatest evil that has existed on this planet has not been advanced by people with evil intentions or lust for blood, but by people with good intentions." Both James and Maternia have had very good intentions; the shortcomings in their personalities have led them down the path of trauma.


At the end of this chapter, James is said to have felt the need to "get on his knees, fold his hands and beg his mother's forgiveness for going underground" (MacDonald 49). This is the first act of falling on one's knees in the book so far. I have a feeling it won't be the last...


Interesting Vocabulary:
-Bourgeoisie (An offensive term for a social class, classified by their preference for Marxism; it is used against Maternia by James.)
-All Ist Klar (Roughly "All is Obvious" in German. Another German reference!)
-Ceilidhs (A social gathering.)
-Hunkered
-Envoy
-Tommies (Slang for a soldier in the British Army)
-Gauntlet

"A Miner' Forty-Niner" (Chapter Six)

The title of this chapter is a little confusing to me. Apparently a miner forty niner is an individual who took part in the California Gold Rush. I suppose this could tie in with the fact that the general area of Cape Breton in which the Pipers are living is a mining community. I think the mentioning of this adds to the attitude of James: he believes that everyone in his town is backwards or uninformed, almost as if they've been living underground in the mines. However, that is just my interpretation.

In this chapter, Kathleen is characterized in depth. She is a certain "wonder-child," a phrase that James would probably be the first to describe her with, had it been in the go-to vocabulary in 1900. A superb analogy is made, which compares Kathleen to a miner's gold: "It was a moment of equal parts anxiety and awe. like the striking of a wide seam of gold. The prospector sinks to his knees-he's only been looking for coal. Ata  gush of oil he'd hoot, baptize himself and buy the drinks. But the sight of gold is different. He observes a moment's silence. Then he raises, eyes watering. How to get it properly out of the Earth? How to not get robbed in the meantime?" (MacDonald 36). James has only been looking for oil with his first child. Like the man he is, he expected greatness. However, the greatness he finds in Kathleen is almost otherworldly; completely unexpected. The reader can just picture James and Kathleen by their piano, as James sits in anxiety and awe, waiting to hear the first perfect note sung by his daughter. In true James fashion, he doesn't consider her a human being equal to him; just a product or commodity that needs to be extracted and tampered with for his benefit. It also interests me that he doesn't want anyone to "rob" him of his "gold". I have a feeling he wants Kathleen all to himself.

Indeed, the relationship between James and Kathleen is an interesting one. Maternia and Kathleen are often compared in a way in which a mother and daughter should not be compared: "Maternia played, Kathleen turned seven" (MacDonald 37). Almost everything they do is pitted up against each other.  When the James and Kathleen walk through town together, MacDonald ensures that "Together turned heads" (MacDonald 38). Would it not be more appropriate for a romantic couple to turn heads? James has a history of choosing younger women (Maternia herself was only thirteen,) so the reader can only assume where his relationship with Kathleen will go.

Maternia herself has lost control of her life. She has become almost robotic and her free will has been broken under James's rule. Maternia's responses become almost automatic. When James tells her that she is too fat: "Maternia looked at James from afar and said, 'Okay'"(MacDonald 37) The reader has a hard time deciding if Maternia puts up with James because she is scared of him, because she loves him, or because her self esteem is so pathetic at this point that she agrees with him. Personally, I think its a combination of all three factors. Maternia is also struggling internally with her own non-love for her child. Unlike most mothers, she has feelings of resentment and apathy for Kathleen. I find it interesting that the author added this element. She thinks aloud: "Maternia rocked the child and felt sad-was that closer to love?" (MacDonald 39) We can see Maternia's own demons progress in this chapter.

Towards the end of the chapter, Kathleen and James decide to destroy the scarecrow on their property, seemingly because Kathleen is scared of it. I think this symbolizes how Kathleen and James are turning on Maternia, as the scarecrow is wearing Maternia's clothes.

This book just keeps getting darker and darker. I love it!

Interesting Vocabulary:
-Adagio (piano-speak for music in slow tempo)
-Acciaccantura (piano-speak for an inferior note played at the same time as a normal note to give depth)
-Appoggiatura (piano-speak for a note played just before a normal note)
-Perishable
-Mephistophelize (Possible allusion to the German folklore tale of Mephistopheles, the devil who collects damned souls. In this usage, "Enough mechandise to mephistophelize a miner's wife" (MacDonald 38) could the author be suggesting that the sheer amount of worldly good in the said store could turn the a miner's wife into a stealing devil? I'm not sure, as it is kind of strange that she would be referring to a German folktale.)
-Magnate (A term exclusive to being a rich businessman involved in oil.)
-Immaculate
-Twigged to ("To catch on to" An interesting choice of vocabulary, considering Maternia is as fragile as a twig.
-Preternatural (Outside of what is considered "normal." Like this whole family, for instance.)
-Botany
-Ablutions (Perhaps another allusion? An ablution, in the traditional Christian sense is a bathing that "purifies" the receiver. Here, Kathleen is taking a regular old bath, but of course, considering all the religious implications of this story, it is described as such.)
-Deciphered
-Teetotaller (Someone who abstained from the use of alcohol-often for religious reasons. It is not surprised that James doesn't drink. He seems like the type of person that would not enjoy being drunk and therefore not in control of himself. James has a bit of a thing for control, evidently.)
-Perishable