Scenes - Scene Setting, Preparing for Bed

6 February 2013, Scenes - Scene Setting, Preparing for Bed

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

A scene outline is a means of writing a novel where each scene follows the other with a scene input from the previous scene and a scene output that leads to the next scene. The scenes don't necessarily have to follow directly in time and place, however they generally follow the storyline of the protagonist.

A storyline outline is a means of writing a novel where the author develops a scene outline for more than one character and bases the plot on one or more of these storyline scenes. This allows the scenes to focus on more than the protagonist. This is a very difficult means of writing. There is a strong chance of confusing your readers.

Whether you write with a scene outline or a storyline outline, you must properly develop your scenes. All novels are developed from scenes and each scene has a design similar to a novel. Every successful novel has the following basic parts:

1. The beginning
2. The rising action
3. The Climax
4. The falling action
5. The dénouement

Every scene has these parts:

1. The setting (where, what, who, when, how)
2. The connection (input)
3. The tension development
4. The release
5. The output

There are lots of approaches to scene setting. That means there are about a million plus ways you can set a scene. The main point is you have to clearly get across the where, when, who, what, and how.

Here is another example of scene setting from the novel, Aksinya. I'm giving you examples from the book so you can see different ways of introducing and writing a scene. In each snippet, you get the scene setting, the tension and release, and the input and output. This isn't true of every example, but the pieces should be there, and I've been trying to identify for you when all the pieces aren't evident. You can use these ideas to guide your own writing. Make sure you set the scene properly, then make everything come to life through the narration and conversation.

Some events seem so simple, but are made very complex by the conversation that goes on.  This is so in any novel.  The point of the scene isn't to show you Aksinya being prepared for bed, but rather the conversation and events that communicate the mind and heart of Aksinya to the reader. 

Here we see an entire scene setting.  This little scene is very common in this time. 

Inside Aksinya’s room, Aksinya lay across her bed.  Natalya undid the buttons and hooks on her dress.  Aksinya was still awake, but her eyes were closed.  Natalya pushed against her side, “Roll over Aksinya.”

Aksinya rolled with Natalya’s help.  Natalya undid the rest of the buttons.  She pulled the dress up and over Aksinya’s head.  That was a struggle.  The petticoats and underclothes came off more easily.  When Natalya tried to put on Aksinya’s nightgown, Aksinya fended her off, “I’m hot.  I don’t want to wear anything.”

“That’s the wine.  You’ll be cold soon enough.”

“Just wait a bit.  The room’s spinning.”

“That’s the wine too.  Put your feet on the floor.”

“I’m dizzy.  Why did you let me drink so much?”

Natalya snorted, “I didn’t have any say in it.  You may remain like you are for the time being.”  Natalya washed Aksinya’s face while she lay on the bed.  She tugged Aksinya to sit and leaned against her back so she couldn’t flop back down.  Natalya began to brush Aksinya’s hair, “Your hair is finally growing out a little.”

Aksinya clumsily brought her hands to her face, “Are you certain?”

“Yes, it is almost to your shoulders at the very back.  It is beautiful hair—why did you cut it?  You never told me.”

“I thought I did.”

“You didn’t.  Was it part of your sorcery?”

Aksinya trembled, “Is it that obvious to you?”

“It was cut with a very sharp knife, snick-snack.  Your aunt told me your hair once reached down to your waist.  She said you used to put it in a long single braid and that it was the most beautiful hair she had ever seen.”

“My mother would brush it for me every night.  She kept her hair short—I was never certain why.  She loved to let my hair cascade through her fingers.”

“She loved you very much.”

“She loved my hair—me, not so much.”

Natalya tugged a little harder on the brush than she needed to, “Why would you say that?”

“Because I think it is the truth.  Why do you brush my hair?”

Natalya smiled, “Because I love you.”

“Do you love me because of who I am or because of what I did for you?”

Natalya brushed a little harder.

“Ouch, you don’t have to be so rough.”    

“If you weren’t drunk, I’d hit you with this brush.”

Aksinya didn’t turn, “Why are you crying?”

“Why does love have to be like a contract with you?”

Aksinya didn’t reply.

“I do love you because you rescued me, but there is much, much more.  I love you because you were the first to look at me as if I was a real person.”

“Then you should not love me at all.  Asmodeus found you.  He convinced me to take you as my lady-in-waiting and… and… as my apprentice.”  Aksinya clutched her hands to her small breasts, “He forced me to take you into my household.  I would not have done it without his temptation.”

Natalya leaned her face against Aksinya’s back.  Her hot tears trickled down Aksinya’s cooling skin, “But you did.  You made me your friend.  You let me go to school with you.  You told me you loved me.  I can offer you nothing, but still you do love me.”

Aksinya’s response was a mumble, “Yes, I love you, Nata.”

“Then why do you think I love you with any less love?”

“I’m sorry, Nata.” Akisnya’s voice was slurred, “There is a time when I know everyone will deny me.”

“I will not deny you.”

Her speech slowed a little more, “If you don’t deny me, then you will betray me.  You see, I am not allowed love, and I am not allowed friends.  I am only allowed suffering.”  At the end, Natalya had to strain to hear her.

Natalya clasped Aksinya around her naked shoulders, “I will try my hardest not to deny or betray you, Mistress.”  She held her tightly for a while.  Aksinya’s breathing came slowly and regularly.  Aksinya sagged in her arms.  Natalya realized Aksinya was asleep.  Into Aksinya’s lengthening hair she whispered, “I love you.  I will never deny or betray you.”

The great irony in this scene is we know Natalya will betray Aksinya.  She betray her while believing she is protecting Aksinya.  There is also much we learn in the conversation between the drunk Aksinya and the sober Natalya.  This is a tool an author can use to give deep seated information from the mind of a character.  These drunken declarations from Aksinya come from the core of her mind.  They are not, as usual, covered by gentility or reason.  Use this tool when it makes sense and always set your scene properly to allow the use of the tool.

My notes: once you have a theme, you need to begin to visualize your plot, focus your theme, and define your characters. More tomorrow. I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: I am awaiting for you to write a detailed installment on identifying, and targeting your audience, or audiences...ie, multi-layered story, for various audiences...like CS Lewis did. JustTake care, and keep up the writing; I am enjoying it, and learning a lot.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, http://www.aseasonofhonor.

A New Novel, Part 170 She was too Drunk to Fight

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.



Natalya is missing.  Sister Margarethe believes Aksinya sent her on an errand.  Natalya has been absent all night.  In her bedroom, Aksinya smelled the scent of incense and sulfur.  The incense is from a great sorcery, and the sulfur from Asmodeus...


After breakfast, Sister Margarethe dressed Aksinya and brushed her hair. She didn’t notice the strange expression on Aksinya’s face. She didn’t see how pale she was or how wide and frightened her eyes were. Or, if she did, perhaps she attributed it to the alcohol and lack of sleep.

Aksinya was ill during chapel and vomited before Sister Margarethe could rush her into the hallway outside. Sister Margarethe tried to comfort her and brought her tea before class, but the tea was not made to Aksinya’s taste, and Aksinya was in no mood to be comforted. By the time, she arrived at her first class, her hair was loose around her face and her clothing had spots from her accident and from the tea she spilled. She put her head down on her desk and tried to sleep. She couldn’t do anything else, Sister Margarethe had forgotten Aksinya’s bag. It was the bag Nata always carried for her. The bag had all her school books and papers inside.

Finally, in the late morning, Natalya opened the classroom door. Someone touched Aksinya’s arm, and she raised her head. Aksinya’s eyes widened. She stood at her desk and nearly fell. She started toward Natalya and did fall. She tripped on the desk and dropped to one knee. Natalya was instantly beside her. She took Aksinya’s arms and lifted her up. Aksinya put her arms around Natalya and held her close. Her eyes widened again—there was that smell plus another. There was the scent of sorcery and a strange musty smell Aksinya couldn’t place. Aksinya pulled back slightly from Natalya and stared at her. Natalya lowered her eyes. She led Aksinya back to their desks. Natalya straightened Aksinya’s hair and brushed off her clothing.

Natalya didn’t say anything to her, and Aksinya was afraid to ask anything.

That evening at dinner in the dinning room at Sacré Coeur, the moment after Reverend Mother Kluge finished praying Anna Pfaff asked, “Well, did Herr von Taaffe take you out last night?”

Aksinya didn’t answer.

Natalya replied in very precise German, “He took her to Tristan und Isolde by Wagner. It was a tragedy.”

Frieda Trauen scrunched her lips to the side, “I wanted to see that, but papa wouldn’t take me.”

Fraulein Pfaff took a sip of soup, “Whyever not, Frieda?”

“He said it was too German.”

Natalya laughed.

