The demon again comes to Aksinya that evening. This time he comes with a gift. Isn't this demon clever?
In the middle of the night, a knock at Aksinya’s door woke her. She sat up and answered without thinking, “Come.”
The dark heavy shape of the demon entered her room. He was more massive in the darkness than she ever remembered, “Countess, as I promised, I brought your mother’s jewelry box. She had more than one. You were not specific so I brought the largest.”
Aksinya’s voice trembled, “That will be sufficient for now. What about my sister’s jewelry?”
“I have not been able to find it.”
Aksinya wanted to cry out, “You liar.” Instead she took a deep breath, “Bring it when you can find it.”
“Yes, Countess.” The demon still held the ornate box, “Where should I put it?”
Aksinya scooted toward the head of the bed, “Here on the bed.”
“It’s heavy.”
“Do I need to repeat myself? Place it on the bed.”
The demon’s fangs were evident in the light from the streetlamps. He might have been smiling. He placed the box near the middle of Aksinya’s bed. Then he stepped back, “You should not leave this in your room.”
“Why not, demon.”
He snarled, “Frau Drescher will find it.”
“Will she steal it?”
“I wish she would. That would be a definite sin. In any case, I do not wish any other undue attention toward you at this point. In this place, they worship your aristocracy. This is a pleasant little lust for all of them here. A little more mystery might enhance that mystique at some point, but not now.”
After Aksinya works on German with Natalya, she is sleeping. The Demon waits, this time, for her summons. Do you see how he is playing her. At one moment demanding, the next responding as her servant. All the demon's actions are intended to make Aksinya follow his purpose. The play here, is we think the demon doesn't fully understand Aksinya's actions. That is a reasonable thought. I will go further and reveal, the demon can't read her mind. I think I mentioned this before. There are secrets Aksinya can hide from the demon, therefore, the demon's actions will be to try to force the secrets from her. We will see some of these tricks later. Right now, the demon is accommodating Aksinya because he believes this will aid in his purpose. The demon doesn't realize that Aksinya intends to use the jewelry boxes to discover more of his bounds (weaknesses).
Aksinya trembles--it isn't in fear. It is in excitement. She will now know the answer to her question--can the demon touch or move evident crosses? This is an incredibly important question to her. The answer means that Aksinya might have another specific means to oppose the demon. That's why the question about her sister's jewelry. At that moment, Aksinya knows the truth. The demon can't move an evident cross--therefore her reaction.
Now there is a set up for a problem for Aksinya. You don't get to see it for a little. The demon asks, where he can put the box. Aksinya is so excited, she doesn't stop to think. The demon's smile should have warned Aksinya. Then Asmodeus tells her not to leave the jewelry box in her room. We'll see more about this tomorrow, but you might wonder about the demons statement. Aksinya does, she asks the obvious, but not the best question, and the demon's answer is Frau Drescher.
Then the wake up statement from Asmodeus that we will address from Aksinya tomorrow. He wishes Frau Drescher would steal the jewelry, but that would cause undue attention toward Aksinya. His point: they worship her aristocracy. This is very evident, but the rest is interesting. “This is a pleasant little lust for all of them here. A little more mystery might enhance that mystique at some point, but not now.” This is interesting enough that Aksinya ponders it tomorrow.
Thursday, December 16, 2010
Wednesday, December 15, 2010
A New Novel, Part 73 Choose the Evil You Will Do
Asmodeus gave us the strongest statement of his purpose so far. His job is to do evil for Aksinya. Her response follows.
Aksinya’s eyes darted from one side of the room to the other, “But I don’t want to do any of that.”
“So long as you accomplish evil, I will be pleased. Choose the evil you will do, and do it well. I only remark the evil that will occur if you fail at your part of the bargain.”
“I made no such bargain. I contracted you to be my servant. That was our agreement.”
“There you are wrong, Countess. You contracted to me using a part of your body as a surety. The contract was to me, the demon Asmodeus. I agreed to do your evil work in the world. That is our agreement—to do your evil work in the world. Since you have chosen to have no plan to pursue evil, I am providing one for you. I am happy to do it. I must confess, I was very pleased with how our relationship started. I am not as delighted with how it has progressed.”
“I hate you, demon. God will surely punish you for every way you torment me.”
“God will surely punish you, Countess, because all the evil I do is in your name. In fact, I myself commit no sins—it is you who sin. I am simply a tempter.”
“Get out. Get out of my room and torment me no more.”
“I will leave you for now. You understand what you must do, Countess.” Asmodeus slipped off the bed. He backed to the door and out of the room.
Aksinya waited a few minutes before she moved. Then she ran to her door and yanked it open. The demon was gone. She took a deep breath and leaned against the jam for a while. Then she closed her eyes and mouthed a prayer. She crossed herself. That small action hurt her heart. She couldn’t hold back a whimper and glanced around. She was afraid she would hear the demon’s laughter come out of the close darkness.
After a little, Aksinya closed her books and went to Natalya’s room. She didn’t even finish the work she was supposed to do. With Natalya, she reviewed her lady-in-waiting’s German work and spoke German with her for an hour. Then she went to bed.
If you didn't understand the demon's purpose, there can be no question now. "Choose the evil you will do, and do it well." Then, the bargain. The point is that evil will occur if Aksinya fails to uphold her part. We will see the evil in the future, for now, this is a threat and a foreshadowing.
Did you wonder at the demon's claim. He claims not to sin--that he is only a tempter. This may or may not be true. Aksinya, in any case, bears the brunt of the sins the demon accomplishes in her name--that is his purpose.
Aksinya reveals her own desires after the demon is gone. The act of crossing herself causes her physical pain. This is presented as real physical pain, but we can't be certain that it is not psychological.
Then the end, Aksinya goes to help Natalya. She neglects her own work for Natalya's sake. I'm not certain the demon expected her to do this, but the point is that she takes her evening to help Natalya. You might wonder at the demon's purpose.
Aksinya’s eyes darted from one side of the room to the other, “But I don’t want to do any of that.”
“So long as you accomplish evil, I will be pleased. Choose the evil you will do, and do it well. I only remark the evil that will occur if you fail at your part of the bargain.”
“I made no such bargain. I contracted you to be my servant. That was our agreement.”
“There you are wrong, Countess. You contracted to me using a part of your body as a surety. The contract was to me, the demon Asmodeus. I agreed to do your evil work in the world. That is our agreement—to do your evil work in the world. Since you have chosen to have no plan to pursue evil, I am providing one for you. I am happy to do it. I must confess, I was very pleased with how our relationship started. I am not as delighted with how it has progressed.”
“I hate you, demon. God will surely punish you for every way you torment me.”
“God will surely punish you, Countess, because all the evil I do is in your name. In fact, I myself commit no sins—it is you who sin. I am simply a tempter.”
“Get out. Get out of my room and torment me no more.”
“I will leave you for now. You understand what you must do, Countess.” Asmodeus slipped off the bed. He backed to the door and out of the room.
Aksinya waited a few minutes before she moved. Then she ran to her door and yanked it open. The demon was gone. She took a deep breath and leaned against the jam for a while. Then she closed her eyes and mouthed a prayer. She crossed herself. That small action hurt her heart. She couldn’t hold back a whimper and glanced around. She was afraid she would hear the demon’s laughter come out of the close darkness.
After a little, Aksinya closed her books and went to Natalya’s room. She didn’t even finish the work she was supposed to do. With Natalya, she reviewed her lady-in-waiting’s German work and spoke German with her for an hour. Then she went to bed.
If you didn't understand the demon's purpose, there can be no question now. "Choose the evil you will do, and do it well." Then, the bargain. The point is that evil will occur if Aksinya fails to uphold her part. We will see the evil in the future, for now, this is a threat and a foreshadowing.
Did you wonder at the demon's claim. He claims not to sin--that he is only a tempter. This may or may not be true. Aksinya, in any case, bears the brunt of the sins the demon accomplishes in her name--that is his purpose.
Aksinya reveals her own desires after the demon is gone. The act of crossing herself causes her physical pain. This is presented as real physical pain, but we can't be certain that it is not psychological.
Then the end, Aksinya goes to help Natalya. She neglects her own work for Natalya's sake. I'm not certain the demon expected her to do this, but the point is that she takes her evening to help Natalya. You might wonder at the demon's purpose.
Tuesday, December 14, 2010
A New Novel, Part 72 The Demon's True Purpose
We heard yesterday that Asmodeus has procured the house across the street for Aksinya to practice her sorcery. Now we get a little more of his plans.
“I don’t want the Lady Natalya involved in this.”
Asmodeus lay on the bed and idly wrote with his clawed finger on her pillow, “You are too late to stop that also. She has such a strong desire to be like you, just like you. She is your apprentice. You will teach her sorcery.”
Aksinya held her head in her hands, “She must learn Latin first.”
“She is a very adroit study. You will find that she will master the language quickly. You are good to have concern for the Lady Natalya. She might have problems in this German school, this gymnasium.”
Aksinya raised her lip, “Why is that?”
“She doesn’t speak German. If you wish her to succeed and not be left behind, you need to help her.”
“To help her study?”
“I would suggest a little help in what you are the best at. That will go a long way to meeting all our goals.”
“You mean use sorcery to help her? Can’t you understand? I don’t want to meet your goals.”
Asmodeus voice was tinged with false despair, “Why should you meet your goals, and I not meet mine?”
“I have no goals…”
“Other than to be rid of me. I understand you perfectly, Countess. Now listen to me and listen well. You experienced the suffering of your soul in the church today. That guy rejects you. The church will eventually vomit you out. I suggest not going at all—otherwise your secrets will be revealed to all the world. Your sweet helper won’t be spared either.” Asmodeus turned his eyes on her, “Second, do not confess to anyone, anything. It might do your soul well, but it will cause you immense suffering.” The demon sat up, “I do have an instruction on a positive note. The Sister Margarethe is a special person whose attention should be encouraged. She will help you and she will help the Lady Natalya because of you.” The demon gave Aksinya a large fang filled grin.
“Is that all you have to tell me, demon?”
“Do you want more? I can certainly give you more instructions. I really wanted to wait a while.”
“You infuriate me. What if I won’t do as you ask?”
The demon examined his claws, “You have already proven to me, a little pain and suffering goes a long way to encourage your compliance. Beyond that, the Lady Natalya is a very gentle girl who has faced much suffering. You haven’t made her suffer much, yet. That can quickly change. Then…this school is filled with mostly innocent beings whose only guilt was to be in the wrong place with a sorceress as their classmate. The sisters of this convent’s peace is also at risk. Frau Drescher is a sour woman whose life has been very unpleasant for a long time. She hides the excesses of the students because she is truly indulgent and kind—she could change. You see, Countess, I brought you here to this place at this time to give special attention to your and my special abilities. We shall work together to promote evil and we shall bring much evil to these innocents.”
In answer to the demon's demand that Aksinya teach sorcery to Natalya, her apprentice, Aksinya responds, that she doesn't want Natalya involved. The demon his been working hard at his temptation. He already set up a situation that Aksinya can't control or stop. Aksinya set up Natalya as her apprentice and Natalya expects training. We will later see how much Natalya expects. Aksinya caves into the demon's expectation, but we shall see she fights him to the bitter end on this issue.
Then the demon brings in a new temptation. He hasn't been so direct or conniving, that we have seen, but now, temptation is back and it is ugly. The temptation is to Aksinya's sense of duty. If she doesn't help Natalya, Natalya will fail at school. The demon suggests Aksinya use sorcery to help Natalya. All he really wants is for Aksinya to cause herself problems by spending all her time teaching Natalya. If Aksinya uses sorcery so much the better, if she doesn't...we shall see.
The conversation turns to Aksinya and all the things she has been thinking or exposed to that is to be rid of the demon. The demon reminds her that God has rejected her and the church has rejected her. He threatens that her secret sins will be revealed and that Natalya will be harmed. He tells her to not confess to anyone, then he adds something that should make you and Aksinya wonder. He tells her to cultivate friendship with Sister Margarethe. We will find out later why this is so. It should worry you.
So Aksinya throws down the gauntlet again, and we get a complete statement from the demon. He lifts up Natalya, the girls in the school, the convent, Frau Drescher all as potential targets for his attacks. Aksinya, we know, can't face the suffering of others. We know she will abide by the demon's decrees. More tomorrow.
“I don’t want the Lady Natalya involved in this.”
Asmodeus lay on the bed and idly wrote with his clawed finger on her pillow, “You are too late to stop that also. She has such a strong desire to be like you, just like you. She is your apprentice. You will teach her sorcery.”
Aksinya held her head in her hands, “She must learn Latin first.”
“She is a very adroit study. You will find that she will master the language quickly. You are good to have concern for the Lady Natalya. She might have problems in this German school, this gymnasium.”
Aksinya raised her lip, “Why is that?”
“She doesn’t speak German. If you wish her to succeed and not be left behind, you need to help her.”
“To help her study?”
“I would suggest a little help in what you are the best at. That will go a long way to meeting all our goals.”
“You mean use sorcery to help her? Can’t you understand? I don’t want to meet your goals.”
Asmodeus voice was tinged with false despair, “Why should you meet your goals, and I not meet mine?”
“I have no goals…”
“Other than to be rid of me. I understand you perfectly, Countess. Now listen to me and listen well. You experienced the suffering of your soul in the church today. That guy rejects you. The church will eventually vomit you out. I suggest not going at all—otherwise your secrets will be revealed to all the world. Your sweet helper won’t be spared either.” Asmodeus turned his eyes on her, “Second, do not confess to anyone, anything. It might do your soul well, but it will cause you immense suffering.” The demon sat up, “I do have an instruction on a positive note. The Sister Margarethe is a special person whose attention should be encouraged. She will help you and she will help the Lady Natalya because of you.” The demon gave Aksinya a large fang filled grin.
“Is that all you have to tell me, demon?”
“Do you want more? I can certainly give you more instructions. I really wanted to wait a while.”
“You infuriate me. What if I won’t do as you ask?”
The demon examined his claws, “You have already proven to me, a little pain and suffering goes a long way to encourage your compliance. Beyond that, the Lady Natalya is a very gentle girl who has faced much suffering. You haven’t made her suffer much, yet. That can quickly change. Then…this school is filled with mostly innocent beings whose only guilt was to be in the wrong place with a sorceress as their classmate. The sisters of this convent’s peace is also at risk. Frau Drescher is a sour woman whose life has been very unpleasant for a long time. She hides the excesses of the students because she is truly indulgent and kind—she could change. You see, Countess, I brought you here to this place at this time to give special attention to your and my special abilities. We shall work together to promote evil and we shall bring much evil to these innocents.”
In answer to the demon's demand that Aksinya teach sorcery to Natalya, her apprentice, Aksinya responds, that she doesn't want Natalya involved. The demon his been working hard at his temptation. He already set up a situation that Aksinya can't control or stop. Aksinya set up Natalya as her apprentice and Natalya expects training. We will later see how much Natalya expects. Aksinya caves into the demon's expectation, but we shall see she fights him to the bitter end on this issue.
