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.