Diedre Vogt tried to catch Aksinya’s eyes, “Countess, have you considered what you might answer Herr von Taaffe?”

Aksinya turned her head away.

Fraulein Trauen grinned, “Did you have a fight with him?”

Natalya voice sounded too happy, “She was drunk last night.”

Fraulein’s Trauen’s smile widened, “Too drunk to fight. What kind of wife will Herr von Taaffe get for himself.”

Natalya took a bite of her fish course, “Herr von Taaffe knows exactly the kind of wife he will be getting.”

Aksinya didn’t act as if she heard. She didn’t eat. The moment dinner was over, she stood and made her way back out of the dining room. Natalya followed closely behind her.

Aksinya has literally given up all hope at this moment.  She has lost her best and really only friend in the world.  Natalya is missing, and Aksinya knows it was somehow by the hand of Asmodeus.  She knows something terrible is happening or about to happen, she can't imagine what it might be.
 
I want you to see Aksinya at this moment.  I want you to imagine exactly what she appears like.  The first description I give you is obliquely through Sister Margarethe's eyes.  I use an advanced technique that doesn't change POV, but implies the POV of another.  This is the description:  She [Sister Margarethe] didn’t notice the strange expression on Aksinya’s face. She didn’t see how pale she was or how wide and frightened her eyes were.  You can imagine Aksinya's face.  She isn't pretty to begin with, add sickly and pitiful to that description--and she doesn't care anymore.
 
To add to the description of the sad-eyed Aksinya, she is ill at chapel.  This is the first time I have actually said she vomited.  I use this word intentionally for the shock value, so you feel like Aksinya, and to separate this incident from all the times Aksinya depended on Natalya to take care of her.  Sister Margarethe is trying to help, but it isn't the same.  Aksinya's attitude is hopeless and perhaps not as childish as we might think.  Remember the admonition over the Gates of Dante's hell: abandon all hope ye who enter here.  Aksinya has seen hell, and she believes her friend is facing some hell because of her.
 
The final descriptions are about Aksinya's hair and her clothing.  Natalya always made certain Aksinya looked and dressed properly.  Aksinya is like a kindergartner; she is unable to take care of her own dressing and clothing.  In class, Aksinya has nothing to do--Sister Margarethe forgot Aksinya's bag.
 
Then, the return of Natalya.  I intentionally downplay the beginning to add to the poignancy at the end.  Notice, someone touches Aksinya's arm to alert her--others in the classroom also realize how important Natalya is to Aksinya.  Note, Aksinya tries to come to Natalya.  Always before, Natalya came to Aksinya.  Aksinya trips otherwise, she would have run to Natalya.  Something has radically changed in this dynamic.  Natalya lifts up Aksinya--this is an expected outcome.
 
At their meeting I give you some very important details that have to do with scent: the scent of sorcery and the scent of... I describe it as musky.  You might guess what this smell is.  Aksinya hasn't any idea what it could be.  Aksinya shows surprise, but Natalya won't look her in the eye.  Then, Natalya leads Aksinya back to their desks.  Natalya makes Aksinya look presentable again.  Natalya doesn't say anything and Aksinya is afraid to ask.  In our minds and Aksinya's mind, we wonder, what terrible thing could have happened to Natalya--she doesn't appear the worse for wear.
 
The transition is to dinner.  Here I want to show you more of this new dynamic between Aksinya and Natalya.  Anna, our romantic, asks about Aksinya's evening.  Aksinya is still in the mode of hopelessness.  She will not respond, but look who answers for her--Natalya.  Listen to the tone: “He took her to Tristan und Isolde by Wagner. It was a tragedy.”  Remember, I told you each opera and ballet are metaphors for Aksinya's life.  If you know Tristan und Isolde, you know what might have happened.  Listen to the conversation.  Fraulein Trauen's father wouldn't take her because it was too German.  This is an Austrian joke.  It means that it was too dour.  We can guess that the prudish Fraulein Trauen's father didn't want his daughter to see the adultery in the opera.  Tristan und Isolde is considered an adult opera especially for the time.
 
Natalya's response: she laughed.  The conversation returns to Aksinya.  Fraulein Trauen baits Aksinya: “Did you have a fight with him?”  And Natalya answers for Aksinya and there is deep irony in her answers.  Fraulein Trauen:  "What kind of wife will Herr von Traaffe get for himself.”  Natalya's response sounds like a threat:  “Herr von Taaffe knows exactly the kind of wife he will be getting.”

Aksinya does not respond.  She does not react.  She ignores them all.  Though Natalya has returned, there is no hope for Aksinya.  Tomorrow, the return of hope?

A New Novel, Part 168 I Won't Fear for My Virtue

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.



Now we are getting down to business.  Everything in the novel before was a setup for what will happen in the next two chapters.  This is the beginning of the climax of the novel...


On Wednesday, Ernst escorted Aksinya to dinner and the opera. He greeted Aksinya at her house with a bouquet of roses. He explained the extravagance, “Because I am working for him, my father increased my remittance.” At each place they visited, Aksinya thought she spotted Asmodeus. She caught a glimpse of him in the mirror at the Palais Coburg Hotel Residenz, and in the grand foyer of the Wien State Opera. A strong whiff of sulfur came to her in both places. When the Champagne and caviar came at the intermission for Tristan und Isolde, Aksinya thought she saw Asmodeus sneaking in the corridor just outside their box seats. Warned by his potential presence, she intended to drink less because of it, but ended up drinking more than she planned.


Before the beginning of the second act, Natalya prepared a blemis with caviar and handed it to Aksinya. Aksinya took the flat piece of bread, “Thank you, Lady Natalya.”

Natalya smiled oddly at her, “Would you care for another glass of Champagne?”

Aksinya cocked her head and grinned back, “Please, as long as you are pouring, Lady Natalya, I won’t fear for my virtue.”

Natalya filled Aksinya’s flute and continued to hand her another blemis with caviar. Natalya wasn’t certain how many times Natalya refilled her glass that evening, but by the end of the opera, she couldn’t stand on her own. Natalya and Ernst had to both help her to Ernst’s landau and then back into her house.

Ernst didn’t kiss Aksinya that evening, at least she had no recollection that he kissed her. She wished he had. She didn’t remember much at all. In the morning, she woke with a splitting headache. A strange whiff of incense and sulfur touched her nose. Someone was opening the shutters of her windows. Aksinya didn’t open her eyes, “Don’t let the sun in Nata. I’ve told you so many times.”

The transition from the buildup of the plot to the climax is just like any transition, but this one isn't just a transition in space or time, it is a transition in action.  Within the form of this novel, you might not notice this short transition as the transition to the climax except that I point it out to you.  That's all right, I don't expect my readers to deconstruct my novels, but in this commentary, I want you to note these very important points both for your elucidation and so you can see the power of story, plot, and theme all together.
 
We see a simple continuance of Ernst's wooing and affection.  There are changes.  We know there are changes in the thoughts of the characters.  Aksinya has a decision to make.  Ernst has made his decisions, but he is awaiting and still wooing.  By the end of this scene, it will be obvious that Natalya has made some decision of her own.  Watch closely, I'll point it out to you.  The demon, Asmodeus, has obviously made some decision (or the culmination of a decision)--something is afoot.
 
A whole bouquet of roses from Ernst.  He is working for his father now.  Ernst is making more money.  They visit their favorite places.  Notice that none of these places were chosen by Aksinya--they are Ernst's favorites.  Plus the places haven't changed--they are the same.  I didn't point this out until now--hope you noticed.  I did it on purpose to indicate to you that Ernst is pleasing himself, not necessarily Aksinya.  There is a metaphor in this--remember Aksinya pleases herself too.  Aksinya is too happy with the luxuria to notice, but she hasn't been wooed before.
 
Asmodeus is everywhere.  This should be an indicator.  I gave you little hints and little glimpses of the demon before.  This time, in  a single paragraph, I give you Asmodeus in person and scent.  I show you him through Aksinya's eyes.  The reason I pack the Asmodeus sightings into a single paragraph is so you won't miss them.  Because of her sightings, Aksinya intends to drink less--so she can keep a steady head, but look what happens... Natalya begins to pour the Champagne for Aksinya.  This is indeed a change.  Usually it is Ernst and Natalya tries to keep some check on Aksinya.  Now, Natalya is providing luxuria to Aksinya.  Aksinya will not reject it from Natalya's hands because, “...as long as you are pouring, Lady Natalya, I won’t fear for my virtue.”  It is not perhaps Aksinya's virtue we should worry about--or is it?
 
This was the decision of Natalya that I mentioned before.  We can see that at some point in the evening or before, Natalya made a decision to get Aksinya drunk.  The purpose, we don't know.  The result we shall see.  Aksinya intended to not become drunk tonight, but she could not reject the temptation from Natalya's hands. 
 