Then the demon brings in a new temptation. He hasn't been so direct or conniving, that we have seen, but now, temptation is back and it is ugly. The temptation is to Aksinya's sense of duty. If she doesn't help Natalya, Natalya will fail at school. The demon suggests Aksinya use sorcery to help Natalya. All he really wants is for Aksinya to cause herself problems by spending all her time teaching Natalya. If Aksinya uses sorcery so much the better, if she doesn't...we shall see.
The conversation turns to Aksinya and all the things she has been thinking or exposed to that is to be rid of the demon. The demon reminds her that God has rejected her and the church has rejected her. He threatens that her secret sins will be revealed and that Natalya will be harmed. He tells her to not confess to anyone, then he adds something that should make you and Aksinya wonder. He tells her to cultivate friendship with Sister Margarethe. We will find out later why this is so. It should worry you.
So Aksinya throws down the gauntlet again, and we get a complete statement from the demon. He lifts up Natalya, the girls in the school, the convent, Frau Drescher all as potential targets for his attacks. Aksinya, we know, can't face the suffering of others. We know she will abide by the demon's decrees. More tomorrow.
Monday, December 13, 2010
A New Novel, Part 71 The Demon's Wants and Plans
Aksinya was surprised by the demon. He came into her room without any warning.
Aksinya put her hand to her throat. She paused a moment before she completely cleared her features and slowly turned, “Demon, I told you to knock first. I am your master. You show me great disrespect by not waiting for my summons.”
“You show me great disrespect by not accomplishing your purpose.”
“I have done all you have asked me—you have not obeyed my instructions in the least.”
The demon snarled, “What instructions are you talking about?”
“I wanted my mother’s and sister’s jewelry. I told you more than once.”
“It just slipped my mind. I shall bring them in the morning.”
“I’ve heard that before from you.”
“Then I shall bring them tonight.”
“That would suit me better.”
“Now to my complaints.”
“How can you have any complaints at all? As you insisted, I traveled to my uncle and aunt’s. I came to this school. I called a servant. I have been the one doing your will…”
“Exactly, and I have more for you to do.”
“You ass, this is not how a servant obeys his master. You would learn a lot from the Lady Natalya’s patient service.”
“Is that how a human responds to a demon?”
Aksinya clamped her mouth shut.
“Now, Countess, as I said, I have more for you to do. You are to study sorcery. Shall I assign you a lesson book and insist that you keep to it?”
Aksinya thought quickly, “There is no need, but I do require my books and things.”
“Ha, you know very well I can’t bring your books and items here to you. They would be discovered by that snarling Frau Drescher at her first search.”
“Does she search the rooms?”
“Every day. Many would be surprised what young women bring into their dormitory rooms. Their parents would be appalled. It might even astound you.”
“Without my books and equipment, how do you expect me to study sorcery?”
“That is the first step for you. I have engaged a place. The building across the street is yours. I shall set up your house there. It will have all the wonderful things you are used to having around you. It is your house. It belongs to you. It has a wonderful cellar similar to the one you used for so many years. There, I will set up everything for you and protect it for you. Tomorrow, you must take the Lady Natalya, and I will show you your new place of study.”
Aksinya didn’t speak.
“Aren’t you going to say something? Aren’t you going to thank me?”
“Thank you? I’d rather damn you to hell.”
“Too late.”
Aksinya is surprised by the demon, but to say that wouldn't be half as good as showing it to you. She tries to keep her fear from the demon. She can't be certain that he can read her mind. In fact, she is becoming more and more certain he cannot--therefore, she blanks her face and she attacks. This is the same complaint she had before.
The demon's response should be interesting to us. Aksinya's purpose is the question here. Again Aksinya attacks. She wanted the jewelry to test the demon's response to a cross. The reaction of the demon shows us that Aksinya does have some limited degree of power over him--or perhaps that is the demon trying to trick her. Aksinya reminds him that he is her servant and puts up Natalya as an example of a good servant. With the demon's return, she knows she shouldn't have said anything about Natalya. The demon has used Natalya against her before.
The demon then tips his hand: he wants her to study sorcery. This is truly sin against God. That is the symbol I used in this book for sin. Sorcery is Aksinya's sin, while luxuria is her temptation. The demon has already thought through Aksinya's excuses and complaints. He has a place for her to study sorcery. He has her things. We do get the short bit about Frau Drescher. The information is enlightening and pushes Aksinya in a way the demon wants her to go.
The demon tempts Aksinya with her own family's things. All those things in the wonderful chest will be returned to Aksinya. All the dresses and jewelry and her items and books for sorcery. This is a temptation Aksinya can't pass up because her temptation is luxuria and her sin is sorcery. There is more, so don't miss the next installment.
Aksinya put her hand to her throat. She paused a moment before she completely cleared her features and slowly turned, “Demon, I told you to knock first. I am your master. You show me great disrespect by not waiting for my summons.”
“You show me great disrespect by not accomplishing your purpose.”
“I have done all you have asked me—you have not obeyed my instructions in the least.”
The demon snarled, “What instructions are you talking about?”
“I wanted my mother’s and sister’s jewelry. I told you more than once.”
“It just slipped my mind. I shall bring them in the morning.”
“I’ve heard that before from you.”
“Then I shall bring them tonight.”
“That would suit me better.”
“Now to my complaints.”
“How can you have any complaints at all? As you insisted, I traveled to my uncle and aunt’s. I came to this school. I called a servant. I have been the one doing your will…”
“Exactly, and I have more for you to do.”
“You ass, this is not how a servant obeys his master. You would learn a lot from the Lady Natalya’s patient service.”
“Is that how a human responds to a demon?”
Aksinya clamped her mouth shut.
“Now, Countess, as I said, I have more for you to do. You are to study sorcery. Shall I assign you a lesson book and insist that you keep to it?”
Aksinya thought quickly, “There is no need, but I do require my books and things.”
“Ha, you know very well I can’t bring your books and items here to you. They would be discovered by that snarling Frau Drescher at her first search.”
“Does she search the rooms?”
“Every day. Many would be surprised what young women bring into their dormitory rooms. Their parents would be appalled. It might even astound you.”
“Without my books and equipment, how do you expect me to study sorcery?”
“That is the first step for you. I have engaged a place. The building across the street is yours. I shall set up your house there. It will have all the wonderful things you are used to having around you. It is your house. It belongs to you. It has a wonderful cellar similar to the one you used for so many years. There, I will set up everything for you and protect it for you. Tomorrow, you must take the Lady Natalya, and I will show you your new place of study.”
Aksinya didn’t speak.
“Aren’t you going to say something? Aren’t you going to thank me?”
“Thank you? I’d rather damn you to hell.”
“Too late.”
Aksinya is surprised by the demon, but to say that wouldn't be half as good as showing it to you. She tries to keep her fear from the demon. She can't be certain that he can read her mind. In fact, she is becoming more and more certain he cannot--therefore, she blanks her face and she attacks. This is the same complaint she had before.
The demon's response should be interesting to us. Aksinya's purpose is the question here. Again Aksinya attacks. She wanted the jewelry to test the demon's response to a cross. The reaction of the demon shows us that Aksinya does have some limited degree of power over him--or perhaps that is the demon trying to trick her. Aksinya reminds him that he is her servant and puts up Natalya as an example of a good servant. With the demon's return, she knows she shouldn't have said anything about Natalya. The demon has used Natalya against her before.
The demon then tips his hand: he wants her to study sorcery. This is truly sin against God. That is the symbol I used in this book for sin. Sorcery is Aksinya's sin, while luxuria is her temptation. The demon has already thought through Aksinya's excuses and complaints. He has a place for her to study sorcery. He has her things. We do get the short bit about Frau Drescher. The information is enlightening and pushes Aksinya in a way the demon wants her to go.
The demon tempts Aksinya with her own family's things. All those things in the wonderful chest will be returned to Aksinya. All the dresses and jewelry and her items and books for sorcery. This is a temptation Aksinya can't pass up because her temptation is luxuria and her sin is sorcery. There is more, so don't miss the next installment.
Sunday, December 12, 2010
A New Novel, Part 70 A Transition and the Demon
Everything seems to be going well for Aksinya. She and Natalya don't exactly fit in, but they have a place at the school, but we can never forget the whole point of everything...
Their next class was mathematics followed by history. Luncheon was simple and there was again tea. Afterwards, they attended literature, science, and theology. Luckily literature was in French. Aksinya translated during science and theology for Natalya. The science was simple for them both, the theology foreign.
They ended their first day at dinner, and the conversation at their table was muted, slightly tense, and definitely less exciting than the first day. They both had time to speak to the students and teachers and although they didn’t make any major inroads with them, they seemed to be accepted to a degree by both.
After supper, Aksinya and Natalya returned to their rooms to study at their desks. The gas lamps provided barely sufficient lighting—their rooms were filled with shadows. Natalya had already prepared Aksinya for bed. Aksinya sat in her silk nightgown with a sweater over her shoulders.
Aksinya struggled with one of the problems in mathematics. She was about to give up and ask Natalya’s help when she heard the door to her room open and close. She didn’t turn away from her desk right away. She was immediately happy that the Lady Natalya felt comfortable enough to come to her room without knocking.
The bed behind her creaked. Aksinya gave a happy sigh. She was about to turn around. The voice of Asmodeus startled her. It dripped with sarcasm and animosity, “Hello, Countess, did you forget about me?”
So we have a short synopsis of the day with a transition. there is no need to show you directly the other classes or their lunch. I do in the synopsis give you a lot of information. At Sacré Coeur the language of literature is French--of course. Theology is foreign because they are both Orthodox--did you expect anything else? In this way, I can keep reminding you about their Orthodox roots. The Catholic expression of faith is similar but different.
Still in synopsis mode, we see through a window the dinner event. Again, there is no need for great detail. In just a few words, I give you the feel: muted, slightly tense, and definitely less exciting than the first day.
So we get back to the rooms, and here we see some major scene setting. I don't need to give you details about the room, I need to remind you about what I already told you and then set the differences. I mention specifically desks and gas lamps. Do you remember where they were? That doesn't really matter, but the reason for mentioning desks and gas lamps is the gas lamps were above the beds and the desks. This gives you an idea. Then the differences. The lighting is poor from gas lamp, and I paint you the picture. You should have a good idea of the environment Aksinya is in. I then show you a physical description of Aksinya. She is dressed for bed and a reminder that Natalya dressed her in a silk nightgown, but because of the cold with a sweater. You should have the entire picture now, cold and dark.
Remember that Natalya is very smart, so Aksinya with a problem in math thinks to get Natalya's help, but then Aksinya hears the door to her room open and shut. The door is slightly behind her over her left shoulder. It is dark. She is concentrating on a problem. She had Natalya in her mind, like I just put Natalya in your mind. So you hear next the bed creak. Aksinya is so happy with Sacré Coeur, Natalya, and her life, she has forgotten.
Asmodeus announces himself. She did indeed for get about him and so did you.
Their next class was mathematics followed by history. Luncheon was simple and there was again tea. Afterwards, they attended literature, science, and theology. Luckily literature was in French. Aksinya translated during science and theology for Natalya. The science was simple for them both, the theology foreign.
They ended their first day at dinner, and the conversation at their table was muted, slightly tense, and definitely less exciting than the first day. They both had time to speak to the students and teachers and although they didn’t make any major inroads with them, they seemed to be accepted to a degree by both.
After supper, Aksinya and Natalya returned to their rooms to study at their desks. The gas lamps provided barely sufficient lighting—their rooms were filled with shadows. Natalya had already prepared Aksinya for bed. Aksinya sat in her silk nightgown with a sweater over her shoulders.
Aksinya struggled with one of the problems in mathematics. She was about to give up and ask Natalya’s help when she heard the door to her room open and close. She didn’t turn away from her desk right away. She was immediately happy that the Lady Natalya felt comfortable enough to come to her room without knocking.
The bed behind her creaked. Aksinya gave a happy sigh. She was about to turn around. The voice of Asmodeus startled her. It dripped with sarcasm and animosity, “Hello, Countess, did you forget about me?”
So we have a short synopsis of the day with a transition. there is no need to show you directly the other classes or their lunch. I do in the synopsis give you a lot of information. At Sacré Coeur the language of literature is French--of course. Theology is foreign because they are both Orthodox--did you expect anything else? In this way, I can keep reminding you about their Orthodox roots. The Catholic expression of faith is similar but different.
Still in synopsis mode, we see through a window the dinner event. Again, there is no need for great detail. In just a few words, I give you the feel: muted, slightly tense, and definitely less exciting than the first day.
So we get back to the rooms, and here we see some major scene setting. I don't need to give you details about the room, I need to remind you about what I already told you and then set the differences. I mention specifically desks and gas lamps. Do you remember where they were? That doesn't really matter, but the reason for mentioning desks and gas lamps is the gas lamps were above the beds and the desks. This gives you an idea. Then the differences. The lighting is poor from gas lamp, and I paint you the picture. You should have a good idea of the environment Aksinya is in. I then show you a physical description of Aksinya. She is dressed for bed and a reminder that Natalya dressed her in a silk nightgown, but because of the cold with a sweater. You should have the entire picture now, cold and dark.
Remember that Natalya is very smart, so Aksinya with a problem in math thinks to get Natalya's help, but then Aksinya hears the door to her room open and shut. The door is slightly behind her over her left shoulder. It is dark. She is concentrating on a problem. She had Natalya in her mind, like I just put Natalya in your mind. So you hear next the bed creak. Aksinya is so happy with Sacré Coeur, Natalya, and her life, she has forgotten.
Asmodeus announces himself. She did indeed for get about him and so did you.
Saturday, December 11, 2010
A New Novel, Part 69 German Class and Sister Margarethe
Important person and important interaction, today we get to meet Sister Margarethe for the first time. Also, here is Aksinya and Natalya's first class at the school.
The first class was German. The room was filled with ten younger and older students. The teacher was a middle aged nun with a very friendly and elfish face. She greeted Aksinya and Natalya at the door pleasantly in French, “Good morning Countess and Lady Natalya. I am Sister Margarethe Traugott. I teach German, both beginning and advanced. I understand the Lady Natalya doesn’t understand any German and that you, Countess, wish to improve your understanding of the language.”
Aksinya smiled, “The Reverend Mother must have spoken to you.”
The Sister Margarethe gave her a very large smile, “Yes, she told me about you, and we discussed your curriculum. You seem a wonderful young woman to have faced such suffering.” She stared at Aksinya and didn’t give a glance to Natalya. Suddenly, she reached out her hand and touched Aksinya’s face then brushed the tips of her hair, “I’m very glad you are in my class. I hope we can be good friends.” She pointed, “Please take the seats near the window at the front. I will assign you your books.”
Aksinya and Natalya sat where they were directed. Natalya pulled out notebooks and pens for both of them. Natalya began with a primmer, and Sister Margarethe spoke with Aksinya for a long time in German before she handed her a book of advanced German studies. At the end of class, the sister let them out of the classroom with a comment, “Countess, I’ve given you an advanced course of study. If you find your studies difficult, please come to my office. I would be happy to help you.
Aksinya grinned, “Thank you, Sister Margarethe.”
