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.
Tuesday, December 7, 2010
Sunday, December 5, 2010
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.
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.
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.
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