Look at this, the demon has not been in control of anyone at all through the entire novel.  He has only placed ideas in the minds of the characters.  With Aksinya, the ideas have been from subtle to overt.  He has worked subtly through others to tempt or to get them to tempt.  In any case, Aksinya is too drunk to stand, but still awake when Natalya and Ernst take her home.
 
This scene flows intentionally into the next.  It is a direct continuation that I don't want you to miss.  Therefore the physical transition is set in a single paragraph.  Look closely at the details.  The focus is Aksinya--she didn't get a kiss.  She didn't remember the evening after her return to the house.  She has a hangover.  Her room has the scent of sulfur and incense.  The sulfur and incense are very important here.  I know that most of the time, as we read, we might just miss some of these simple details.  This is a critical detail, so I underplay it a little.  If you think back through the novel, you know the scent of sulfur is the demon.  Asmodeus has been in Aksinya's room.  He was there long enough and late enough for the scent to still be there.  Second, the scent of incense in this novel has only been used in a single context.  I won't tell you.  If you remember, you might guess.  Tomorrow, I'll give you more hints.  We'll start from this last paragraph.  Reread today's transition scene.  See that it is simple and downplayed--that is the point.  

A New Novel, Part 164 They Promised to Rescue Me, All They Wanted was My Body

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.

Aksinya is drunk.  Natalya is angry.  We learn why Natalya is angry.  While Ernst courted Aksinya everything was well; when he made a claim on her physically, Natalya could not help herself...


Natalya tugged a little harder against Aksinya’s hair.

“Nata, please be more gentle. I’m listening to you. You are only fifteen.”

Natalya’s voice was very hard, “I hate them. They promised to take me away. They promised to rescue me. All they wanted was my body.”

“And you gave it to them?”

Natalya took a deep breath, “To be free from the beatings and hatred, I would give away anything.” She began to brush Aksinya’s hair again, this time much more gently, “You were the only one who would rescue me, Cou…Aksinya. You gave me new life. You don’t know how important that was to me. I would have done anything to be free from what that household did to me. But only you really did anything. The others took me and gave me nothing back.”

“Ernst isn’t like that…”

“They all are like that. He will tire of you, just as they tired of me.”

“They? I am so sorry, Natalya.”

“I am not sorry. I am only sorry that you did not come sooner. I would die for you. I will protect you from this man.”

“But, I’m not sure I want to be protected. I think I might like him. I am tempted by his love.” Aksinya giggled, “And I left the party before midnight.” Her voice trailed off, “Will the new year even come if I’m not there...?”

Natalya continued to brush Aksinya’s hair. She didn’t say anything more that evening.


Finally Natalya left Aksinya alone. With the thought of Ernst’s kisses in her mind, Aksinya tried to pleasure herself, but her body was too drunk to respond properly, and she kept falling asleep.

Natalya confesses that she was abused by the men from her household in Minsk.  We know that Natalya was beaten by the mistress of the house.  She was whipped and forced to serve like a slave.  She wanted to escape.  On the night Aksinya called Natalya, Natalya was beaten until her legs were bloody.  Natalya begged Aksinya to rescue her, to take her away. 
 
We didn't know that Natalya had begged others to take her away too.  She is lucky to be alive.  If her past mistress knew what she was doing, she might have thrown her out or beaten her to death.  The men from Natalya's past told her they would save her.  They told her that they loved her.  She traded her virtue for the hope of freedom and ended up with nothing.  You can see the smart, quiet, usually gentle, beautiful, noble Natalya was under great physical and mental abuse--as Asmodeus stated she was seeking (an understatement).  Natalya was seeking to escape from hell.  Do you remember?  All of Natalya's comments form the past become very clear.  Her statement:  “To be free from the beatings and hatred, I would give away anything.”
 
Now, you can properly evaluate how Natalya views Aksinya, and you can begin to see what Natalya might do.  Aksinya is Natalya's savior.  She is like a god to her.  Natalya worships Aksinya.  Before, in her household in Minsk, Natalya allowed herself to be beaten without much complaint because she has such great control.  With Aksinya, Natalya's power and control is evident.  Natalya would do anything for Aksinya, but Natalya's thoughts and understanding of the world are driven by her past.  Even the words Natalya uses to describe Aksinya are powerful:  "...You gave me new life. You don’t know how important that was to me. I would have done anything to be free from what that household did to me. But only you really did anything. The others took me and gave me nothing back.”  Aksinya did indeed give much to Natalya.  She gave friendship and a kind of love.  She gave Natalya safety.  She gave her a purpose and a place to live and study.  Aksinya blessed Natalya with everything Natalya didn't have before.  We know that Aksinya gave much more for Natalya than Natalya could ever imagine.
 
Aksinya's response to Natalya is naive: “Ernst isn’t like that…”  Aksinya doesn't know much about Ernst at all.  We don't either.  We only know Ernst from his actions, and those aren't very destructive, but they aren't super encouraging either.  Natalya's response only gives us more information.  There was more than one man in her life who promised to take her from the abuse she faced in Minsk.  They all discarded her.  Then Natalya makes a very important promise to Aksinya:  "...I would die for you. I will protect you from this man.”  This is a foreshadowing and important information.  Aksinya should be listening closely, but she is drunk.  It is not certain she will remember this conversation at all.  She is tempted by Ernst's love.  This is something Natalya is completely opposed to.  Aksinya's last words are a kicker--“Will the new year even come if I’m not there...?”  This is also a foreshadowing.  The number of people Aksinya has touched in her short time in this city is astounding.  For Ernst, the Graf, the Freiherr, the Freifrau, the Reverend Mother, Sister Margarethe, the Abbot, the Cardinal, and Natalya, Aksinya is entwined dangerously in their lives.  If she were to suddenly disappear, the New Year for them all might indeed come.  The danger isn't that Aksinya would be gone, but rather that she is here--and the demon.
 
I give you a final glimpse of Aksinya.  The metaphor in her actions and her situation should be evident.  Her descent into luxuria makes her own private perversions impossible.  She hasn't fallen as far as possible yet, but this is an easy sign of where she has come.  This is also the end of chapter 13.  Tomorrow, we begin chapter 14 with scene setting and chapter setting.

A New Novel, Part 163 After They Take You to Bed, All Their Love is Forgotten

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.

Ernst delivers Aksinya and Natalya to their door.  Aksinya promised to speak to Ernst tomorrow...when she gets up late...with a headache...

Natalya shut the door.

The two maids came to them and immediately began to remove Aksinya’s clothing. Aksinya required the help of all three. They put her into a hot bath. Natalya stood half undressed in the center of the sitting room and directed them. The maids readied the nightclothes Natalya instructed them to get out of the small trunk they had brought on the coupe. The footmen had delivered it to the room earlier. While Aksinya bathed—with the door open, so Natalya could keep an eye on her, Natalya had the maids set out Aksinya’s and her clothing for the morrow. The maids pressed their gowns and hung them. By then, it was time to wrestle Aksinya out of the bath and put her nightgown on her. While Aksinya lay on her bed, the maids helped Natalya out of her clothing and into her nightgown. They had already warmed the beds and checked the coals again.

At the end, Natalya had them lay Aksinya under the covers, but they propped her up on the pillows so Natalya could brush her hair. Natalya finally closed the door on the two of them. Natalya took her brush and sat on the side of the bed. She began to brush Aksinya’s hair. Aksinya’s eyes were closed, but Natalya knew she wasn’t sleeping. Aksinya didn’t open her eyes, she stretched her hands out in front of her. Her voice was only slurred a little, but her accent wasn’t evident because she spoke Russian, “Nata, no man has ever told me that he loves me.”

Natalya gave a fierce tug on Aksinya’s hair.

“What was that for? Be more gentle, Nata.”

“You have a lot to learn mistress.”

“Aksinya. I am Aksinya.”

“Yes, Aksinya. You still have a lot to learn.”

“About what?”

“About men. The first thing they tell is that they love you before…before…”

Aksinya’s head lolled, “Before what?”

“Before they take you to bed—then all their love is forgotten.”

“How do you know?”

“The number of times…”

“Number of times. You haven’t?”

Natalya tugged a little harder against Aksinya’s hair.

“Nata, please be more gentle. I’m listening to you. You are only fifteen.”

If you remember, Natalya is in charge.  Aksinya is drunk and slowly sucumbing to inebriation.  The Graf has assigned two maids to Aksinya and Natalya.  For the times that is very impressive.  Aksinya needs the help of both maids and Natalya.  I give you details of the preparations for bed and the next day.  Natalya keeps the door to the bathroom open so she can ensure the drunk Aksinya will not drown in the tub.  Remember, in this day and time, rooms were always cold in the winter.  That's why the fires, the bed warming, the hot bath before bed. 
 