As always, we need to set the scene. I could give you more on the classroom setting, but I already told you about the school, the rest is your imagination. Plus, classrooms in 1918 aren't that much different--just more wood and less metal (no plastic). You know the rooms are small and the classes have about 10 girls. We see the German class is a mixed class (young and old)--you want to bet the students are not Austrian. Maybe I should tell you this, but it doesn't drive anything in the novel, so the knowledge would just be gratuitous.
The important point isn't the class, it's the teacher. Sister Margarethe Traugott is a very important character. Traugott means "trust in God" and Margarethe means "pearl." There is a significance to the last name. Her first name is one of the most popular for girls in Austria and Germany when she was born 1860s. You don't see much more than her face since she is a nun and wears a habit, so the description I give you is about her face. By leaving the rest out, height, etc, I leave you with the impression she is average--that's what I want you to conclude.
Right away we see Sister Margarethe is very interested in Aksinya. Then, we should be surprised. Out of the blue she remarks on Aksinya's suffering. I prepared you with Aksinya's comment about talking to the Reverend Mother. That is obviously the only way Sister Margarethe could know so much about Aksinya. The Reverend Mother obviously received her information from Aunt Brunhilda. Then the very surprising part: she reaches out her hand and touches Aksinya's face, then her hair. It's the hair. If you didn't get it before, you should now. The hair is an indicator and indicates that Asmodeus has in some way touched Sister Margarethe. You get then, the words, "I hope we can be good friends."
Next I also give you description in dialog--there is a window in the room and Aksinya and Natalya are directed to sit at the front by it. Teachers pet and by the window, could a student wish for more? You should ask, why.
Natalya takes care of business. She doesn't get any attention, but Aksinya does, plus an invitation. We also get that Aksinya likes the attention. We know she is attention starved. She is looking for something, she called a demon from the pit for it. So the first class, we know something is up with Sister Margarethe.
The first class was German. The room was filled with ten younger and older students. The teacher was a middle aged nun with a very friendly and elfish face. She greeted Aksinya and Natalya at the door pleasantly in French, “Good morning Countess and Lady Natalya. I am Sister Margarethe Traugott. I teach German, both beginning and advanced. I understand the Lady Natalya doesn’t understand any German and that you, Countess, wish to improve your understanding of the language.”
Aksinya smiled, “The Reverend Mother must have spoken to you.”
The Sister Margarethe gave her a very large smile, “Yes, she told me about you, and we discussed your curriculum. You seem a wonderful young woman to have faced such suffering.” She stared at Aksinya and didn’t give a glance to Natalya. Suddenly, she reached out her hand and touched Aksinya’s face then brushed the tips of her hair, “I’m very glad you are in my class. I hope we can be good friends.” She pointed, “Please take the seats near the window at the front. I will assign you your books.”
Aksinya and Natalya sat where they were directed. Natalya pulled out notebooks and pens for both of them. Natalya began with a primmer, and Sister Margarethe spoke with Aksinya for a long time in German before she handed her a book of advanced German studies. At the end of class, the sister let them out of the classroom with a comment, “Countess, I’ve given you an advanced course of study. If you find your studies difficult, please come to my office. I would be happy to help you.
Aksinya grinned, “Thank you, Sister Margarethe.”
As always, we need to set the scene. I could give you more on the classroom setting, but I already told you about the school, the rest is your imagination. Plus, classrooms in 1918 aren't that much different--just more wood and less metal (no plastic). You know the rooms are small and the classes have about 10 girls. We see the German class is a mixed class (young and old)--you want to bet the students are not Austrian. Maybe I should tell you this, but it doesn't drive anything in the novel, so the knowledge would just be gratuitous.
The important point isn't the class, it's the teacher. Sister Margarethe Traugott is a very important character. Traugott means "trust in God" and Margarethe means "pearl." There is a significance to the last name. Her first name is one of the most popular for girls in Austria and Germany when she was born 1860s. You don't see much more than her face since she is a nun and wears a habit, so the description I give you is about her face. By leaving the rest out, height, etc, I leave you with the impression she is average--that's what I want you to conclude.
Right away we see Sister Margarethe is very interested in Aksinya. Then, we should be surprised. Out of the blue she remarks on Aksinya's suffering. I prepared you with Aksinya's comment about talking to the Reverend Mother. That is obviously the only way Sister Margarethe could know so much about Aksinya. The Reverend Mother obviously received her information from Aunt Brunhilda. Then the very surprising part: she reaches out her hand and touches Aksinya's face, then her hair. It's the hair. If you didn't get it before, you should now. The hair is an indicator and indicates that Asmodeus has in some way touched Sister Margarethe. You get then, the words, "I hope we can be good friends."
Next I also give you description in dialog--there is a window in the room and Aksinya and Natalya are directed to sit at the front by it. Teachers pet and by the window, could a student wish for more? You should ask, why.
Natalya takes care of business. She doesn't get any attention, but Aksinya does, plus an invitation. We also get that Aksinya likes the attention. We know she is attention starved. She is looking for something, she called a demon from the pit for it. So the first class, we know something is up with Sister Margarethe.
Friday, December 10, 2010
A New Novel, Part 68 Chapel and Spiritual Illness
I put a clue in the title today--I usually don't do that. I know you'll get the point anyway. Aksinya and Natalya are ready for school. They start their first day. Do you remember, the first event every day at Sacré Coeur is chapel. I wonder how that will work out?
They went down together for breakfast and more tea. Aksinya was very fond of tea, especially the tea Natalya made for her. They sat together and no one dared to sit with them. After breakfast, everyone marched to chapel in the church. They went through the dormitory to the second floor and entered the nave from the back of the choir. The moment Aksinya stepped through the door, she felt a pain in the pit of her stomach. Natalya took Aksinya’s arm when she faltered and helped her to her seat near the back at the main floor.
In their seats, Natalya put her hand on Aksinya’s forehead, “Mistress, you are pale. Are you well?”
Aksinya bent over a little, “I just feel a little ill. I’ll be all right.”
Natalya bit her lip. She steadied Aksinya when they stood, and when they knelt. The entire time, Aksinya clasped her arms across her chest and couldn’t raise her head. Natalya held the prayer book for her. Aksinya seemed to get worse as the service progressed. She mumbled in Latin, a counterpoint to the priest, but luckily in a throaty whisper that only Natalya could hear. When the bells announced communion, Aksinya gave a groan. Natalya put her arm around her. No one else seemed to notice, or they carefully ignored the two. Natalya and Aksinya didn’t take communion. Aksinya was happy they couldn’t. The very thought made her nauseous. At the blessing, Aksinya slipped out of her seat and hurried to the side door up and out through the choir. Natalya followed behind her.
On the other side of the door, Aksinya doubled over and leaned against the wall.
Natalya held her, “Mistress, you look terrible. What’s wrong?”
Aksinya’s eyes were wild, “I’m wrong. That’s the problem. I’m not sure I can stand this, but I must. I must.” She stood straight and grasped Natalya’s hands, “Lady Natalya, you must ensure I am at chapel every day. This is necessary…for my soul. Please.”
Natalya frowned, “I will, mistress. I promise. Please, I don’t wish you to be ill.”
Aksinya touched Natalya’s face, “Don’t cry, lady. Just help me, I beg you.”
Natalya slipped her arm around Aksinya’s shoulders. Before the crowd of girls came through the corridors, they returned to their rooms, and before the bells announced the beginning of class, Aksinya drank another rejuvenating cup of tea. They walked together to their first class. Natalya carried the official Sacré Coeur briefcases for them both.
The "they" are Aksinya and Natalya. I don't give you much description about the breakfast room or their breakfast. In this case, I think a little is enough. You should have the picture of the school and a little more is generally unnecessary. If you assume they had breakfast in the dining room or if you assume they had breakfast in a smaller place--either one is good. The fun information is that no one "dared" sit next to them.
I give you a little more on the way to the chapel. The entry is through the dormitory, so that is interesting in itself. Then Aksinya's problem. This will be a recurring problem until the initial resolution--she gets nauseated when she enters a church. Sweet Natalya is just too innocent about Aksinya to get it. This is a recurring theme too.
Natalya thinks Aksinya is ill. Well she is ill, but her illness is entirely spiritual. I didn't play this story the way I did Aegypt, but I might eventually. In Aegypt, the reader was never sure if the main character was completely right about his observations of the events. In this, I let you see everything, so you assume Aksinya's illness really is spiritual--it could easily be psychological. Just a minor point. We get the dialog about the illness, and note, I don't tell you she is nauseous until at the end. The description is sufficient to give you all the information you need. I hope you feel her pain.
I also hope you can imagine Aksinya and Natalya in the service. You should wonder what Aksinya is mumbling--surely not a spell, but is she praying? I don't tell you. In any case, the climax comes at communion. Remember why they can't take communion? They are Orthodox and not Catholic.
Aksinya made it to the end. She almost lost it, but didn't. Then Aksinya tells Natalya the straight out truth, but we get little comprehension from Natalya. She still thinks it is a problem of illness. Then a little trick. Did you know Natalya was crying. You might have guessed--she's just that way. I show you through Aksinya's eyes. That's a fun way to make a connection. The important point is the Natalya is thinking entirely about Aksinya, and Aksinya is thinking about Natalya. That's why Aksinya noticed.
In the end, Natalya cleans up the mess (no literal mess this time)--that is, she helps Aksinya back where she can have tea, and she prepares her for school--again. At the end of this section, we see Natalya carrying both their books and they are headed for their first class.
They went down together for breakfast and more tea. Aksinya was very fond of tea, especially the tea Natalya made for her. They sat together and no one dared to sit with them. After breakfast, everyone marched to chapel in the church. They went through the dormitory to the second floor and entered the nave from the back of the choir. The moment Aksinya stepped through the door, she felt a pain in the pit of her stomach. Natalya took Aksinya’s arm when she faltered and helped her to her seat near the back at the main floor.
In their seats, Natalya put her hand on Aksinya’s forehead, “Mistress, you are pale. Are you well?”
Aksinya bent over a little, “I just feel a little ill. I’ll be all right.”
Natalya bit her lip. She steadied Aksinya when they stood, and when they knelt. The entire time, Aksinya clasped her arms across her chest and couldn’t raise her head. Natalya held the prayer book for her. Aksinya seemed to get worse as the service progressed. She mumbled in Latin, a counterpoint to the priest, but luckily in a throaty whisper that only Natalya could hear. When the bells announced communion, Aksinya gave a groan. Natalya put her arm around her. No one else seemed to notice, or they carefully ignored the two. Natalya and Aksinya didn’t take communion. Aksinya was happy they couldn’t. The very thought made her nauseous. At the blessing, Aksinya slipped out of her seat and hurried to the side door up and out through the choir. Natalya followed behind her.
On the other side of the door, Aksinya doubled over and leaned against the wall.
Natalya held her, “Mistress, you look terrible. What’s wrong?”
Aksinya’s eyes were wild, “I’m wrong. That’s the problem. I’m not sure I can stand this, but I must. I must.” She stood straight and grasped Natalya’s hands, “Lady Natalya, you must ensure I am at chapel every day. This is necessary…for my soul. Please.”
Natalya frowned, “I will, mistress. I promise. Please, I don’t wish you to be ill.”
Aksinya touched Natalya’s face, “Don’t cry, lady. Just help me, I beg you.”
Natalya slipped her arm around Aksinya’s shoulders. Before the crowd of girls came through the corridors, they returned to their rooms, and before the bells announced the beginning of class, Aksinya drank another rejuvenating cup of tea. They walked together to their first class. Natalya carried the official Sacré Coeur briefcases for them both.
The "they" are Aksinya and Natalya. I don't give you much description about the breakfast room or their breakfast. In this case, I think a little is enough. You should have the picture of the school and a little more is generally unnecessary. If you assume they had breakfast in the dining room or if you assume they had breakfast in a smaller place--either one is good. The fun information is that no one "dared" sit next to them.
I give you a little more on the way to the chapel. The entry is through the dormitory, so that is interesting in itself. Then Aksinya's problem. This will be a recurring problem until the initial resolution--she gets nauseated when she enters a church. Sweet Natalya is just too innocent about Aksinya to get it. This is a recurring theme too.
Natalya thinks Aksinya is ill. Well she is ill, but her illness is entirely spiritual. I didn't play this story the way I did Aegypt, but I might eventually. In Aegypt, the reader was never sure if the main character was completely right about his observations of the events. In this, I let you see everything, so you assume Aksinya's illness really is spiritual--it could easily be psychological. Just a minor point. We get the dialog about the illness, and note, I don't tell you she is nauseous until at the end. The description is sufficient to give you all the information you need. I hope you feel her pain.
I also hope you can imagine Aksinya and Natalya in the service. You should wonder what Aksinya is mumbling--surely not a spell, but is she praying? I don't tell you. In any case, the climax comes at communion. Remember why they can't take communion? They are Orthodox and not Catholic.
Aksinya made it to the end. She almost lost it, but didn't. Then Aksinya tells Natalya the straight out truth, but we get little comprehension from Natalya. She still thinks it is a problem of illness. Then a little trick. Did you know Natalya was crying. You might have guessed--she's just that way. I show you through Aksinya's eyes. That's a fun way to make a connection. The important point is the Natalya is thinking entirely about Aksinya, and Aksinya is thinking about Natalya. That's why Aksinya noticed.
In the end, Natalya cleans up the mess (no literal mess this time)--that is, she helps Aksinya back where she can have tea, and she prepares her for school--again. At the end of this section, we see Natalya carrying both their books and they are headed for their first class.
Thursday, December 9, 2010
A New Novel, Part 67 Scene Setting beginning of Chapter 7
Okay, okay, I know I usually give you more than a paragraph. I'm not being stingy--this is the beginning of a chapter and there is first the scene setting for the chapter and the details that are necessary for the reader. In other words, in one paragraph I will set the scene, introduce the chapter, and foreshadow a lot of events. So here it is. Pay attention.
Natalya woke Aksinya in the early morning. She served her tea, dressed her in the uniform of Sacré Coeur, and arranged her hair. Aksinya fit very primly into her clothing. The severe uniform of Sacré Coeur didn’t improve her figure at all. The cut made her look more boyish than usual. Her hair simply turned her features from those of a maiden to those of a lovely boy. Natalya carefully steered her away from the mirrors in their room and bath. Natalya, on the other hand, appeared like a especially proper and beautiful young woman. Her figure was very evident even in the unflattering uniform. Natalya put on her baggy sweater to cover her curves—she hoped Aksinya wouldn’t notice.
Scene setting means the writer tells us where, when, who, what, and how. Not necessarily in any particular order. I spent the whole of the last chapter setting the place for you, the where. We start with when, early morning, and notice, Natalya woke Aksinya. I don't tell you, but can't you imagine Natalya already woke very early to prepare herself, then woke Aksinya. The where is in the second sentence, Sacré Coeur, you knew this from the waking, but this little bit reminds you of a couple of things: first, remember the tea preparation in the room and second, the uniform? These little things are intended to reset the scene for you. This is all the where. So we have the when and the where. The who is right at the beginning: Aksinya and Natalya. The what is that they are preparing for school I don't tell you that--I know you can put it together. Then the how--the how is what wraps everything together. You see, I am really showing you the how from the beginning. It is the how that Natalya prepares Aksinya for school, but in that short how--two whole sentences, I already showed you the entire scene and I set the players in it. This is scene setting. This is exactly how it is supposed to be done and should and must be done especially at the beginning of a new scene. Now let's set the chapter.