Natalya had the maids sit Aksinya up in the bed so she can brush her hair and get her ready for bed.  Natalya has been angry all night.  She wants to speak to Aksinya.  Aksinya wants to talk to Natalya.  She begins:  “Nata, no man has ever told me that he loves me.”  Natalya's response is to be rough in brushing Aksinya's hair.  We know this means she is angry and agitated.  Perhaps we will find out why Natalya is angry. 
 
Aksinya isn't very tactful either.  She snips at Natalya.  Natalya tells Aksinya that she has a lot to learn.  The a lot to learn is about men.  We knew that.  Aksinya is clueless about men.  We also knew there was something about Natalya's unusual maturity, knowledge, and comments.  Natalya is going to take this opportunity to teach Aksinya...about men.  We knew Natalya was abused, but this is new.  You might have guessed.  Her advice to Aksinya:  “Before they take you to bed—then all their love is forgotten.”  Natalya's response tells Aksinya and us that many men have told her they love her and have taken her to bed.  Natalya is only fifteen.  She was abused by many men.  We find out why tomorrow.

A New Novel, Part 160 I'm Drunk

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.



Ernst von Taaffe asked Aksinya to marry him--she didn't answer him right away.  Natalya, Aksinya's chaperone, drags her back to the ballroom and the party...

They both returned to the ballroom. Until they entered the rooms Graf von Taaffe’s servants provided them, Natalya did not speak to Aksinya again that evening. She stuck close to Aksinya for the rest of the event. After Ernst rejoined the party, he did not let Aksinya out of his sight. Natalya watched Ernst with frosty eyes.

Aksinya sat beside the large fireplace closest to the dining room and outside the draft that blew constantly through the long room. She drank and stewed. She would not engage anyone in conversation for very long, but that didn’t matter, the party was winding down and the couples were primarily interested in dancing.

Near midnight, Graf von Taaffe stepped to Aksinya’s side, “Countess, would you honor me with this dance?”

“Why not?” Aksinya’s words were only a little slurred. Her Russian accent cut through the German. Aksinya had feigned weariness to fend off the other invitations she received that evening. She wished Ernst would ask her to dance again. She knew she could not beg off this offer from her host. She stood a little shakily.

The Graf took her hand in his and placed his arm around her back. He led her into the waltz, “I didn’t notice your Russian accent before, Countess.”

Aksinya tried unsuccessfully to pronounce her German words as she usually did, “I was not drunk before.”

“Drunk? You seem very steady on your feet for being drunk.”

“I’m used to it. I’m sorry, I should have said, I had drunk too much wine before and not that I was drunk.”

The Graf smiled, “I have happy news for you. I hoped you had as happy news for me.”

“I’m drunk.”

His smile slipped a little, “Yes, I understand.  I didn't see the ring on your finger.  Then your answer to my son was not an affirmative?”

“I have not given him my answer yet.”

Aksinya and Natalya return to the ballroom.  Natalya is obviously very angry.  We are not certain what or who her anger is directed toward.  There is a hint, Natalya watched Ernst with frosty eyes.  Ernst has made Natalya angry, but she seemed angry at Aksinya before.  Just what is bothering her...we shall see eventually.
 
Aksinya finds a warm place.  She is given the most comfortable space in the room.  This was likely the place reserved for the lady of the house.  She drank and stewed.  Aksinya isn't happy either.  So, Ernst isn't happy. Natalya isn't happy.  Aksinya isn't happy.  Is anyone happy?  Aksinya certainly isn't a very pleasant guest either, but we didn't expect her to be--she is a countess.
 
Fortunately, the Graf comes to rescue Aksinya; he asks her to dance.  Aksinya is drunk.  She is so drunk she can't pronounce her German properly.  We find that she wanted to dance with Ernst again, but Ernst was put off by Natalya--not Aksinya.  Aksinya could not turn down an invitation to dance from her host.  She is shaky--she's drunk.
 
The Graf apparently doesn't notice Aksinya is drunk.  His first words: “I didn’t notice your Russian accent before.”  Can you imagine this.  She tries to speak properly.  We aren't certain of her success, but she is out drunk and truth telling Aksinya by this point.  The Graf can't believe she is drunk.  He doesn't seem surprised or upset.  Aksinya makes the situation worse from one standpoint.  Only those who drink a lot can handle alcohol so well.  She tries to correct herself, but she isn't very successful. 
 
The Graf gets to his point: “I have happy news for you. I hoped you had as happy news for me.”  As to the Graf's news, you might guess it, we shall see it tomorrow.  You know the news he wishes to hear from Aksinya.  Her answer is perfect in perspective: “I’m drunk.”   The reason she is drunk, she implies, is the reason she can't give the Graf a happy answer.  The happy answer he expected, of course, was the Aksinya had accepted the ring and Ernst's proposal. 
 
This whole party was put together by the Graf so Ernst could propose.  He brought together his most important friends and retainers just for this very purpose.  Now, the Graf isn't happy either.  But there is still hope--Aksinya hasn't given her answer yet.  Tomorrow, the Graf's happy news.

A New Novel, Part 155 Dance with Me

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.

Aksinya, Natalya, and the Bockmanns are at Ernst Father's estate for a New Years party.  Dinner and dessert are over; now is the time for dancing...

Ernst and his father led the men from the table. Aksinya followed a servant and the ladies to the parlor. The women spoke with Aksinya and that part of the evening was very pleasant to her. After a while, the men returned to the parlor and the Graf led Ernst to Aksinya, “Countess, would you come to the ballroom. I have promised my guests a dance, and I hoped you would dance with my son.”


Aksinya stood and took Ernst’s arm. She was a little wobbly from the wine. She glanced at him, “I would be pleased to dance.”

In the ballroom, the Graf made a motion toward the sting quartet, and they began to play a waltz. Ernst clasped Aksinya’s hand and led her into the dance. He didn’t say anything and didn’t look at Aksinya at first. She asked him, “Are you embarrassed about your father’s comments at dinner?”

Ernst frowned, “Am I that obvious?”

She laughed, “Yes.”

“Do you understand his meaning?”

“Yes, I think I do. This is why you brought me, isn’t it? Your father sees me as a potential candidate for your bride.”

“Yes, it is that obvious?”

“It was that obvious from the beginning.”

“Yes… And what are your feelings?”

“Feelings have little to do with it.”

Ernst stopped cold, “Wha…what do you mean?”

Aksinya pursed her lips, “Everyone is staring.”

Ernst led off again, “Everyone is staring at you.”

“At me?”

“You are absolutely gorgeous in that dress. If you didn’t wish to be stared at, you shouldn’t wear such beautiful clothing. Didn’t you realize?”

Aksinya tossed her head, “Natalya chose my dress. I leave such things to her. If you wished perfection in decorum and dress you should be interested in her.”

“But I am not interested in her. I am interested only in you.”

“Only because of what I am…”

Ernst pulled her a little closer, “This is not the place to speak about such things.”

“Really?”

“Come, we will converse in private.”

Aksinya pressed her lips together again, “Not without my chaperone.”

So the evening continues.  The conversation of dinner has a break due to dessert and after dinner drinks.  I show you this little cultural phenomena and refer to its reasons.  Usually the gentlemen go to smoke after dinner.  They usually have an after dinner drink.  The ladies usually have an after dinner drink and dessert with coffee or tea. 
 
When the men return to the the parlor, it is time to begin the dance.  The Graf is pushing his son into Akinsya's arms--did you expect anything else?  Aksinya is a little tipsy--did you expect anything else?  Aksinya will dance.  Dancing is one of the major civilized pleasures of the time, and this was a period when all educated and refined people knew how to dance.

Aksinya and Ernst begin to dance.  He doesn't speak and Aksinya is a little drunk, so she does not hold her tongue.  The conversation at dinner is the topic.  Ernst is obviously upset about his father's candor.  Ernst is obvious.  Ernst has always worn his thoughts and his emotions on his sleeve.  From the beginning, he hasn't kept any secrets from us or Aksinya.  His love letters are straight forward.  His love is like a puppy dog's. 

What should surprise us is how observant Aksinya has been.  She picked up on everything.  She knew what was going on.  I ask you again, do you think she is a woman in love?  The Graf was just short of inviting Aksinya into the family at dinner.  He invited her to call him by his given name.  He gave her to Ernst to escort.  He sat her in the place of the lady of the house.  He spoke candidly to her about Ernst and his future.  The next step is obvious to everyone but Aksinya.

So Ernst asks Aksinya in a round about manner.  This is not the correct approach with her at all.  He asks: “Yes… And what are your feelings?” (her feelings about marriage to him--that is, about love for him).  Aksinya floors him with her answer: “Feelings have little to do with it.”  You can see all that is happening here.  Ernst has been dropping hints from the beginning of their relationship.  Well, okay, not so much hints as straight out declarations.  He loves her and wants to marry her.  He thought that Aksinya would fall in love with him just as he has fallen in love with her.  He thought that all the preparation would make her fall into his arms.  He thought that even if she didn't love him, he was at least so good a catch that she would just act like she loved him and everything would be well.  That isn't Aksinya.  Plus, Ernst approached Aksinya about sorcery.  He has her book.  This little perversion of the relationship is the problem.

When they stop in the middle of the dance, everyone is staring at them.  Well, duh.  They are the reason for this party.  They are the couple here.  Everyone knows what is going on.  A marriage proposal is in the works.  This is the way things are done.  Aksinya takes the staring for their motionlessness in the middle of the dance floor.  Ernst gives another reason--Aksinya's beauty.  Which is right?  We know Aksinya is not beautiful, but her dress perhaps makes her look stunning.  This is why the perceptions of the characters are untrustworthy--just like real life.  We see the happenings around the characters and have to interpret them for ourselves--just like real life.  By the way, I use an advance writing technique to show you all this.  I don't tell you everyone is staring; I show you through Aksinya and Ernst conversation that everyone is staring.  No description, just dialog.

Ernst response and declaration that Aksinya is "absolutely gorgeous" shows us that he is smitten.  Whether Aksinya is as ugly as she believes is immaterial to Ernst and to his father.  Look as Aksinya's response.  Natalya chose the dress (she likely chose it for Ernst, but Natalya is the reason, not Aksinya).  There is another way of looking at this--we choose our servants to make us look good.  That is their purpose.  There is a foreshadowing here about Natalya.  I won't do anything other than point this out to you right now.

This interaction leads to the point Aksinya has held to all this time.  She doesn't believe Ernst loves her for herself, but only for her sorcery.  That is the reason for her statement.  Aksinya is a little drunk and she is hot for a little confrontation with Ernst.  Ernst and his father put her on the spot at dinner.  She believes everything is a facade and the facade is based not on Ernst's love for her and what she is, but rather on her sorcery and the demon's actions to influence Ernst and perhaps his father. 

Ernst invites Aksinya to have a private conversation.  Of course this can't be allowed.  This action alone likely proves how inexperience Ernst is with women.  He should know this.  On the other hand, if he does know this, they his request is pure induendo.  We will see tomorrow the beginnings of thier private conversation. 

A New Novel, Part 148 To Me Love is Desire

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.


Ernst took Aksinya to dinner and the opera.  Aksinya is depressed and suffering from her temptation that Ernst supplies.  She was drunk and spoke a truth he could not fully understand.  In the morning, Natalya and Sister Margarethe force Aksinya to face the world...

In the morning, Sister Margarethe and Natalya would not allow Aksinya to sleep late. They woke her and poured strong coffee down her and dressed her. With one on the left and the other on her right, they half carried her to chapel where she lost the coffee and breakfast they had fed her. They both took her to the dining room and served her tea and a half a roll. Aksinya slept through her classes. She and Natalya finally arrived at dinner. Aksinya did not look very well. She ate listlessly.


Fraulein Trauen couldn’t remain quiet, “Well Countess, how was your evening? Did you drink too much again?”

Aksinya played with her soup, “I was provoked.”

“Provoked?”

Natalya didn’t look up from her bowl, “Herr von Taaffe declared his undying love to her and announced his challenge against any other suitor.”

The women around the table stared at her. Fraulein Trauen swallowed.

Fraulein Pfaff sighed, “Right in the middle of the opera? How romantic.”

Natalya nodded, “At intermission.”

Fraulein Pfaff stretched her arms toward Natalya, “How did she accept it…?” She immediately thought better of her address. She turned toward Aksinya, “Did you accept his love, Countess?”

Aksinya rolled her eyes and gave Fraulein Pfaff a disdainful scowl. No one spoke. Finally, Aksinya stated in unequivocal terms, “I took Ernst’s confession under advisement. For now, I will allow him to continue to court me.”

Fraulein Pfaff’s mouth hung open, “Do you love him?”

Aksinya ran her fingers through her short hair, “Love him? I’m not certain I desire him.”

Fraulein Trauen cried out, “What a shameful thing to say. To desire him? What are you thinking?”

Aksinya pushed her soup out of the way and lay her head at her place. She plucked at the tablecloth, “What would I want with a man. I have everything I need right now. The only reason I would want one is to satisfy my desires.”

Fraulein Trauen’s ears reddened. Her mouth opened and closed a couple of times finally, she choked out, “There is certainly much more to a man than to satisfy your desires. No proper woman should have any desires at all.” Fraulein Trauen glanced around, “At least that’s what my mother says.”

Aksinya glanced up at her, “Your mother is a fool and so are you. The purpose of men is to fulfill a woman’s desires. That is the only reason I would have one, and Ernst von Taaffe must prove his willingness to meet my needs before I will consider anything else.”

Fraulein Pfaff asked, “Is that what love means to you?”

Aksinya smiled. She sat up so the fish course could be placed in front of her. When they were served, Aksinya picked at the small piece of salmon on her plate and answered, “Yes, truthfully, that is love to me. A man should meet my needs and desires—to me that is love. What else could love be?”

Fraulein Pfaff surveyed the table. Fraulein Trauen wouldn’t meet her eyes. Fraulein Vogt stared at her plate. Natalya’s gaze was steady, but she remained silent. Only Aksinya would look directly at Fraulein Pfaff, and Aksinya’s opinion was the last one she wanted to hear. Finally Fraulein Pfaff asked, “How would you love a man then?”

Aksinya smiled a very broad smile, “I would meet his every need and desire myself.”

Fraulein Trauen’s hands moved up to her mouth, “You don’t mean every desire, even those…”

Aksinya grinned, “Even those. That’s what I’d expect from him.”

The nun at the table finally took notice of the women in her charge. She raised her head in time to catch Aksinya with a very smug look on her face, Natalya with a bored look, and the others with their hands over their mouths.

Aksinya’s appetite improved considerably, but the conversation at the table didn’t continue at all that evening.

The morning events for Aksinya are a transition.  I want you to see the repetition of her worst days because I don't want you to forget who she is.  Luckily, Aksinya has Natalya and Sister Margarethe to pick up the pieces for her.  Again we arrive at dinner, where I have an opportunity to give you more information through the mouths of the characters--plus these conversations are always fun.  Aren't they? 

This evening Fraulein Trauen has the courage to speak up first.  Aksinya must look defenseless or at least ill.  It is obvious that Aksinya drank too much.  The girls likely note that when they see her.  It ruffles their mores, but they are usually cautious of their criticism.  Note, even Fraulein Trauen speaks around the issue.  Aksinya gives an answer that is surprising.  She said she was provoked.  This is half true and half a lie.  Ernst didn't intentionally provoke Aksinya, but the entire situation did provoke her.  The touch of Asmodeus was all over it.  This is what Aksinya means, but she can't say that out loud.  Did you notice, I like to develop situations where as much is said as left unspoken?  In my opinion, this is just like real life.

Instead, Natalya answers for Aksinya, and even Natalya's reply is a boiled down rendition of the most flattering statement of the evening.  In case you missed it in the excitement, Ernst declared his undying love to Aksinya and promised to fight off any other suitor.  Natalya didn't miss this very important point.  I didn't want you to miss it either--that's why I repeat it here.  The response of the other women around the table tells you how big a deal this is in this culture.  They have seen the progression of Ernst's relationship with Aksinya.  It is like a fairy tale to them.  The wicked witch is about to make an appearance. 

Natalya gives a few more details, but then the important question is voiced by Fraulein Pfaff.  We know the answer: Aksinya got drunk and had a wonderful one sided argument with Ernst.  This obviously can't be said.  Plus, look at the writing technique in Fraulein Pfaff's question.  She begins by addressing Natalya--the wrong thing to do.  Something, likely Aksinya's appearance, makes her change her address and question to Aksinya. 

Aksinya's answer to the question is typical of her.  We could have guessed this.  Fraulein Pfaff's next question is ours too.  Does Aksinya love Ernst?  This was the wrong question to ask Aksinya.  Look, if you haven't figured it out already, Aksinya is a really screwed up young woman.  It is unlikely that she understands anything about love at all.  Aksinya loves luxuria and sorcery.  People are out of her concept of love.  We aren't certain she loved her family although she gave up everything (except her life) for them.  The except her life part is important.

To Aksinya at this point, love equals desire.  She desires luxuria.  She desires sorcery.  She desires herself.  These are love to her.  But love comes in many colors.  You might ask yourself just how Aksinya loves Natalya.  Aksinya might not be able to answer that question.