To set a chapter, the author needs to put into play the introductory events or ideas that foreshadow at least some parts of it. The beginning is in the setting of the scene, but I begin to set the chapter before that is done. Look at the last part of the second sentence--and arranged her hair. We can't ever get away from Aksinya's hair. The hair is the image or symbol of her contract to the demon. She can't be allowed to forget and neither can you. You know already, from what I revealed in the scene setting, that this chapter will be about the school. It is all domestic, but then to the point.
Aksinya's clothing. This is obviously an image for the chapter--how she fits into the school. Look at the description. She fit primly because Natalya did the fitting, but it makes Aksinya look like a boy and her hair doesn't help anything. This is a definite foreshadowing. Kind Natalya steers Aksinya away from the mirrors. Remember Aksinya's pain and the mirrors before. Aksinya, we know keeps away from mirrors because of how she perceives her lack of beauty. Natalya gets it. Then we get to Natalya.
Aksinya never picks up on Natalya's evident beauty, but we do. Aksinya, as a true aristocrat doesn't notice many things like this, but we see it because I show it to you. Natalya goes out of her way to make certain that Aksinya doesn't notice. We aren't certain Aksinya would ever notice such a thing--especially at this point.
Still, here we are, the chapter introduction in a nutshell. Aksinya should fit into the school as well as she fits the uniform, and Natalya will try to fit and will stand out anyway. Natalya will do anything to help Aksinya, but we knew that already. I'm not going to reveal the foreshadowing at this point, let's let that be a surprise, shall we, but you might guess at a little. There are lots of juicy hints.
Natalya woke Aksinya in the early morning. She served her tea, dressed her in the uniform of Sacré Coeur, and arranged her hair. Aksinya fit very primly into her clothing. The severe uniform of Sacré Coeur didn’t improve her figure at all. The cut made her look more boyish than usual. Her hair simply turned her features from those of a maiden to those of a lovely boy. Natalya carefully steered her away from the mirrors in their room and bath. Natalya, on the other hand, appeared like a especially proper and beautiful young woman. Her figure was very evident even in the unflattering uniform. Natalya put on her baggy sweater to cover her curves—she hoped Aksinya wouldn’t notice.
Scene setting means the writer tells us where, when, who, what, and how. Not necessarily in any particular order. I spent the whole of the last chapter setting the place for you, the where. We start with when, early morning, and notice, Natalya woke Aksinya. I don't tell you, but can't you imagine Natalya already woke very early to prepare herself, then woke Aksinya. The where is in the second sentence, Sacré Coeur, you knew this from the waking, but this little bit reminds you of a couple of things: first, remember the tea preparation in the room and second, the uniform? These little things are intended to reset the scene for you. This is all the where. So we have the when and the where. The who is right at the beginning: Aksinya and Natalya. The what is that they are preparing for school I don't tell you that--I know you can put it together. Then the how--the how is what wraps everything together. You see, I am really showing you the how from the beginning. It is the how that Natalya prepares Aksinya for school, but in that short how--two whole sentences, I already showed you the entire scene and I set the players in it. This is scene setting. This is exactly how it is supposed to be done and should and must be done especially at the beginning of a new scene. Now let's set the chapter.
To set a chapter, the author needs to put into play the introductory events or ideas that foreshadow at least some parts of it. The beginning is in the setting of the scene, but I begin to set the chapter before that is done. Look at the last part of the second sentence--and arranged her hair. We can't ever get away from Aksinya's hair. The hair is the image or symbol of her contract to the demon. She can't be allowed to forget and neither can you. You know already, from what I revealed in the scene setting, that this chapter will be about the school. It is all domestic, but then to the point.
Aksinya's clothing. This is obviously an image for the chapter--how she fits into the school. Look at the description. She fit primly because Natalya did the fitting, but it makes Aksinya look like a boy and her hair doesn't help anything. This is a definite foreshadowing. Kind Natalya steers Aksinya away from the mirrors. Remember Aksinya's pain and the mirrors before. Aksinya, we know keeps away from mirrors because of how she perceives her lack of beauty. Natalya gets it. Then we get to Natalya.
Aksinya never picks up on Natalya's evident beauty, but we do. Aksinya, as a true aristocrat doesn't notice many things like this, but we see it because I show it to you. Natalya goes out of her way to make certain that Aksinya doesn't notice. We aren't certain Aksinya would ever notice such a thing--especially at this point.
Still, here we are, the chapter introduction in a nutshell. Aksinya should fit into the school as well as she fits the uniform, and Natalya will try to fit and will stand out anyway. Natalya will do anything to help Aksinya, but we knew that already. I'm not going to reveal the foreshadowing at this point, let's let that be a surprise, shall we, but you might guess at a little. There are lots of juicy hints.
Wednesday, December 8, 2010
A New Novel, Part 66 Changes in the World end of Chapter 6
It seems strange to us and slightly funny that an aristocrat expected to be dressed and undressed by their servants. What I try to show you is how expected and common it was at the time. Although Aksinya called Natalya her friend, Aksinya still expects to be waited on--that is the way of the world. Still those ways may change.
After supper, Aksinya and Natalya went back up to their rooms. Natalya undressed Aksinya and put a silk nightgown on her. She brushed out Aksinya’s short hair. After a while, Aksinya took the brush from Natalya’s hand. She told Natalya, “Put on your nightgown and come to my room.” Natalya returned quickly.
Aksinya patted the top of her bed. She sat and Aksinya began to brush her long hair. Natalya put her face in her hands, “I really wish you wouldn’t do that, mistress.”
“Tomorrow, Lady Natalya, we will begin our studies together. We will still be a Countess and a lady, but we will also be students and friends together.”
Natalya turned abruptly, “Do you really think of me as your friend?”
“Yes.” Aksinya smiled, “I never really had a friend before. You are my friend, Lady Natalya. Would you address me as, Aksinya?”
“No…no, I could never do that.”
“What if I just call you, Nata?”
“That’s what my mother called me, but I don’t think it would be allowed.”
“Allowed? Aren’t I allowed to call you whatever I desire?”
“Y…y…yes.”
“Then, in private, I shall call you Nata. I want you to call me, Aksinya.”
“In private. Anywhere you wish, but in private would be fine.” Natalya took another deep breath, “Very well. I will try, Ak…ak…sinya.”
“Thank you, Nata. Tomorrow, we will begin a new kind of life together and in our world, it is a new thing, is it not?”
“Yes, mistress.”
We see the normal expectation, Natalya dresses Aksinya for bed and then prepares her for bed. That's the nightgown and brushing the hair. Aksinya asks Natalya to prepare for bed and turns the tables on her. Can you see this happening. Can you see Natalya's embarrassment and Aksinya's joy. Aksinya is serving her lady-in-waiting, and the lady-in-waiting doesn't like it. This is classical culture in this time. I have even experienced similar things myself in the modern era in Europe.
Look at Aksinya's response: we will still be Countess and lady, but we will be...friends. How that small statement would make Natalya's heart soar. Yet, she is so worried about that statement, she has to ask: do you think of me as your friend? It is not so unbelievable as it is unexpected and yet so odd to Natalya who obviously had few if any friends.
Then we see, Aksinya confesses she didn't have any friends before, and we have to ask ourselves again about the Aksinya we don't know. Aksinya clenches her points with an extravagant intimacy--call me by my first name. This is culturally a big deal at the time. Thus Natalya's answer: I could never do that. Aksinya opens the bidding with the offer to call Natalya, Nata a common Russian diminutive and endearment for Natalya. Aksinya guessed right because this was what Natalya's mother called her. Natalya's answer is classic too: it wouldn't be allowed.
Then, Aksinya pulls the nobility's power--I can do whatever I want. Which is true. Natalya barely accedes, and we know she will have problems with this little rule of Aksinya's. Still, this represents the point at the end of the chapter. The main point that Aksinya has been making to Natalya the entire time. They will begin a new kind of life together, and Natalya's answer, so ambivalent--yes mistress, shows although Aksinya's thinks her feet are planted in a different place, perhaps Natalya's and, by extension, Aksinya's are really not.
The end of this little scene is an example of how I like to end a chapter. In a single dialog with a chencher, I wrap up the entire chapter. The end words convey all the emotion and effect of everything on Natalya as well as the effort of Aksinya. So in response to Aksinya's opining about the changes they will and have seen, Natalya simply says, "Yes mistress," and by that indicates that she doesn't believe the changes will or have affected her.
Tomorrow we begin a new chapter in Daemon (working title), chapter 7.
After supper, Aksinya and Natalya went back up to their rooms. Natalya undressed Aksinya and put a silk nightgown on her. She brushed out Aksinya’s short hair. After a while, Aksinya took the brush from Natalya’s hand. She told Natalya, “Put on your nightgown and come to my room.” Natalya returned quickly.
Aksinya patted the top of her bed. She sat and Aksinya began to brush her long hair. Natalya put her face in her hands, “I really wish you wouldn’t do that, mistress.”
“Tomorrow, Lady Natalya, we will begin our studies together. We will still be a Countess and a lady, but we will also be students and friends together.”
Natalya turned abruptly, “Do you really think of me as your friend?”
“Yes.” Aksinya smiled, “I never really had a friend before. You are my friend, Lady Natalya. Would you address me as, Aksinya?”
“No…no, I could never do that.”
“What if I just call you, Nata?”
“That’s what my mother called me, but I don’t think it would be allowed.”
“Allowed? Aren’t I allowed to call you whatever I desire?”
“Y…y…yes.”
“Then, in private, I shall call you Nata. I want you to call me, Aksinya.”
“In private. Anywhere you wish, but in private would be fine.” Natalya took another deep breath, “Very well. I will try, Ak…ak…sinya.”
“Thank you, Nata. Tomorrow, we will begin a new kind of life together and in our world, it is a new thing, is it not?”
“Yes, mistress.”
We see the normal expectation, Natalya dresses Aksinya for bed and then prepares her for bed. That's the nightgown and brushing the hair. Aksinya asks Natalya to prepare for bed and turns the tables on her. Can you see this happening. Can you see Natalya's embarrassment and Aksinya's joy. Aksinya is serving her lady-in-waiting, and the lady-in-waiting doesn't like it. This is classical culture in this time. I have even experienced similar things myself in the modern era in Europe.
Look at Aksinya's response: we will still be Countess and lady, but we will be...friends. How that small statement would make Natalya's heart soar. Yet, she is so worried about that statement, she has to ask: do you think of me as your friend? It is not so unbelievable as it is unexpected and yet so odd to Natalya who obviously had few if any friends.
Then we see, Aksinya confesses she didn't have any friends before, and we have to ask ourselves again about the Aksinya we don't know. Aksinya clenches her points with an extravagant intimacy--call me by my first name. This is culturally a big deal at the time. Thus Natalya's answer: I could never do that. Aksinya opens the bidding with the offer to call Natalya, Nata a common Russian diminutive and endearment for Natalya. Aksinya guessed right because this was what Natalya's mother called her. Natalya's answer is classic too: it wouldn't be allowed.
Then, Aksinya pulls the nobility's power--I can do whatever I want. Which is true. Natalya barely accedes, and we know she will have problems with this little rule of Aksinya's. Still, this represents the point at the end of the chapter. The main point that Aksinya has been making to Natalya the entire time. They will begin a new kind of life together, and Natalya's answer, so ambivalent--yes mistress, shows although Aksinya's thinks her feet are planted in a different place, perhaps Natalya's and, by extension, Aksinya's are really not.
The end of this little scene is an example of how I like to end a chapter. In a single dialog with a chencher, I wrap up the entire chapter. The end words convey all the emotion and effect of everything on Natalya as well as the effort of Aksinya. So in response to Aksinya's opining about the changes they will and have seen, Natalya simply says, "Yes mistress," and by that indicates that she doesn't believe the changes will or have affected her.
Tomorrow we begin a new chapter in Daemon (working title), chapter 7.
Tuesday, December 7, 2010
A New Novel, Part 65 More Introductions and Details
Finally, we get some commensurate introductions from the other girls at the table. We will find three girls are the main conversationalists at the table and in the school. Only two of those today.
The older girl who spoke already to them introduced herself, “I am Fraulein Anna Pfaff.” Anna had a round and gentle face. A sweet smile filled her features pleasantly. Her hair was blond. Fraulein Pfaff continued, “Since the Lady Natalya doesn’t speak German, what country is she from?”
Aksinya grinned, “Is my German that good. You didn’t ask what country I am from.”
One of the other girls rolled her eyes, “Anna, are you so slow? They are Russian. That’s obvious from their names. I’m Dieter Vogt. You are both Russian, aren’t you? You escaped from the civil war?” Dieter Vogt wore an immaculate uniform. Her short coat and blouse looked as if they had been pressed just moments before dinner. Her long dark brown hair was brushed to perfection, and her face was beautiful and slender.
Aksinya and Natalya nodded.
Dieter pressed her hands together, “That’s so romantic. Where is your family?”
Lady Natalya came out of her seat again. Aksinya didn’t stop her this time, “That is not a subject that may be discussed.”
Dieter almost fell out of her chair, “I’m sorry. I do apologize. I understand.”
Aksinya’s voice was a little tense, “There is no reason to apologize. My parents, brother, and sister were murdered on the front lawn of our estate. Only I escaped. That is why I am the Countess Golitsyna. The situation is equally difficult for the Lady Natalya. You would be the best of friends not to mention it a second time.”
The table immediately became quiet again.
Anna introduces herself, and we get a description of her. Did you note, Anna isn't very bright. That's the point of her question--she's just a little slow. On the other hand, Dieter is very bright. We find out later that her father is a politician. Her description should point out some of these details already.
Dieter is well informed about politics and the world. She will give us information in the future about Austria and the world. That is part of the point of introducing important secondary characters. The point of the characters is not that they are just characters, but that, by their backgrounds, they can provide important information within the novel. This is a critical idea in any novel--you don't introduce characters extraneously, they have purpose beyond their existence. Their purpose is to propel the storyline, plot, and theme.
Dieter goes on to ask a simple question that is a minefield for Aksinya and Natalya. Aksinya allows Natalya to go off on Dieter. Aksinya herself then gives a slight attack. We get to hear a synopsis of Aksinya's history that is communicated to the girls at the table. We can guess this information then gets out to the rest of the school. Look carefully at Aksinya's reply she places Natalya in her camp and by association specifies that any question against her is a question against Natalya. Simple ideas to communicate, but done easily with this little dialog.
Tomorrow the completion of chapter 6. I am refining chapter 15, the pivotal chapter. I would hope that by that time, you would be able to guess what happened, but in any case, I still want it to be a surprise.
The older girl who spoke already to them introduced herself, “I am Fraulein Anna Pfaff.” Anna had a round and gentle face. A sweet smile filled her features pleasantly. Her hair was blond. Fraulein Pfaff continued, “Since the Lady Natalya doesn’t speak German, what country is she from?”
Aksinya grinned, “Is my German that good. You didn’t ask what country I am from.”
One of the other girls rolled her eyes, “Anna, are you so slow? They are Russian. That’s obvious from their names. I’m Dieter Vogt. You are both Russian, aren’t you? You escaped from the civil war?” Dieter Vogt wore an immaculate uniform. Her short coat and blouse looked as if they had been pressed just moments before dinner. Her long dark brown hair was brushed to perfection, and her face was beautiful and slender.
Aksinya and Natalya nodded.
Dieter pressed her hands together, “That’s so romantic. Where is your family?”
Lady Natalya came out of her seat again. Aksinya didn’t stop her this time, “That is not a subject that may be discussed.”
Dieter almost fell out of her chair, “I’m sorry. I do apologize. I understand.”
Aksinya’s voice was a little tense, “There is no reason to apologize. My parents, brother, and sister were murdered on the front lawn of our estate. Only I escaped. That is why I am the Countess Golitsyna. The situation is equally difficult for the Lady Natalya. You would be the best of friends not to mention it a second time.”
The table immediately became quiet again.
Anna introduces herself, and we get a description of her. Did you note, Anna isn't very bright. That's the point of her question--she's just a little slow. On the other hand, Dieter is very bright. We find out later that her father is a politician. Her description should point out some of these details already.
Dieter is well informed about politics and the world. She will give us information in the future about Austria and the world. That is part of the point of introducing important secondary characters. The point of the characters is not that they are just characters, but that, by their backgrounds, they can provide important information within the novel. This is a critical idea in any novel--you don't introduce characters extraneously, they have purpose beyond their existence. Their purpose is to propel the storyline, plot, and theme.
Dieter goes on to ask a simple question that is a minefield for Aksinya and Natalya. Aksinya allows Natalya to go off on Dieter. Aksinya herself then gives a slight attack. We get to hear a synopsis of Aksinya's history that is communicated to the girls at the table. We can guess this information then gets out to the rest of the school. Look carefully at Aksinya's reply she places Natalya in her camp and by association specifies that any question against her is a question against Natalya. Simple ideas to communicate, but done easily with this little dialog.
Tomorrow the completion of chapter 6. I am refining chapter 15, the pivotal chapter. I would hope that by that time, you would be able to guess what happened, but in any case, I still want it to be a surprise.
Monday, December 6, 2010
A New Novel, Part 64 Serving
Natalya's problems aren't over. Aksinya has another thing to show her at dinner. Plus, I get to show you more about how the aristocracy and etiquette worked in 1918.
When the fish course arrived, Natalya served Aksinya then Aksinya served Natalya. Natalya tried to protest and attempted to stop Aksinya, but Aksinya would have none of it. Natalya covered her face with her hands. The rest of the girls gaped at them. Finally, the girl who spoke before asked, “Lady Natalya what’s wrong?”
Natalya spoke through her tears, “I serve her. That is my purpose. That’s what a lady-in-waiting is supposed to do.”
“Ha,” exclaimed Aksinya, “Now you serve me by eating with me. I do wish you would converse with us all. I’m certain your input would be very pleasant.”
Natalya glanced between her fingers, “Do you really think so?”
“Of course I do.”
Natalya took a deep breath. She slowly lowered her hands. She picked up her fish knife and the proper fork. She began to eat her meal.
Aksinya smiled.
The girls around the table smiled.
The sister smiled.
Natalya gives us some insight into her mind. She serves Aksinya. This is an important, more than an important, it is a critical aspect of Natalya's personality and character. This will make the pivotal incident in the novel possible. This will propel Aksinya into redemption, but not in the way you think.
Natalya gets it, and here is part of the lesson that Aksinya should not have taught Natalya. Natalya knows how to serve, but it escaped her that she might serve by being the "great lady she is." In other words, her serving is not just about food and services, but rather about acting in Aksinya's place. This is the first shot that will be repeated in Natalya's "education." Don't get it wrong, Aksinya has it right about teaching Natalya, she just doesn't understand what Asmodeus or Natalya will do. We still have a ways to go before we get to that point in the novel.
So, have you deduced my writing style yet? It is characterized by dialog to drive the plot and theme, and a Spartan and slightly terse style of description. I pray the description is complete enough to set the scene, but that it is short enough not to get in the way of the story. Note, that I use dialog to drive almost everything in the novel. That is the point, not what you are told, but what you are shown--show don't tell.
When the fish course arrived, Natalya served Aksinya then Aksinya served Natalya. Natalya tried to protest and attempted to stop Aksinya, but Aksinya would have none of it. Natalya covered her face with her hands. The rest of the girls gaped at them. Finally, the girl who spoke before asked, “Lady Natalya what’s wrong?”
Natalya spoke through her tears, “I serve her. That is my purpose. That’s what a lady-in-waiting is supposed to do.”
“Ha,” exclaimed Aksinya, “Now you serve me by eating with me. I do wish you would converse with us all. I’m certain your input would be very pleasant.”
Natalya glanced between her fingers, “Do you really think so?”
“Of course I do.”
Natalya took a deep breath. She slowly lowered her hands. She picked up her fish knife and the proper fork. She began to eat her meal.
Aksinya smiled.
The girls around the table smiled.
The sister smiled.
Natalya gives us some insight into her mind. She serves Aksinya. This is an important, more than an important, it is a critical aspect of Natalya's personality and character. This will make the pivotal incident in the novel possible. This will propel Aksinya into redemption, but not in the way you think.
Natalya gets it, and here is part of the lesson that Aksinya should not have taught Natalya. Natalya knows how to serve, but it escaped her that she might serve by being the "great lady she is." In other words, her serving is not just about food and services, but rather about acting in Aksinya's place. This is the first shot that will be repeated in Natalya's "education." Don't get it wrong, Aksinya has it right about teaching Natalya, she just doesn't understand what Asmodeus or Natalya will do. We still have a ways to go before we get to that point in the novel.
So, have you deduced my writing style yet? It is characterized by dialog to drive the plot and theme, and a Spartan and slightly terse style of description. I pray the description is complete enough to set the scene, but that it is short enough not to get in the way of the story. Note, that I use dialog to drive almost everything in the novel. That is the point, not what you are told, but what you are shown--show don't tell.
Sunday, December 5, 2010
A New Novel, Part 63 The Table
The Reverend Mother's introductions complete, the ladies at Aksinya and Natalya's table may now address them. Notice that correct protocol has not been completed. The ladies should now appropriately introduce themselves to Aksinya and Natalya. Aksinya is forgiving, Natalya not so much...
Around Aksinya and Natalya’s table sat seven other young women who were from sixteen to twenty-one years old plus an elderly nun. The sister watched Aksinya and Natalya with as rapped an expression as the girls.
After the soup was served, one of the older girls asked in French, “Are you really a Countess?”
Natalya almost leaped out of her seat, “What do you mean asking such a question? My mistress is the Countess Golitsyna.”
Aksinya pulled Natalya back into her seat, “I am the Countess Aksinya Andreiovna Golitsyna. You may call me Aksinya if you wish. This is the Lady Natalya Alexandrovna Obolenska. I insist you address her as the Lady Natalya. She is my friend and confidant. She is also the daughter of a Prince.”
Natalya sucked her lip and stared back at Aksinya, “And the Countess is the daughter of a Princess and a Count. She…she…rescued me.”
“Hush, Lady Natalya.”
Aksinya gave the ladies a second chance to introduce themselves, but they didn't take it. Aksinya makes her confidence in Natalya very clear--friend and confidant. She also gives them leave to call her by her first name, a bit of latitude they would never be low enough to take. She insists they address Natalya as Lady Natalya. She demands respect for Natalya, but not herself.
Notice, that Aksinya then throws down the gauntlet. She tells them Natalya's rank--she is the daughter of a Prince. Natalya knew this. Earlier, the demon led us to believe that Natalya didn't know who her father was--he left the answer ambivalent. Now we know that she knows this. We also get a repeat of an important point. Aksinya is the daughter of a Russian princess.
Then the confession: she rescued me. This is never far from Natalya's mind and should never be far from ours. I reminded you because I don't want you to forget--it's like Aksinya's hair.
Aksinya's response a gentle, hush. Aksinya realizes what is in Natalya's mind, or she thinks she does.
I just finished writing the pivotal scene in the novel. It happens in chapter 15. It is chapter 15. I've been thinking about this scene and driving toward it for weeks. I have many notes that I must now resolve with it and improve it. It is specifically the scene that will lead to the resolution of the novel.
Around Aksinya and Natalya’s table sat seven other young women who were from sixteen to twenty-one years old plus an elderly nun. The sister watched Aksinya and Natalya with as rapped an expression as the girls.
After the soup was served, one of the older girls asked in French, “Are you really a Countess?”
Natalya almost leaped out of her seat, “What do you mean asking such a question? My mistress is the Countess Golitsyna.”
Aksinya pulled Natalya back into her seat, “I am the Countess Aksinya Andreiovna Golitsyna. You may call me Aksinya if you wish. This is the Lady Natalya Alexandrovna Obolenska. I insist you address her as the Lady Natalya. She is my friend and confidant. She is also the daughter of a Prince.”
Natalya sucked her lip and stared back at Aksinya, “And the Countess is the daughter of a Princess and a Count. She…she…rescued me.”
“Hush, Lady Natalya.”
Aksinya gave the ladies a second chance to introduce themselves, but they didn't take it. Aksinya makes her confidence in Natalya very clear--friend and confidant. She also gives them leave to call her by her first name, a bit of latitude they would never be low enough to take. She insists they address Natalya as Lady Natalya. She demands respect for Natalya, but not herself.
Notice, that Aksinya then throws down the gauntlet. She tells them Natalya's rank--she is the daughter of a Prince. Natalya knew this. Earlier, the demon led us to believe that Natalya didn't know who her father was--he left the answer ambivalent. Now we know that she knows this. We also get a repeat of an important point. Aksinya is the daughter of a Russian princess.
Then the confession: she rescued me. This is never far from Natalya's mind and should never be far from ours. I reminded you because I don't want you to forget--it's like Aksinya's hair.
Aksinya's response a gentle, hush. Aksinya realizes what is in Natalya's mind, or she thinks she does.
I just finished writing the pivotal scene in the novel. It happens in chapter 15. It is chapter 15. I've been thinking about this scene and driving toward it for weeks. I have many notes that I must now resolve with it and improve it. It is specifically the scene that will lead to the resolution of the novel.
Saturday, December 4, 2010
A New Novel, Part 62 The Introductions
So now Natalya has been convinced to sit and eat with the other ladies. We see the introduction of the two new students to the school.
At that word, Natalya sat upright. She covered her face with her napkin for a moment then sighed and laid it in her lap.
Aksinya smiled. The Reverend Mother smiled, “That’s much more pleasant, Lady Natalya. Thank you.”
Under the eyes of the whole room, the Reverend Mother made her way back to the head table. She stood in front of her chair and raised her arms, “Ladies, may I have your attention. Today, we accepted two new students to Sacré Coeur. They are very special students. May I introduce to you the Countess Aksinya Andreiovna Golitsyna. She is the niece of the Freiherr and Freifrau Bockmann. Freifrau Bockmann is an alum of Sacré Coeur. The Countess is sitting at the older scholar’s table. Please make her welcome when you have the opportunity. Accompanying the countess is her lady-in-waiting, the Lady Natalya Alexandrovna Obolenska. The Lady Natalya is not used to our informality. She is very uncomfortable with our egalitarian ways. Please help her to become familiar with our community. She doesn’t speak German, so you must use your French to good effect.”
Aksinya explained the Reverend Mother’s words to Natalya. Natalya colored and again hid her face.
The Reverend Mother said a prayer and everyone crossed themselves. Then she sat in her high backed chair and the novice sisters began to serve the meal.
So the RM introduces Aksinya and Natalya. This is a simple and basic thing to understand. In this period, the introduction was necessary and critical to social interaction. You were not supposed to converse with another without an introduction. The RM's general introduction provides this service for the school and for the new students.
The RM goes on to explain a little about Aksinya and then about Natalya. Do you note the RM's equivocation. It is done just for Natalya. She tells the school to help Natalya understand their egalitarian ways--the school is not egalitarian or informal, it is just the opposite. They hold to a protocol that is just as strong as the Russian court. The point is that the school and the students must uphold their honor and their position before the Countess and her lady-in-waiting. They are both higher in position than the other ladies. Therefore, the RM explains that they will rise to the level of Aksinya and Natalya and she asks them to accept their ways--not informal at all.
The reason Natalya colored is that she was acknowledged at all. Part of the joke is that they have a French name, Sacré Coeur, and they teach French, so they should be speaking French.
The transition to the meal is the prayer--did you expect anything else in a convent school?
At that word, Natalya sat upright. She covered her face with her napkin for a moment then sighed and laid it in her lap.
Aksinya smiled. The Reverend Mother smiled, “That’s much more pleasant, Lady Natalya. Thank you.”
Under the eyes of the whole room, the Reverend Mother made her way back to the head table. She stood in front of her chair and raised her arms, “Ladies, may I have your attention. Today, we accepted two new students to Sacré Coeur. They are very special students. May I introduce to you the Countess Aksinya Andreiovna Golitsyna. She is the niece of the Freiherr and Freifrau Bockmann. Freifrau Bockmann is an alum of Sacré Coeur. The Countess is sitting at the older scholar’s table. Please make her welcome when you have the opportunity. Accompanying the countess is her lady-in-waiting, the Lady Natalya Alexandrovna Obolenska. The Lady Natalya is not used to our informality. She is very uncomfortable with our egalitarian ways. Please help her to become familiar with our community. She doesn’t speak German, so you must use your French to good effect.”
Aksinya explained the Reverend Mother’s words to Natalya. Natalya colored and again hid her face.
The Reverend Mother said a prayer and everyone crossed themselves. Then she sat in her high backed chair and the novice sisters began to serve the meal.
So the RM introduces Aksinya and Natalya. This is a simple and basic thing to understand. In this period, the introduction was necessary and critical to social interaction. You were not supposed to converse with another without an introduction. The RM's general introduction provides this service for the school and for the new students.
The RM goes on to explain a little about Aksinya and then about Natalya. Do you note the RM's equivocation. It is done just for Natalya. She tells the school to help Natalya understand their egalitarian ways--the school is not egalitarian or informal, it is just the opposite. They hold to a protocol that is just as strong as the Russian court. The point is that the school and the students must uphold their honor and their position before the Countess and her lady-in-waiting. They are both higher in position than the other ladies. Therefore, the RM explains that they will rise to the level of Aksinya and Natalya and she asks them to accept their ways--not informal at all.
The reason Natalya colored is that she was acknowledged at all. Part of the joke is that they have a French name, Sacré Coeur, and they teach French, so they should be speaking French.
The transition to the meal is the prayer--did you expect anything else in a convent school?