You can count on Fraulein Trauen (Trauen means marriage in German, by the way), to bring the conversation into a moral sphere.  I want you to see this because it was the social and cultural view at the time.  Not every woman thought this way or held to this view, but it was very common.  To many, desire itself was considered evil or at least a temptation.

Aksinya's answer reflects her view of the world.  She has everything she needs right now.  The only reason she would want a man is to satisfy her desires.  We have seen how Aksinya satisfies her desires, by herself.  Asmodeus tried to get her to seduce Sister Margarethe to awaken Aksinya's desire for sex.  That hasn't happened yet, but there is an inkling here.  She does not love Ernst, but she is contemplating using him to satisfy her other desires.

Fraulien Trauen's response is exactly what I was referring to before--the view of the culture about a woman's desire.  Aksinya has another view entirely.  She is a countess and an aristocrat.  You might also wonder about her upbringing.  Her statement is scandalous.  She is testing Ernst to see if he meets her requirements (desires).  So far, Ernst has done so--he has provided her luxuria.  What he has held back is the sorcery books Aksinya desires.  Did you forget about the books and this part of Aksinya's desire.  She hasn't.

Fraulein Pfaff is our little romance infatuated woman--you knew that.  She can't believe her ears--is that love to Aksinya?  Aksinya's answer is straightforward.  She caps it with: "What else could love be?”

They can't answer her question.  Can you?  Aksinya just blew all their notions about men and love out of the water.  Fraulein Pfaff's half hearted question is important to all of them: “How would you love a man then?”  The response to Aksinya's answer shocks them.  This is only logical, if love to her is desire then the love from a man is one of desire.  The response of the young women is very important here.  Look at Natalya--she is bored.  Aksinya has won, at least philosophically.  The others are shocked--you just don't say these things in polite society.  The sister at the table finally catches a piece of the conversation, but she can't correct a countess.  Thus Aksinya brought temptation to those around her.  She confounded the innocent ideas of her schoolmates.  She is definitely not a good example.  She is not a good girl or person.  Her actions bring her happiness and others unhappiness.  You should understand what this means.  She has gone from winning the conversations with grace and levity to shocking the sensibilities of others, and this is the end of chapter 12.  The kicker is a gentle one.  It has importance in the broad scheme of the novel.  The answer to the question of what is love is an important one in the theme, but you knew that.  Tomorrow, the beginning of chapter 13.  

A New Novel, Part 142 I Wouldn't Want to Miss Any Untoward Advances

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.

Aksinya came home drunk last night.  She revealed her soul (or a small part of it) to Natalya.  Natalya promised to never deny or betray Aksinya.  The next morning, Aksinya has to pay the price for her luxuria...

Aksinya was impossible the next morning. Natalya had to shake her for ten minutes to wake her. She had Sister Margarethe bring coffee instead of tea and made Aksinya drink a whole cup while she bathed and dressed her.


Aksinya protested the entire time. Natalya had to request help from Sister Margarethe. Together, they finally dressed, bathed, and fed Aksinya. Then they walked across the street to Sacré Coeur. Chapel was a chore. Aksinya fell ill from the very beginning and had to leave before the blessing of the elements. She was sick, but afterwards, Natalya found her a cup of tea. Sister Margarethe joined them until it was time for class.

When they entered the classroom together with Sister Margarethe, Aksinya stepped directly to her seat by the window and fell into it. She lay her head down on her arms and closed her eyes. The rest of her classes didn’t go much better for Aksinya. She was behind in everything and didn’t seem to care. Natalya kept better than an average pace.

At dinner, Aksinya was listless and ate little.

Anna Pfaff started the conversation at their table, “So, Countess, did Ernst von Taaffe escort you to the ballet?” She would not look Aksinya in the eyes. They darted all around the table.

Natalya sat a little straighter, “Yes, he did escort her. He was a very pleasant gentleman.”

Frieda Trauen glanced over her glass, “I understand our sweet countess was a little under the weather today.”

Aksinya didn’t move much, “I had too much to drink, but the evening and the gentleman were pleasant.”

Fraulein Trauen smirked, “I hope for your sake, he wasn’t too familiar during your drunken state.”

Natalya glared at her, “My mistress was in no way imprudent during the evening.”

“She was drunk.”

Aksinya snarled, “I just drank a little too much. By the way, Herr von Taaffe did not ogle the ballerinas.”

Fraulein Trauen cocked her head, “Oh really, then were did he keep his eyes?”

Aksinya stared at her, “He kept them on me the entire evening. I’m not certain he looked at anyone on the stage. He took me to the Palais Coburg Hotel Residenz for dinner in the red room and to the ballet. We had caviar and Champagne at intermission.”

Dieter Vogt sucked in her breath, “The red room—ooh.”

Fraulein Pfaff shook her head, “You have totally ensorcelled Herr von Taaffe.” She bent her neck toward Aksinya and blinked her eyes, “You should strike while the iron is hot.”

Fraulein Trauen was shocked, “Whatever do you mean? She should strike while the iron is hot?”

Fraulein Pfaff scowled, “You can’t be so naïve, Fraulein Trauen. The Countess should use her every womanly wile to entice Herr von Taaffe.”

Fraulein Trauen rose in her seat a little, “What do you mean Fraulein Pfaff? Are you suggesting the Countess act in some imprudent way?”

Aksinya’s laugh startled them all. She didn’t sit up, “It is only the first evening, but Herr Taaffe pleases me very much. I shall see what will come of it. Perhaps he will ask me out again.”

Natalya touched her lips with her napkin, “He will certainly ask you out again.”

Aksinya laughed again, “Do you really think so, Lady Natalya?”

Natalya smiled. Her brow rose, “It is certain.”

Aksinya smiled, “Then, Lady Natalya, you must ensure I don’t drink so much I miss Herr Taaffe’s untoward advances. I would surely not wish to miss something like that.” She glared at Fraulein Trauen who didn’t dare squeak out a reply.

Aksinya's slow descent into decadence is showing effects.  Already, her teachers don't expect much from her.  She is enjoying her luxuria and sorcery.  She is being tempted by Ernst.  She is like a slow motion train wreck, and Asmodeus is in control of it all.  Natalya is there to pick up the pieces.  She truly loves Aksinya and enjoys taking care of her.  Natalya couldn't do it by herself--she had to get Sister Margarethe.  The spiritual results of Aksinya's binge is evident when she goes to chapel.  The result of her neglect for her schoolwork is evident in the classroom.  Natalya is progressing--we know much of that is due to Aksinya.
 
Dinner wasn't much better for Aksinya.  Fraulein Pfaff wants to know how the evening went.  She won't look Aksinya in the eyes because of how Aksinya appears--she looks dangerous.  Still Anna wants to know.  But look at this, Natalya answers for Aksinya.  She understands German well enough now to converse.  Fraulein Trauen just makes fun of Aksinya, but that's Frieda.
 
Aksinya responds this time.  She doesn't move much because she is still feeling the effects of her drinking.  She admits she drank too much--she isn't ashamed of it at all.  Did you note that?  Fraulein Trauen won't let it go.  She can't let go of the sexual innuendo about Aksinya and Ernst.  Natalya defends Aksinya, but Fraulein Trauen just states her insinuation again as if drunkenness itself would results in the loss of a woman's virtue.
 
Aksinya turns everything around with her pithy statement about the object of Ernst's attention during the ballet.  This statement by Aksinya is powerful on many levels.  If you remember, not long ago, Fraulein Trauen attacked Ernst's integrity with the comment that he would give inordinate attention to the ballerinas.  Instead, Ernst gave inordinate attention to Aksinya.  This is a direct slam-dunk against every arguement Fraulein Trauen made about Aksinya's virtue, appearance, and nobility.  Aksinya goes further to tell them where Ernst took her and about the expensive snack during intermission.  The romantic Fraulein Pfaff advises Aksinya to go for Ernst.  Ernst is such a good catch, any girl would want him for her husband.  Note, that Anna tempts Aksinya to act to seduce Ernst.  Fraulein Trauen realizes this and that she has lost this exchange.  That is why Aksinya laughs.  Aksinya is as good as the demon at influencing others.  Aksinya gives the coupe de grace--she will entertain Ernst next time too.  Aksinya finalizes it with a barb against Fraulein Trauen.  Tomorrow, another invitation and an intrusion.

A New Novel, Part 141 I Love You; I Won't Deny You

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.

Ernst returned Aksinya and Natalya to Aksinya's house.  Aksinya is inhebriated, but not yet asleep.  Natalya prepares her for bed...

Inside Aksinya’s room, Aksinya lay across her bed. Natalya undid the buttons and hooks on her dress. Aksinya was still awake, but her eyes were closed. Natalya pushed against her side, “Roll over Aksinya.”