Friday, December 3, 2010
A New Novel, Part 61 Why Natalya Must Sit
Are you ready for the answer? Did you guess it? I hope you can picture this scene as I tried to build it for you. Here I tried to mix comedy with pathos. The gentle and loving Natalya couldn't imagine the freight train that was about to hit her. Aksinya knew...
Natalya frowned and appeared as if she was about to cry. She complained, “But why isn’t it good order to wait on my mistress?”
The Reverend Mother pressed her lips together and seemed completely reluctant to say what she knew she must say. The other young women around the table strained to hear the Reverend Mother’s words.
Finally, the Reverend Mother opened her mouth, “Please, Lady Natalya. Because of your social position, most of the ladies in this room should serve you. You must sit and eat with us otherwise the good order of our school will be in question.”
Lady Natalya’s mouth fell open. The other young women at the table mouths’ hung open. Tears formed in Lady Natalya’s eyes but she quickly and with embarrassment fell into the seat beside Aksinya. Aksinya put her arms around Natalya and held her close. The girl was obviously crying. The Reverend Mother moved to her and put her arms around the both of them. She clucked soft sounds under her breath, “Please don’t be sad Lady Natalya. You may serve your lady all you desire, but you must eat at table with her.”
Natalya let out a great wail, “But I have never sat at table with her before. I have never sought to put myself above her. Never.”
Aksinya whispered in Russian, “Silly, we sat together like sisters and ate together like friends during our whole trip here. Please act like the great lady you are, Lady Natalya.”
At that word, Natalya sat upright. She covered her face with her napkin for a moment then sighed and laid it in her lap.
Aksinya smiled. The Reverend Mother smiled, “That’s much more pleasant, Lady Natalya. Thank you.”
Here is a minor tragedy for Natalya that allows me to clearly show you the state of aristocracy and the importance of position in 1918. Natalya is a lady of the court, a lady-in-waiting. She expects to serve. The sweet and gentle Natalya is very bright, but still she desires to serve. That is her purpose. She has latched on to Aksinya because Aksinya rescued her. At each step, Aksinya, whether intentionally or unintentionally has been building up Natalya. We aren't certain if this is Aksinya's unconscious knowledge or her intentional manipulation. In any case, you can see Aksinya realizes exactly how this little event will end. She couldn't have planned it better--that is if she planned it at all. Do you see that Aksinya's knowledge makes everything as though she did plan it. This parallels the actions in temptation of the demon. He makes things happen for the purpose of tempting others. Aksinya is making these events happen, and we are not certain if she is doing them purposefully or not. We will soon see she is very purposeful.
So, the RM must state the thing she does not want to state. To say such a thing right out in the open is considered the epitome of bad taste. Everyone knows their place in this society--everyone, except Natalya, but then, we knew Natalya was broken in some way. This will come out more later. The RM says it--the dreaded words--the ladies of the school should be serving Natalya just as she serves Aksinya, therefore, Natalya must sit and eat with them. The reason is that Natalya is of a higher rank than any of the other girls and women in the room.
Natalya gets it. She is embarrassed for more than one reason, but shame keeps a system of aristocracy going (to a degree). Aksinya comforts Natalya and the RM comforts them both. She is a kind woman.
Aksinya then gently reminds Natalya that they have eaten like equals before. Ah, this takes the sting from the embarrassment, and then the beautiful reminder from Aksinya--act like the great lady that you are. Don't worry, there is more to this dining room scene. We'll see it tomorrow.
Natalya frowned and appeared as if she was about to cry. She complained, “But why isn’t it good order to wait on my mistress?”
The Reverend Mother pressed her lips together and seemed completely reluctant to say what she knew she must say. The other young women around the table strained to hear the Reverend Mother’s words.
Finally, the Reverend Mother opened her mouth, “Please, Lady Natalya. Because of your social position, most of the ladies in this room should serve you. You must sit and eat with us otherwise the good order of our school will be in question.”
Lady Natalya’s mouth fell open. The other young women at the table mouths’ hung open. Tears formed in Lady Natalya’s eyes but she quickly and with embarrassment fell into the seat beside Aksinya. Aksinya put her arms around Natalya and held her close. The girl was obviously crying. The Reverend Mother moved to her and put her arms around the both of them. She clucked soft sounds under her breath, “Please don’t be sad Lady Natalya. You may serve your lady all you desire, but you must eat at table with her.”
Natalya let out a great wail, “But I have never sat at table with her before. I have never sought to put myself above her. Never.”
Aksinya whispered in Russian, “Silly, we sat together like sisters and ate together like friends during our whole trip here. Please act like the great lady you are, Lady Natalya.”
At that word, Natalya sat upright. She covered her face with her napkin for a moment then sighed and laid it in her lap.
Aksinya smiled. The Reverend Mother smiled, “That’s much more pleasant, Lady Natalya. Thank you.”
Here is a minor tragedy for Natalya that allows me to clearly show you the state of aristocracy and the importance of position in 1918. Natalya is a lady of the court, a lady-in-waiting. She expects to serve. The sweet and gentle Natalya is very bright, but still she desires to serve. That is her purpose. She has latched on to Aksinya because Aksinya rescued her. At each step, Aksinya, whether intentionally or unintentionally has been building up Natalya. We aren't certain if this is Aksinya's unconscious knowledge or her intentional manipulation. In any case, you can see Aksinya realizes exactly how this little event will end. She couldn't have planned it better--that is if she planned it at all. Do you see that Aksinya's knowledge makes everything as though she did plan it. This parallels the actions in temptation of the demon. He makes things happen for the purpose of tempting others. Aksinya is making these events happen, and we are not certain if she is doing them purposefully or not. We will soon see she is very purposeful.
So, the RM must state the thing she does not want to state. To say such a thing right out in the open is considered the epitome of bad taste. Everyone knows their place in this society--everyone, except Natalya, but then, we knew Natalya was broken in some way. This will come out more later. The RM says it--the dreaded words--the ladies of the school should be serving Natalya just as she serves Aksinya, therefore, Natalya must sit and eat with them. The reason is that Natalya is of a higher rank than any of the other girls and women in the room.
Natalya gets it. She is embarrassed for more than one reason, but shame keeps a system of aristocracy going (to a degree). Aksinya comforts Natalya and the RM comforts them both. She is a kind woman.
Aksinya then gently reminds Natalya that they have eaten like equals before. Ah, this takes the sting from the embarrassment, and then the beautiful reminder from Aksinya--act like the great lady that you are. Don't worry, there is more to this dining room scene. We'll see it tomorrow.
Thursday, December 2, 2010
A New Novel, Part 60 Natalya Must Sit
Natalya's greatest goal is to serve Aksinya. You must keep this in mind. You must also remember that Natalya was compelled to serve before. With this background, we see what is brewing in the dining room.
The novice sister curtsied to the floor. She couldn’t take her eyes off Aksinya and Natalya. She led them to the round table just below the head table and tried to seat them.
Aksinya sat and Natalya stood behind her chair. The novice sister stared at Natalya, “Lady, you should sit. That’s what the Reverend Mother instructed me.”
Natalya shook her head.
Aksinya spoke to the novice sister in German, “She doesn’t understand German.”
Novice Sister Rita pulled out the chair beside Aksinya, “Please lady, sit here. Countess, you tell her.” She glanced nervously at the head table.
All this time, the other students entered the dining room. They sat in their places and gawked at the odd scene at the older scholar’s table. The young women who sat at that table came in and took their places. They stared at Aksinya and Natalya. Natalya still obstinately stood behind Aksinya’s seat.
Sister Rita ran over to the head table and whispered to the Reverend Mother. The Reverend Mother slowly stood and stepped over to the older scholar’s table. She took everything in a glance and spoke in French, “Please Lady Natalya, sit at the table. It is necessary for the good order of the school.”
Natalya cocked her head toward the Reverend Mother, “For the good order, Reverend Mother?”
Aksinya laughed, “Yes, Lady Natalya. I told you already. You must sit.”
Natalya frowned and appeared as if she was about to cry. She complained, “But why isn’t it good order to wait on my mistress?”
Do you already know the answer to Natalya's question. I'll tell you tomorrow if you can't guess it. I've given hints all over the place. Natalya wishes to serve Aksinya at table. This is a world of precedence and protocol. Aksinya is an expert in this area. She is more expert than almost anyone. You might ask yourself why she is such an expert. You knew she was a book worm. You knew she spent most of her childhood in study.
The tension is funny to Aksinya. She realized this time would come--don't you see that she both expected it and looked forward to it. Aksinya isn't cruel, but she is a realist in many ways. She knows Natalya will not change easily, and she will not accept any change gracefully. Natalya is not stubborn, but she loves Aksinya. She loves the idea of subjugating herself to another being that is worth that subjugation. Remember, the demon told Aksinya that Natalya was looking for something. She was looking for purpose and for a master. That master should have rightly been God--remember the conversation outside Natalya's house. Natalya was forced to serve in the home Aksinya took her from. She was beaten to force that service. Natalya would have served without any coercion. She desires to serve. This is important.
So what is the answer to the question, and what will happen to Natalya? This is critical to Natalya's existence.
The novice sister curtsied to the floor. She couldn’t take her eyes off Aksinya and Natalya. She led them to the round table just below the head table and tried to seat them.
Aksinya sat and Natalya stood behind her chair. The novice sister stared at Natalya, “Lady, you should sit. That’s what the Reverend Mother instructed me.”
Natalya shook her head.
Aksinya spoke to the novice sister in German, “She doesn’t understand German.”
Novice Sister Rita pulled out the chair beside Aksinya, “Please lady, sit here. Countess, you tell her.” She glanced nervously at the head table.
All this time, the other students entered the dining room. They sat in their places and gawked at the odd scene at the older scholar’s table. The young women who sat at that table came in and took their places. They stared at Aksinya and Natalya. Natalya still obstinately stood behind Aksinya’s seat.
Sister Rita ran over to the head table and whispered to the Reverend Mother. The Reverend Mother slowly stood and stepped over to the older scholar’s table. She took everything in a glance and spoke in French, “Please Lady Natalya, sit at the table. It is necessary for the good order of the school.”
Natalya cocked her head toward the Reverend Mother, “For the good order, Reverend Mother?”
Aksinya laughed, “Yes, Lady Natalya. I told you already. You must sit.”
Natalya frowned and appeared as if she was about to cry. She complained, “But why isn’t it good order to wait on my mistress?”
Do you already know the answer to Natalya's question. I'll tell you tomorrow if you can't guess it. I've given hints all over the place. Natalya wishes to serve Aksinya at table. This is a world of precedence and protocol. Aksinya is an expert in this area. She is more expert than almost anyone. You might ask yourself why she is such an expert. You knew she was a book worm. You knew she spent most of her childhood in study.
The tension is funny to Aksinya. She realized this time would come--don't you see that she both expected it and looked forward to it. Aksinya isn't cruel, but she is a realist in many ways. She knows Natalya will not change easily, and she will not accept any change gracefully. Natalya is not stubborn, but she loves Aksinya. She loves the idea of subjugating herself to another being that is worth that subjugation. Remember, the demon told Aksinya that Natalya was looking for something. She was looking for purpose and for a master. That master should have rightly been God--remember the conversation outside Natalya's house. Natalya was forced to serve in the home Aksinya took her from. She was beaten to force that service. Natalya would have served without any coercion. She desires to serve. This is important.
So what is the answer to the question, and what will happen to Natalya? This is critical to Natalya's existence.
Wednesday, December 1, 2010
A New Novel, Part 59 Dinner Seating
We see Aksinya and Natalya led to dinner by the Reverend Mother and then the culture of aristocratic precedence.
The Reverend Mother led Aksinya and Natalya to the first table in the room. This was the only one that wasn’t round. The head table was rectangular and at the center was a high backed chair carved with a cross and the emblem of Sacré Coeur. The Reverend Mother stepped behind the table and motioned Aksinya and Natalya to follow her. She pulled out the high backed chair and pointed to the two seats at the end of the table, “I would like you ladies to sit there, please.”
Aksinya curtsied, “I’m sorry, Reverend Mother, we will not take the first place. That would not be appropriate for students. Please seat us at a lower table. Since we are new, it would be most appropriate to seat us at the lowest tables.”
Frau Drescher was aghast, “The Reverend Mother wishes to honor you.”
Aksinya didn’t blink, “But I don’t want to be honored for that reason.”
The Reverend Mother put up her hand. She motioned to one of the novices behind the head table, “Sister Rita, please seat the Countess Golitsyna and the Lady Obolenska at the older scholar’s table.”
Novice Sister Rita’s eyes opened wide. She stared at Aksinya, “Countess?”
“Yes, Countess. I want you to take care of them yourself, Sister Rita.”
The novice sister curtsied to the floor. She couldn’t take her eyes off Aksinya and Natalya. She led them to the round table just below the head table and tried to seat them.
This is a very simple event, but it has great importance. RM Kluge wants to honor and show off Aksinya and Natalya. The Natalya link is not so obvious yet, we will see that very soon. RM Kluge sits in a "Bishop's" chair. That is a throne-like seat for the head of an order (in this case). Aksinya knows the head table is only for sisters of the order. In circles of the aristocracy, nobility of the church are equal to a degree with the "secular" nobility. RM Kluge understands this, but she would be placing Aksinya and Natalya higher than other sisters in the order. Aksinya is perfectly sensitive to the aristocracy--I hope I showed this to you well. She knows how to act properly in every place and event. RM Kluge isn't ignorant, she just doesn't realize the full ramifications of her actions. Also, Aksinya sees this correctly that likely Asmodeus is acting to tempt RM Kluge. To the RM, the school and the convent is everything. In the demon's terms, she lusts for her school and convent to be the best. Aksinya intervenes which likely opposes Asmodeus. This is one of the little ways Aksinya tries to fight the demon.
Aksinya curtsies (an act of subjugation) and proposes they be placed at the lowest tables--that is not possible. The RM realizes her error quickly. Aksinya's proposal for the lowest tables is as unacceptable as the RM's suggestion that they sit at the highest table.
The RM sends a novice to seat Aksinya and Natalya at the highest student's table, this is the most appropriate solution. This how the world of the aristocracy works--even in the church. We will see more of this in the next piece.
I wanted to mention that a reader wrote me to note that only a small percentage of my readers would be able to grasp the depth of the writing especially without help. The question was specifically, why go to all the trouble if your readers won't get it. Primarily, I have a lot of faith in my readers. One of my readers likes my novels because they are so different than what they usually can find. This reader calls them exciting stories that are an intellectual treasure. That is what I want to give you. Even if the average reader can't grasp the depth of the writing, I hope the story to them is good and exciting.
The Reverend Mother led Aksinya and Natalya to the first table in the room. This was the only one that wasn’t round. The head table was rectangular and at the center was a high backed chair carved with a cross and the emblem of Sacré Coeur. The Reverend Mother stepped behind the table and motioned Aksinya and Natalya to follow her. She pulled out the high backed chair and pointed to the two seats at the end of the table, “I would like you ladies to sit there, please.”
Aksinya curtsied, “I’m sorry, Reverend Mother, we will not take the first place. That would not be appropriate for students. Please seat us at a lower table. Since we are new, it would be most appropriate to seat us at the lowest tables.”
Frau Drescher was aghast, “The Reverend Mother wishes to honor you.”
Aksinya didn’t blink, “But I don’t want to be honored for that reason.”
The Reverend Mother put up her hand. She motioned to one of the novices behind the head table, “Sister Rita, please seat the Countess Golitsyna and the Lady Obolenska at the older scholar’s table.”
Novice Sister Rita’s eyes opened wide. She stared at Aksinya, “Countess?”
“Yes, Countess. I want you to take care of them yourself, Sister Rita.”
The novice sister curtsied to the floor. She couldn’t take her eyes off Aksinya and Natalya. She led them to the round table just below the head table and tried to seat them.
This is a very simple event, but it has great importance. RM Kluge wants to honor and show off Aksinya and Natalya. The Natalya link is not so obvious yet, we will see that very soon. RM Kluge sits in a "Bishop's" chair. That is a throne-like seat for the head of an order (in this case). Aksinya knows the head table is only for sisters of the order. In circles of the aristocracy, nobility of the church are equal to a degree with the "secular" nobility. RM Kluge understands this, but she would be placing Aksinya and Natalya higher than other sisters in the order. Aksinya is perfectly sensitive to the aristocracy--I hope I showed this to you well. She knows how to act properly in every place and event. RM Kluge isn't ignorant, she just doesn't realize the full ramifications of her actions. Also, Aksinya sees this correctly that likely Asmodeus is acting to tempt RM Kluge. To the RM, the school and the convent is everything. In the demon's terms, she lusts for her school and convent to be the best. Aksinya intervenes which likely opposes Asmodeus. This is one of the little ways Aksinya tries to fight the demon.
Aksinya curtsies (an act of subjugation) and proposes they be placed at the lowest tables--that is not possible. The RM realizes her error quickly. Aksinya's proposal for the lowest tables is as unacceptable as the RM's suggestion that they sit at the highest table.
The RM sends a novice to seat Aksinya and Natalya at the highest student's table, this is the most appropriate solution. This how the world of the aristocracy works--even in the church. We will see more of this in the next piece.
I wanted to mention that a reader wrote me to note that only a small percentage of my readers would be able to grasp the depth of the writing especially without help. The question was specifically, why go to all the trouble if your readers won't get it. Primarily, I have a lot of faith in my readers. One of my readers likes my novels because they are so different than what they usually can find. This reader calls them exciting stories that are an intellectual treasure. That is what I want to give you. Even if the average reader can't grasp the depth of the writing, I hope the story to them is good and exciting.
Tuesday, November 30, 2010
A New Novel, Part 58 Dinner Setting
Some more description and a transition to get you to dinner with Aksinya and Natalya.
They made their way out of the dormitory and through the corridor on the lower floor of the school. The elementary level girls stood in careful lines with their teachers ahead of them. The older girls stood in the halls and waited for the supper bells. They all carefully scrutinized Aksinya and Natalya as the two of them followed Frau Drescher and the Reverend Mother. Whispers followed in their wake. The corridor from the school ended in a door barred to the outside. On the left was a large double door with a rounded top that led into the convent. Just before six, the Reverend Mother opened the doors and nodded to the elderly sister inside. The sister picked up a small block bell and a matching mallet. She rang the quiet bell and began to move among the girls in the hall, and they began to file into the room.
The Reverend Mother and Frau Drescher led Aksinya and Natalya into the large dining room. There were at least twenty tables. The tables were round and each had ten chairs around them. They were covered with lace tablecloths and full silver place settings with cloth napkins. Maids and novice nuns stood at the sides of the room.
As I mentioned before, part of the importance of an education in this period is etiquette and decorum. We will see this in great detail as we move in the world of 1918 in this novel. We can see the setting for dinner at Sacré Coeur is very formal. The uniforms are not completely formal, but they are uniforms and considered appropriate for dinner wear.
I also showed you a little of the students and the school. It's a typical convent school at the time. The convent novices provide the labor and serve the meals. There are maids as well--that indicates the number of novice nuns. There are enough, but not enough to staff so large a dinner.
You might also note, I intend to use the word luncheon for the midday meal and dinner or supper for the evening meal. A supper is a less formal meal with the family and usually not in courses. Dinner is a formal and long meal. This was common at this time. Today, we use the words interchangeably, they were not interchangeable in the near past.
They made their way out of the dormitory and through the corridor on the lower floor of the school. The elementary level girls stood in careful lines with their teachers ahead of them. The older girls stood in the halls and waited for the supper bells. They all carefully scrutinized Aksinya and Natalya as the two of them followed Frau Drescher and the Reverend Mother. Whispers followed in their wake. The corridor from the school ended in a door barred to the outside. On the left was a large double door with a rounded top that led into the convent. Just before six, the Reverend Mother opened the doors and nodded to the elderly sister inside. The sister picked up a small block bell and a matching mallet. She rang the quiet bell and began to move among the girls in the hall, and they began to file into the room.
The Reverend Mother and Frau Drescher led Aksinya and Natalya into the large dining room. There were at least twenty tables. The tables were round and each had ten chairs around them. They were covered with lace tablecloths and full silver place settings with cloth napkins. Maids and novice nuns stood at the sides of the room.
As I mentioned before, part of the importance of an education in this period is etiquette and decorum. We will see this in great detail as we move in the world of 1918 in this novel. We can see the setting for dinner at Sacré Coeur is very formal. The uniforms are not completely formal, but they are uniforms and considered appropriate for dinner wear.
I also showed you a little of the students and the school. It's a typical convent school at the time. The convent novices provide the labor and serve the meals. There are maids as well--that indicates the number of novice nuns. There are enough, but not enough to staff so large a dinner.
You might also note, I intend to use the word luncheon for the midday meal and dinner or supper for the evening meal. A supper is a less formal meal with the family and usually not in courses. Dinner is a formal and long meal. This was common at this time. Today, we use the words interchangeably, they were not interchangeable in the near past.
Monday, November 29, 2010
A New Novel, Part 57 Hair, Confession, and Sin
So, with the description over and the scene set, we may move to the more direct points of the storyline. We know their current environment. We know how they live, now we see the story take off.
Before supper, Natalya dressed Aksinya and fixed her short hair. Frau Drescher and the Reverend Mother came to retrieve them for supper. In their sitting room, the Reverend mother held Aksinya’s arms and looked her over carefully. She grinned and spoke in French, “You look very nice, Countess.” She glanced over at Natalya, “Lady Natalya did you adjust the clothing?”
Aksinya answered for her, “Of course she did. She does everything for me. She is very skilled, isn’t she?”
“You both look perfect. She also made your hair look wonderful.”
Aksinya turned her face away.
“Don’t be pained. Your aunt told me what she knew about that.” She whispered, “You may desire the comfort of confession at some time, Countess. You may consider me your confessor any time you wish. I will attempt to comfort you as much as I can.”
Aksinya was breathless, “What if that isn’t my sin?”
“Sin isn’t the only reason for confession, Countess. You might wish to share something that hurts your heart and soul.” She smiled, “I would be pleased to listen to anything you desire to share.”
Aksinya mumbled, “Thank you.”
The Reverend Mother is really a nice person. She tries her hardest because she is pleasant and because she doesn't want to offend her new Countess border. Still we get a repeat of the previous comments about the uniforms. We see that Natalya is praised again, and Aksinya answers for her. This will not continue, but we see that this is the proper setting and the proper response. Aksinya speaks for Natalya--it must be.
Then, bang, the hair again. Will no one let the hair alone? It can't be. The hair is a key point. RM will not let it go and the conversation turns to the worst place Aksinya could ever imagine--confession. RM offers Aksinya confession, but note Aksinya's answer, "What if that isn't my sin?" Do you see, Aksinya isn't certain that she has sinned--yet she knows she has sinned. This is the paradox within the brains of all men--all men assume their actions are never sin. They always believe they are right. maturity comes when a man understands that he is a sinner and that his actions are not always right.
The RM realizes this too, thus her response. Can you see Aksinya's mind working. She desires to be confessed and she wonders just what she can confess. We would say--everything, but she can't do that yet. She isn't to that point--yet. We also see the beginning of the mumbles. Aksinya has shown a tendency to speak her mind but quietly where she assumes others can't understand her. She will show a continuing tendency to mumble when she psychologically wants the words to get out, but does not want to be understood.
I just finished chapter 13 and I'm going on to chapter 14--everything is mapped out and ready to write, but I'm going to take a break this evening.
Before supper, Natalya dressed Aksinya and fixed her short hair. Frau Drescher and the Reverend Mother came to retrieve them for supper. In their sitting room, the Reverend mother held Aksinya’s arms and looked her over carefully. She grinned and spoke in French, “You look very nice, Countess.” She glanced over at Natalya, “Lady Natalya did you adjust the clothing?”
Aksinya answered for her, “Of course she did. She does everything for me. She is very skilled, isn’t she?”
“You both look perfect. She also made your hair look wonderful.”
Aksinya turned her face away.
“Don’t be pained. Your aunt told me what she knew about that.” She whispered, “You may desire the comfort of confession at some time, Countess. You may consider me your confessor any time you wish. I will attempt to comfort you as much as I can.”
Aksinya was breathless, “What if that isn’t my sin?”
“Sin isn’t the only reason for confession, Countess. You might wish to share something that hurts your heart and soul.” She smiled, “I would be pleased to listen to anything you desire to share.”
Aksinya mumbled, “Thank you.”
The Reverend Mother is really a nice person. She tries her hardest because she is pleasant and because she doesn't want to offend her new Countess border. Still we get a repeat of the previous comments about the uniforms. We see that Natalya is praised again, and Aksinya answers for her. This will not continue, but we see that this is the proper setting and the proper response. Aksinya speaks for Natalya--it must be.
Then, bang, the hair again. Will no one let the hair alone? It can't be. The hair is a key point. RM will not let it go and the conversation turns to the worst place Aksinya could ever imagine--confession. RM offers Aksinya confession, but note Aksinya's answer, "What if that isn't my sin?" Do you see, Aksinya isn't certain that she has sinned--yet she knows she has sinned. This is the paradox within the brains of all men--all men assume their actions are never sin. They always believe they are right. maturity comes when a man understands that he is a sinner and that his actions are not always right.
The RM realizes this too, thus her response. Can you see Aksinya's mind working. She desires to be confessed and she wonders just what she can confess. We would say--everything, but she can't do that yet. She isn't to that point--yet. We also see the beginning of the mumbles. Aksinya has shown a tendency to speak her mind but quietly where she assumes others can't understand her. She will show a continuing tendency to mumble when she psychologically wants the words to get out, but does not want to be understood.
I just finished chapter 13 and I'm going on to chapter 14--everything is mapped out and ready to write, but I'm going to take a break this evening.
Sunday, November 28, 2010
A New Novel, Part 56 Answers to Questions and Uniform Details
I'm answering questions today. I'll address any questions you might have on my comments or the text itself. This helps me clarify the writing when I go through it in future edits. My answers are in italics.
Part 42 The Proposal Part 2
You said the demon chose this aunt/uncle, city (Wien, ie, Vienna), school for his own purpose; not yet revealed, but you hinted the demon wanted "more scope to torture Aksinya."
Couple of basic Q's on your choice of words:
1. Why use Wien..'German' language name for Vienna, the city and federal state in Austria? (Many readers will miss connection.) Yes! Wien is Vienna. I did this on purpose, and I'm not certain I want to explain it to my readers. The reason is that I very much like the scope of using foreign language terms in my writing. It ensures the reader steps out of her/his safety zone and has to think in a new way. The basis language for the writing is Russian--they means I transliterate most Russian terms into their English equivalents. Count and Countess, for example, instead of their usual Russian equivalents. On the other hand, as I explained before, I had Aksinya use the Russian for "shut up" to drive the reader back into the idea of the use of the Russian language. As they move into Austria, I want the reader to be constantly reminded that this is not Russia, it is Austria. I can't imagine a better what than to refer to the correct Austrian names for places and people's names. Also, the use of stra(sset)e instead of road. So, in conclusion, the knowledgeable reader will know that Wien is Vienna and all it's cultural associations (which will come out in the writing)--about 20%. The not as knowledgeable, but curious will look it up and figure out what is going on--about 30%. The entertained will just think it is a place in Austria and make the association at some point in their life. That might make them want to reread the book to see what they might have missed--about 30%. The rest of the readers will assume it is real or imaginary and just enjoy the story--the remaining 20%.
2. Why did you say demon wants "more scope to torture Aksinya? I'm aware the demon attacks her.. tied directly and indirectly to her actions. But, inflicting torture evokes the idea of punishment or pain to get info or to coerce another to/away from a certain a certain actions without tortured one able to make an decision of 'free moral agency' w/ consequences know a priori...which is vastly different. I'm not certain where I write about this in the story, but the demon does say it directly more than once:
1. His job is to do evil in the name of Aksinya--if she will not do evil or not order him to do evil, he will take it into his hands to force her to it. That is his purpose. This is torture enough for a normal soul, but there is more...
2. He is allowed to torture those who do evil. So every time Aksinya accomplishes evil, that gives the demon further latitude to torture her. This small detail has not been revealed before, and is a major revelation about the book. This is the expanding tragedy that is Aksinya, by following the dictates of the demon, she causes herself further suffering. In other words, there is no way she can save herself from the demon.
Part 43 The Arrival at the Gymnasium
1. Interesting choice of name for the girls' gymnasium, Sacré Coeur; I think that's French for Sacred Heart. Why a French language catholic school? I realize Austrian aristocracy sent their children to French speaking schools preparing them for University; but, why choose a Catholic place? Seems like a 'religious' place is the last place a demon would want the girls. Very good sleuthing. Sacré Coeur does indeed mean sacred heart in French. It is the name of a real convent and girl's school in Wien (Vienna). Where better than the heart of Christ would there be for a demon to do evil. What better Trojan Horse than a pitiable young countess who was driven from her country. Here is a revelation, the demon will attempt to bring down the school and the convent from within and without, but that is simply a sideline to his main goals.
2. Also interesting to note, 'sacred heart' is a devotional name used by Catholics to refer to the physical heart of Jesus Christ (as a symbol of divine love), and often associated w/ asceticism..a far cry from compulsion & temptation the girl falls into..in pursuit of luxuria. (I'm guessing, the school name, and environment was purposely chosen, for juxtapositional purposes.) You are right on the money. I didn't intentionally skip over these associations--as I mentioned before, I try to explain the multi-levels of the writing as well as I can, but I will certainly miss some of my own key points. Many of these will come out later in the text in a more complete revelation.
3. Finally, interest why Freifrau Bockmann, while making a running commentary on the school, and say... “...across from the church is the school... I mean the gymnasium. That is such a new term for me. It was always just a school when I attended there.”