Aksinya rolled with Natalya’s help. Natalya undid the rest of the buttons. She pulled the dress up and over Aksinya’s head. That was a struggle. The petticoats and underclothes came off more easily. When Natalya tried to put on Aksinya’s nightgown, Aksinya fended her off, “I’m hot. I don’t want to wear anything.”

“That’s the wine. You’ll be cold soon enough.”

“Just wait a bit. The room’s spinning.”

“That’s the wine too. Put your feet on the floor.”

“I’m dizzy. Why did you let me drink so much?”

Natalya snorted, “I didn’t have any say in it. You may remain like you are for the time being.” Natalya washed Aksinya’s face while she lay on the bed. She tugged Aksinya to sit and leaned against her back so she couldn’t flop back down. Natalya began to brush Aksinya’s hair, “Your hair is finally growing out a little.”

Aksinya clumsily brought her hands to her face, “Are you certain?”

“Yes, it is almost to your shoulders at the very back. It is beautiful hair—why did you cut it? You never told me.”

“I thought I did.”

“You didn’t. Was it part of your sorcery?”

Aksinya trembled, “Is it that obvious to you?”

“It was cut with a very sharp knife, snick-snack. Your aunt told me your hair once reached down to your waist. She said you used to put it in a long single braid and that it was the most beautiful hair she had ever seen.”

“My mother would brush it for me every night. She kept her hair short—I was never certain why. She loved to let my hair cascade through her fingers.”

“She loved you very much.”

“She loved my hair—me, not so much.”

Natalya tugged a little harder on the brush than she needed to, “Why would you say that?”

“Because I think it is the truth. Why do you brush my hair?”

Natalya smiled, “Because I love you.”

“Do you love me because of who I am or because of what I did for you?”

Natalya brushed a little harder.

“Ouch, you don’t have to be so rough.”

“If you weren’t drunk, I’d hit you with this brush.”

Aksinya didn’t turn, “Why are you crying?”

“Why does love have to be like a contract with you?”

Aksinya didn’t reply.

“I do love you because you rescued me, but there is much, much more. I love you because you were the first to look at me as if I was a real person.”

“Then you should not love me at all. Asmodeus found you. He convinced me to take you as my lady-in-waiting and… and… as my apprentice.” Aksinya clutched her hands to her small breasts, “He forced me to take you into my household. I would not have done it without his temptation.”

Natalya leaned her face against Aksinya’s back. Her hot tears trickled down Aksinya’s cooling skin, “But you did. You made me your friend. You let me go to school with you. You told me you loved me. I can offer you nothing, but still you do love me.”

Aksinya’s response was a mumble, “Yes, I love you, Nata.”

“Then why do you think I love you with any less love?”

“I’m sorry, Nata.” Akisnya’s voice was slurred, “There is a time when I know everyone will deny me.”

“I will not deny you.”

Her speech slowed a little more, “If you don’t deny me, then you will betray me. You see, I am not allowed love, and I am not allowed friends. I am only allowed suffering.” At the end, Natalya had to strain to hear her.

Natalya clasped Aksinya around her naked shoulders, “I will try my hardest not to deny or betray you, Mistress.” She held her tightly for a while. Aksinya’s breathing came slowly and regularly. Aksinya sagged in her arms. Natalya realized Aksinya was asleep. Into Aksinya’s lengthening hair she whispered, “I love you. I will never deny or betray you.”

Aksinya is in a state we have never seen her before.  All her defenses are down.  She doesn't care abut what she is saying.  She doesn't care what she says.  Natalya has taken control again.  The indication of this is that she easily uses Aksinya's name while she undresses her. 

Remember how embarrassed Aksinya was about her body.  She is at the point that she doesn't care.  She lays naked on the bed.  This is a clear indicator.  Do you see how experienced Natalya is with drinking and drunkeness.  She knows all about it and all about what to do: put your feet on the floor.  We learn more about Natalya.

Aksinya blames Natalya for her drinking.  Aksinya knows that isn't true.  She is out of control, and she realizes it, but like all of us, she grasps at someone else to blame.  Natalya knows it is just the wine.  She washes Aksinya's face and gets her ready for bed.  Then...the hair.  Did you catch that?  Natalya says that Aksinya's hair is finally growing out.  This goes directly back to the contract with the demon.  Aksinya's question is our quesiton--does that mean she might be able to break her contract with Asmodeus.  Look at Aksinya's reaction.  Natalya has no idea the scab she is picking right now.  She blunders directly into the place even the inhebriated Aksinya will not go.  Aksinya lies--she knows she never told Natalya about her hair.  Natalya rips the scab right off--she talks about what Aksinya's aunt said about Aksinya's hair in the past.  This is a double slap to Aksinya: her aunt and her sorcery.  Rembember Aksinya's hair was the thing she thought was the most beautiful part of her.  Her aunt thought so too.  This rubs everything in Aksinya's face on so many levels: her beauty, her sorcery, the contract with the demon.

Aksinya does the only thing she can, she can't let the idea of her hair go.  She can only remenisc about it.  She speaks about her mother.  And Aksinya reveals another scab to us and to Natalya--her mother.  Natalya knows all about mothers who desert you, but Aksinya's mother seemed to love her.  Natalya's reaction is predictable.  Aksinya doesn't know when to keep quiet either.  Then the absolute truth.  Natalya will not be able to handle it.  Aksinya can only do one thing attack.  She attacks her friend.  If Aksinya doesn't attack, she will have to face the truth about herself.  Natalya's reaction is the only way she can fight back.  She threatens and she weeps.  She fights back: “Why does love have to be like a contract with you?”  We know the reason.  We know how Aksinya thinks--Natalya doesn't.  Natalya's whole life is centered around Aksinya.  She has nothing else in life.  She literally worships Aksinya, but Aksinya is denying her and all her trust.  Aksinya absolutely rejects the entire salvation of Natalya.  Yet, in spite of everything, Aksinya does love Natalya.  This truth has never been a secret.  This has always been part of Aksinya since she took Natalya into her household.  She loves Natalya, and Natalya loves Aksinya with all her soul.

Then we get the full revelation--Aksinya knows exactly what Asmodeus has planned for her.  The truth can only come out when all her defenses are down.  She can only admit it to herself under these circumsatnces.  Aksinya knows what will happen, but Natalya can only deny the facts.  Natalya has no idea what she faces.  She has no idea a demon is in control of Aksinya's life and being. 

Aksinya is right, she is not allowed love and she is not allowed friends.  She is only allowed suffering.  At the end, I give you a kicker.  Into Aksinya's lengthening hair, Natalya weeps: “I love you. I will not deny or betray you.”  We know she will.  We know eventually everyone will deny and betray Aksinya.  Tomorrow, a hangover, of course.  

A New Novel, Part 140 Coppellia and Caviar

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.

We know about the ballet Aksinya and Ernst are about to see.  We see it parallels Aksinya's life.  Now, to the ballet...

The curtain rose and the ballet began. Throughout, laughter from the audience punctuated the performance. Natalya and Ernst both chuckled under their breath. Aksinya didn’t laugh. She had never laughed in the theater. Her lips did turn up many times in a gentle smile.

During the very delightful ballet, Aksinya remembered the words of Fraulein Trauen. She took surreptitious glances to see where Ernst’s eyes dwelt. Every time she looked, his eyes were focused on her profile. She couldn’t help but blush. She wasn’t certain he ever glanced at the very beautiful ballerinas who danced on the stage.

At the intermission, a butler delivered caviar and Champaign to their box. Ernst served Aksinya, “Countess, would you rather have vodka?”

“I do like vodka, but Champaign with caviar is my favorite.” She inclined toward him, “Plus, I’m not sure how much vodka I should drink. The wine at dinner went a little to my head.”

Ernst refilled her glass. Natalya watched closely. She barely sipped at her still filled glass.

Aksinya watched the second Act with greater enjoyment. Ernst thought he heard a giggle from her a couple of times. Natalya frowned.

They returned home late. It wasn’t too late, but still late. Aksinya leaned sleepily against Natalya the entire trip back to the house. Aksinya could not stand without help. Natalya wouldn’t let Ernst sit next to Aksinya. When they exited the landau, Natalya did let him help her on one side while she held Aksinya on the other.

Sister Margarethe met them at the door. She took one look at Aksinya and pulled both her charges into the house. She was wary of Ernst this time—she partially closed the door and stood directly within the opening, “Thank you, Herr von Taaffe for your attention to the Countess this evening. I will help the Lady Natalya see her to bed.”

“Please convey my thanks to the Countess.”

“Next time, don’t ply her with so much wine so you may convey your own sentiments.”

Ernst bowed, “Yes, sister. I shall. I’m sorry.”

When Sister Margarethe turned around, Natalya and Aksinya were already gone. When she climbed up to Aksinya’s room, she found the door already shut and locked. It was much too late for tea, so she returned to her room.