Why did she call it a 'new term/? My understanding, the gymnasium was the model of German-Austrian schools since the 16th century; and in 1812, a Prussian regulation ordered all university prep schools bear the name of gymnasia. And, by the 20th century, this practice was followed in almost all German states, in Austria and in Russia. Would imply, in Wien, schools were called gymnasiums, preceding Freifrau Bockmann's own childhood, and training at that very school. Am, I missing something? When Freifrau Bockmann went to Sacré Coeur it was simply as school for girls. By this time it was a gymnasium for girls. Perhaps I need to clarify. I did try to convey this point in the text and I might have mentioned it before. There were no gymnasia for girls until the 19th century in Germany and into the 20th century in Austria. Therefore when Freifrau Bockman went to Sacré Coeur, it was a school and now it is a gymnasium for girls. As I understand it this is also historically correct for the actual Sacré Coeur in Wien. Note also, instead of Baron and Baroness, I use Freiherr and Freifrau. I would have liked to use Baron and Baroness, but I use the Austrian terms to place you in Austria. Harder for me, but, I hope, a scene setter for my readers.
New section in the chapter with a break. So we move on to the school itself and their incorporation in it.
Freiherr and Freifrau Bockmann left Aksinya, Natalya, and Asmodeus and took their coupe back to their estate at the edge of the city.
That afternoon Aksinya and Natalya received a pair of uniforms from Frau Drescher. To her credit, she chose clothing that was not too worn or faded, and the uniforms fitted the two of them reasonably well. After Natalya was finished with them, they were perfect. The stains were gone and the fitting was perfect. They flattered both of them. The uniforms were classic grey woolen skirts that reached to the ankles with a black belt at the waist. The blouse was made of white silk with some gentle lacy frills at the collar. For the winter seasons there was a grey short coat and a grey sweater. The shoes were button-up black brushed leather. Asmodeus gladly found shoes that matched Aksinya’s requirements from his large chest. He brought out the basic items Aksinya requested from him.
Okay, I couldn't find out the exact uniforms that Sacré Coeur used at this time, so I did some research and used the model of a typical convent school uniform for the time in Austria. The style is typical convent mixed with a little Art Deco from almost a decade before. If you note, we get again the perfection that is Natalya. She knows exactly what to do domestically and as a lady-in-waiting.
Just a short piece to round out the questions I answered. In the writing, I am at chapter 13 and almost finished with it. I have been so busy, I haven't had much time to write, but I intend to finish this chapter and go to 14 today. I have the rest of the book outlined, and I know where it is going--the devil (demon) is in the details.
In fact, a little about where hard points come in the writing. The last pieces for me were difficult. I don't like to have to set every bit of the scene, but I know it is critical to the novel. Once the scene is set, you can then write directly to the storyline, plot, and theme. You will see this direct detail in the next section of this chapter, that is chapter 6. In chapter 13, I had a heap of description, plus a lot of introductions. The description is necessary, the introductions are critical. Introductions in this cultural period are the lubricants of society. Therefore, the detail I put into this novel must show you these introductions. As we will see (have seen) the way introductions are made are critical to pick up on many of the deeper details of the story. To pull all this together, once the details of the scene are set, the author is free to then let the players move around in it. The hard part is the scene, the easy part is the play of the novel within it.
Part 42 The Proposal Part 2
You said the demon chose this aunt/uncle, city (Wien, ie, Vienna), school for his own purpose; not yet revealed, but you hinted the demon wanted "more scope to torture Aksinya."
Couple of basic Q's on your choice of words:
1. Why use Wien..'German' language name for Vienna, the city and federal state in Austria? (Many readers will miss connection.) Yes! Wien is Vienna. I did this on purpose, and I'm not certain I want to explain it to my readers. The reason is that I very much like the scope of using foreign language terms in my writing. It ensures the reader steps out of her/his safety zone and has to think in a new way. The basis language for the writing is Russian--they means I transliterate most Russian terms into their English equivalents. Count and Countess, for example, instead of their usual Russian equivalents. On the other hand, as I explained before, I had Aksinya use the Russian for "shut up" to drive the reader back into the idea of the use of the Russian language. As they move into Austria, I want the reader to be constantly reminded that this is not Russia, it is Austria. I can't imagine a better what than to refer to the correct Austrian names for places and people's names. Also, the use of stra(sset)e instead of road. So, in conclusion, the knowledgeable reader will know that Wien is Vienna and all it's cultural associations (which will come out in the writing)--about 20%. The not as knowledgeable, but curious will look it up and figure out what is going on--about 30%. The entertained will just think it is a place in Austria and make the association at some point in their life. That might make them want to reread the book to see what they might have missed--about 30%. The rest of the readers will assume it is real or imaginary and just enjoy the story--the remaining 20%.
2. Why did you say demon wants "more scope to torture Aksinya? I'm aware the demon attacks her.. tied directly and indirectly to her actions. But, inflicting torture evokes the idea of punishment or pain to get info or to coerce another to/away from a certain a certain actions without tortured one able to make an decision of 'free moral agency' w/ consequences know a priori...which is vastly different. I'm not certain where I write about this in the story, but the demon does say it directly more than once:
1. His job is to do evil in the name of Aksinya--if she will not do evil or not order him to do evil, he will take it into his hands to force her to it. That is his purpose. This is torture enough for a normal soul, but there is more...
2. He is allowed to torture those who do evil. So every time Aksinya accomplishes evil, that gives the demon further latitude to torture her. This small detail has not been revealed before, and is a major revelation about the book. This is the expanding tragedy that is Aksinya, by following the dictates of the demon, she causes herself further suffering. In other words, there is no way she can save herself from the demon.
Part 43 The Arrival at the Gymnasium
1. Interesting choice of name for the girls' gymnasium, Sacré Coeur; I think that's French for Sacred Heart. Why a French language catholic school? I realize Austrian aristocracy sent their children to French speaking schools preparing them for University; but, why choose a Catholic place? Seems like a 'religious' place is the last place a demon would want the girls. Very good sleuthing. Sacré Coeur does indeed mean sacred heart in French. It is the name of a real convent and girl's school in Wien (Vienna). Where better than the heart of Christ would there be for a demon to do evil. What better Trojan Horse than a pitiable young countess who was driven from her country. Here is a revelation, the demon will attempt to bring down the school and the convent from within and without, but that is simply a sideline to his main goals.
2. Also interesting to note, 'sacred heart' is a devotional name used by Catholics to refer to the physical heart of Jesus Christ (as a symbol of divine love), and often associated w/ asceticism..a far cry from compulsion & temptation the girl falls into..in pursuit of luxuria. (I'm guessing, the school name, and environment was purposely chosen, for juxtapositional purposes.) You are right on the money. I didn't intentionally skip over these associations--as I mentioned before, I try to explain the multi-levels of the writing as well as I can, but I will certainly miss some of my own key points. Many of these will come out later in the text in a more complete revelation.
3. Finally, interest why Freifrau Bockmann, while making a running commentary on the school, and say... “...across from the church is the school... I mean the gymnasium. That is such a new term for me. It was always just a school when I attended there.”
Why did she call it a 'new term/? My understanding, the gymnasium was the model of German-Austrian schools since the 16th century; and in 1812, a Prussian regulation ordered all university prep schools bear the name of gymnasia. And, by the 20th century, this practice was followed in almost all German states, in Austria and in Russia. Would imply, in Wien, schools were called gymnasiums, preceding Freifrau Bockmann's own childhood, and training at that very school. Am, I missing something? When Freifrau Bockmann went to Sacré Coeur it was simply as school for girls. By this time it was a gymnasium for girls. Perhaps I need to clarify. I did try to convey this point in the text and I might have mentioned it before. There were no gymnasia for girls until the 19th century in Germany and into the 20th century in Austria. Therefore when Freifrau Bockman went to Sacré Coeur, it was a school and now it is a gymnasium for girls. As I understand it this is also historically correct for the actual Sacré Coeur in Wien. Note also, instead of Baron and Baroness, I use Freiherr and Freifrau. I would have liked to use Baron and Baroness, but I use the Austrian terms to place you in Austria. Harder for me, but, I hope, a scene setter for my readers.
New section in the chapter with a break. So we move on to the school itself and their incorporation in it.
Freiherr and Freifrau Bockmann left Aksinya, Natalya, and Asmodeus and took their coupe back to their estate at the edge of the city.
That afternoon Aksinya and Natalya received a pair of uniforms from Frau Drescher. To her credit, she chose clothing that was not too worn or faded, and the uniforms fitted the two of them reasonably well. After Natalya was finished with them, they were perfect. The stains were gone and the fitting was perfect. They flattered both of them. The uniforms were classic grey woolen skirts that reached to the ankles with a black belt at the waist. The blouse was made of white silk with some gentle lacy frills at the collar. For the winter seasons there was a grey short coat and a grey sweater. The shoes were button-up black brushed leather. Asmodeus gladly found shoes that matched Aksinya’s requirements from his large chest. He brought out the basic items Aksinya requested from him.
Okay, I couldn't find out the exact uniforms that Sacré Coeur used at this time, so I did some research and used the model of a typical convent school uniform for the time in Austria. The style is typical convent mixed with a little Art Deco from almost a decade before. If you note, we get again the perfection that is Natalya. She knows exactly what to do domestically and as a lady-in-waiting.
Just a short piece to round out the questions I answered. In the writing, I am at chapter 13 and almost finished with it. I have been so busy, I haven't had much time to write, but I intend to finish this chapter and go to 14 today. I have the rest of the book outlined, and I know where it is going--the devil (demon) is in the details.
In fact, a little about where hard points come in the writing. The last pieces for me were difficult. I don't like to have to set every bit of the scene, but I know it is critical to the novel. Once the scene is set, you can then write directly to the storyline, plot, and theme. You will see this direct detail in the next section of this chapter, that is chapter 6. In chapter 13, I had a heap of description, plus a lot of introductions. The description is necessary, the introductions are critical. Introductions in this cultural period are the lubricants of society. Therefore, the detail I put into this novel must show you these introductions. As we will see (have seen) the way introductions are made are critical to pick up on many of the deeper details of the story. To pull all this together, once the details of the scene are set, the author is free to then let the players move around in it. The hard part is the scene, the easy part is the play of the novel within it.
Saturday, November 27, 2010
A New Novel, Part 55 Uniforms and the Demon's Grin
So, I described the details of the dormitory and the rooms Aksinya and Natalya will use. The point in scene setting is to spend the right amount of time and words on these descriptions. Too much disturbs the flow of the narrative, too little doesn't give the reader a good enough picture. And that's the point. An author is trying to draw a picture with words. The words and the picture are critical to the novel because they each support the theme and draw along the story and plotline. You can see how I use dialog in the description to transition the description and to make it something more than just a list of things.
The Reverend Mother beamed, “Are you decided then, Countess. You will be studying with us?”
“Yes, we shall.”
Frau Drescher frowned, “You will need to be fitted for your uniforms.”
“Uniforms?”
“Yes, all the ladies here wear similar uniforms.”
Aksinya smiled, “Ah, the clothing they were wearing all matched. That will be fine for us. The Lady Natalya can fit us both, she is very skilled.”
The Reverend Mother put her hands together, “If it is all right with you, we can loan you both uniforms until yours can be made for you. That would allow you to start classes right away. Frau Drescher, please find uniforms that will fit the countess and her lady.”
Frau Drescher frowned again, “Yes, Reverend Mother.” Frau Drescher disappeared.
Aksinya stepped around the rooms again. She asked Natalya in Russian, “I should have asked you before, Lady Natalya, can you live here? Will this be acceptable to you?”
Natalya’s face was ecstatic, “Yes, Countess, I would love to live here. I will be very happy with you.”
Aksinya addressed the Reverend Mother, “Everything is worked out. We will live here, and we will study at your school.”
The Freiherr and Freifrau Bockmann nodded in pleasure. The Lady Natalya’s smile was almost as wide as her beautiful face. The Reverend Mother held her hands together with delight. Asmodeus grinned. Aksinya caught that grin, and she was suddenly filled with foreboding.
Aksinya forgot her role with the Lady Natalya--she is her first friend and confidant. After the question of the uniforms is settled, Aksinya remembers to ask Natalya her preferences. That is a little late, all the decisions and the arrangements are already made. Note Natalya's response, she is ecstatic. She doesn't care that Aksinya doesn't ask--Natalya is unused to being asked anything. Natalya just picks up the pieces and makes everything right. She will fit the uniforms. She will take care of Aksinya. This will occur over and over. Still, Aksinya must ask Natalya before everything is in order. This is the way of Aksinya's life--perfection of order, although not in the correct order.
The end is the response from the participants. The Bockmanns are happy. Natalya is happy. The Reverend Mother is happy. Asmodeus is happy. Aksinya is filled with foreboding--her joy turned around... Isn't this the point of the demon's existence. He is to carry out evil in Aksinya's name. In everything, Aksinya should expect her joy to be turned into unhappiness, that is as long as she opposes evil. If she accepts evil, then the actions of the demon should make her happy.
The Reverend Mother beamed, “Are you decided then, Countess. You will be studying with us?”
“Yes, we shall.”
Frau Drescher frowned, “You will need to be fitted for your uniforms.”
“Uniforms?”
“Yes, all the ladies here wear similar uniforms.”
Aksinya smiled, “Ah, the clothing they were wearing all matched. That will be fine for us. The Lady Natalya can fit us both, she is very skilled.”
The Reverend Mother put her hands together, “If it is all right with you, we can loan you both uniforms until yours can be made for you. That would allow you to start classes right away. Frau Drescher, please find uniforms that will fit the countess and her lady.”
Frau Drescher frowned again, “Yes, Reverend Mother.” Frau Drescher disappeared.
Aksinya stepped around the rooms again. She asked Natalya in Russian, “I should have asked you before, Lady Natalya, can you live here? Will this be acceptable to you?”
Natalya’s face was ecstatic, “Yes, Countess, I would love to live here. I will be very happy with you.”
Aksinya addressed the Reverend Mother, “Everything is worked out. We will live here, and we will study at your school.”
The Freiherr and Freifrau Bockmann nodded in pleasure. The Lady Natalya’s smile was almost as wide as her beautiful face. The Reverend Mother held her hands together with delight. Asmodeus grinned. Aksinya caught that grin, and she was suddenly filled with foreboding.
Aksinya forgot her role with the Lady Natalya--she is her first friend and confidant. After the question of the uniforms is settled, Aksinya remembers to ask Natalya her preferences. That is a little late, all the decisions and the arrangements are already made. Note Natalya's response, she is ecstatic. She doesn't care that Aksinya doesn't ask--Natalya is unused to being asked anything. Natalya just picks up the pieces and makes everything right. She will fit the uniforms. She will take care of Aksinya. This will occur over and over. Still, Aksinya must ask Natalya before everything is in order. This is the way of Aksinya's life--perfection of order, although not in the correct order.
The end is the response from the participants. The Bockmanns are happy. Natalya is happy. The Reverend Mother is happy. Asmodeus is happy. Aksinya is filled with foreboding--her joy turned around... Isn't this the point of the demon's existence. He is to carry out evil in Aksinya's name. In everything, Aksinya should expect her joy to be turned into unhappiness, that is as long as she opposes evil. If she accepts evil, then the actions of the demon should make her happy.
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