I own a wonderful modern style oil titled, Theater Goers.  The painting depicts a group of people who are attending some kind of performance.  You see them from the vantage of the performers.  You don't know anything about the performance, but the theater goers are enough to drive the theme of this painting.

Aksinya, Ernst, and Natalya are the theater goers.  We have the benefit of knowing something about the ballet they are watching, but in the end, the ballet isn't as important as the conversation (or lack of conversation) and actions of our players. 

At first Aksinya doesn't understand that she might show some emotion during the performance--she is typically emotionless.  She does allow herself a smile, but perhaps that is the wine.  Aksinya's mind is indeed lacking her typical control.  She remembers Fraulein Trauen's silly words and checks to see where Ernst is watching.  Both we and she are surprised that he only has eyes for Aksinya.  Aksinya's blush indicates her emotions and her state of inebriation.  Ernst's eyes tell us much about the man and his intentions.

At intermission, Ernst supplies Champagne and caviar.  You should wonder at Ernst's question: does he ask Aksinya if she wants vodka because he is trying to get her more drunk to take advantage of her, or is he truly trying to cater to her desires--or both.  The fact that Aksinya reveals she drank too much tells us about her state.  She would never confess something like that to someone like Ernst.  She is usually in much more control of herself. 

Watch Natalya.  She is keeping a close eye on Ernst and Aksinya.  Aksinya's giggles, and her enjoyment of the second act only emphasize her lack of control.  Natalya frowned.  Natalya has good reason to frown.  Aksinya fell into the temptation of luxuria Ernst produced (and certainly Asmodeus suggested).  She perhaps felt safe enough to allow herself to accept the temptation because she knew Natalya would be there to watch over her.  Natalya realizes this.  She just doesn't like to see Aksinya dependent on anyone.  Natalya doesn't see Aksinya dependency on herself.  She only sees Ernst becoming important in Aksinya's eyes.  This is a very important point in the novel, and one we will see more than once.  We are building right now to the critical pivotal point of the novel.  The ultimate crisis of the entire work.

Sister Margarethe waited up for her charges.  She is not happy with Akisnya's condition.  She is wary of Ernst now.  He can't use his trick to get inside the door again.  She takes out her anger on Ernst.  Sister Margarethe is concerned for many reasons.  The primary is that she can't control Aksinya at all.  Aksinya is not within anyone's control.  Asmodeus even despairs at controlling her.  Sister Margarethe believes very rightly that she could never stand up against Aksinya.  This means she is not capable of protecting Aksinya.  But we know no one can protect Aksinya.

Sister Margarethe, like any woman, mother, or girl's friend, wants to know what happened during the evening.  Aksinya and Natalya are already up in Aksinya's rooms--they have locked the doors.  I don't tell you she is disappointed, but you know it.  Tomorrow, the aftermath of the evening.

A New Novel, Part 139 Coppellia and the Dower Russian Girl

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.


Aksinya, Ernst, and Natalya finished their dinner at the Palais Coburg Hotel.  I didn't end the last chapter with a kicker--I just gave you a partial transition.  The rest of the transition and the setting for chapter 12 begins...

The landau drove them only a few blocks away to the Wien State Opera. The building was large and classical. It wasn’t as brightly lit as the Palais Coburg Hotel Residenz. The gaslights flickered in the chill breeze. Ernst escorted Aksinya into the building. When they entered, Aksinya wobbled a little shakily on her feet. She held tightly to Ernst’s arm, and almost fell when she entered the enormous foyer. She almost lost her feet again near the center of the large entranceway. Aksinya whirled when she thought she spotted Asmodeus in the crowd, but immediately lost sight of him. Ernst clasped her arm tightly under his and kept her from falling. Natalya steadied her. She followed right behind Aksinya. Ernst took care of their coats. He led Aksinya to a box seat. She finally concluded that she was unsteady on her feet from the wine at supper, so she held even more tightly to Ernst’s arm so she wouldn’t stumble. Ernst seated her and then Natalya. He took the chair between them both.


As though the ballet master waited just for them, at that moment, the lights dimmed and the conductor walked across the stage and climbed into the orchestra pit. Aksinya leaned forward and held the side of the rail. She kept a tight grip on her flowers.

The music started. It was bright and melodic. Aksinya was entranced. Ernst propped his elbows on the top of the rail. His face was close to hers, “I didn’t tell you the ballet we are going to see. It is Coppellia and a comedic ballet.”

Aksinya kept her eyes on the stage, “A ballet that is a comedy. I didn’t know there was such a thing.”

“Ah, you Russians are so dower. I can’t remember a Russian comedy.”

“Do you think I am dower?”

“You are entirely too serious, but I find that engaging in you. I have never met a serious woman before.”

Aksinya’s eyes moved toward his face, “I would indeed like to be taken seriously. I am a serious woman.”

“Also a dangerous woman.”

“I don’t wish to be thought a dangerous woman.”

“But you are. That makes your seriousness necessary.”

“Or, I am just dower. What is this Coppellia about?”

Ernst turned his face toward hers. Aksinya kept her eyes on the stage and orchestra. He laughed, “It is a story about an old man, Dr. Coppellia, who tries to use magic to give life to a mechanical woman.”


“Does he succeed?”

“No. He believes he has, but in the end it is all a trick. At the conclusion, the young fool does marry the wonderful and smart heroine. A match between a serious girl and a frivolous boy.”

Aksinya mumbled, “I am like the old man. I have made a terrible thing.”

“You said, Countess?”

“Nothing. I said nothing…”

Ah, I love contrasts--especially those that we find in real life.  I like to point them out.  In my writing, I hope you find them like pearls.  I don't need to describe the landau to you again.  I do describe the Wien State Opera, but I do it through contrasts and comparison.  The building is large and classical (so was the Palais Coburg).  The difference is the lighting, and in the night, that is the only real difference that matters.  I give you the sense of the gaslights because that is a little creepy and you can feel both the chill and the darkness.
 
Then, we get to Aksinya.  At dinner, she was becoming happily drunk.  I don't tell you this--I show you this.  I show you just how drunk she is and then drop a grenade into the group.  She spots Asmodeus again, this time at the State Opera house, but then quickly loses sight of him.  She didn't notice the smell of sulphur.  We are left unsure.  We are as uncertain as Aksinya--is Asmodeus really there or not?  Aksinya is so tipsy, how could she be certain of anything.  She even held more tightly to Ernst after she finally figured out she had drunk too much.  I'll bet Ernst loved that.  Ernst is quite the gentleman to gently handle a slightly tipsy noble woman.
 
The ballet starts and Aksinya can't hide her excitement.  I don't tell you any of this--you see it in the character.  Look at how she leans forward and clings to the bouquet.  Ernst moves to come closer to Aksinya, then he finally tells her the name of the ballet--Coppellia.  I don''t have to tell you about the ballet, Ernst does that for Aksinya, and you get to listen along.  All the ballets and operas that Aksinya and Ernst attend are very important to the theme of this novel.  The ensuing conversation about the seriousness of Russian entertainment is spot on.  In all the world, there are few comedic ballets.  The Russians have only one of note--the Nutcracker, and that one isn't all that encouraging.  At least the heroine doesn't die.
 
The undercurrent of Aksinya and Ernst's conversation is very important.  Remember Aksinya is slightly drunk.  She is uninhibited.  The tongue in cheek conclusion from Ernst is that she is a dangerous woman.  This can be easily deconstructed.  Aksinya is dangerous because of her sorcery.  She is also dangerous because she tempts Ernst--and she is drunk.  We know all about how dangerous Aksinya really is, but Ernst really has no idea how dangerous this young woman is.
 
Coppellia is a fun, romantic ballet.  I know a lot about it because I've played Dr. Coppellia more than once.  Each of the ballets and operas Ernst takes Aksinya to parallel the problems in her own life.  I don't need to tell you, Ernst is being coached by Asmodeus.  I don't tell you this directly anywhere--I hint at it.  Ernst's knowledge and choices are too close to home every time. 
 
The plot of Coppellia is just as Ernst explains.  In it, Dr. Coppellia tries to use magic to bring the doll Coppellia to life.  In this novel, Aksinya used sorcery to give life to a demon.  Coppellia is almost an exact parallel to Aksinya's life.  The difference is that Coppellia is a farce, and Dr. Coppellia fails to bring forth useful magic or a mechanical woman.  Aksinya, on the other hand, succeeded too well.  The parallel between Coppellia's serious girl and frivolous boy shouldn't surprise you.  Aksinya is the serious girl and Ernst, the frivolous boy.  The parallels are not lost on Aksinya--in her inhibition, she mumbles the truth: "I have made a terrible thing.".  Tomorrow, Coppellia and caviar.