Book Review: A Streetcar Named Desire

A Streetcar Named Desire by Tennessee Williams

Although this one wasn’t for my classics book club, I have wanted to read it for years. As a play, it’s a relatively quick read, so I was able to tuck it in among other readings.

Spoilers possible.

A Streetcar Named Desire may be a better, more entertaining play than The Glass Menagerie, but together they suggest a pattern of playwright fixation on the destruction of fragile, helpless women at the hands of hapless or hostile men. Yet, although critics claim that Stanley is the catalyst for Blanche’ s tragedy, I see undeniable, culpable shades in the sorrows of sister Stella and would-be husband Mitch. Besides these influences, a case can be made that Blanche needs little nudging by anyone to plunge her into her ultimate abyss, a place she seems headed for from the start. Either way, the question is posed clearly before the tragedy is complete: Who is to blame?

The tragic arc is a twisted tree root. Plunging through the rich soil of clever, careful staging, eerie overlays of music and echoed sounds, and crisp, character-making dialogue, the reader (not just the playgoer) falls irrevocably into the suffocating depths of a taut, primal, sensual plot. With his usually detailed stage directions, Williams also leaves nothing in the production plan to chance, while his storytelling strikes a delicate balance by revealing just enough both to engage and to mystify his audience.

The emotional effects of these elements for Blanche are a haunting by the past that cannot be shaken and a shackling by her imagination that stunts her growth. Her character is static in the course of the play as the distance between the danger and the fall proves all too short. Stanley, likewise, is static, and so they come together like immovable object and unstoppable force. The intriguing question for me is what change must occur in Stella beyond the play’s ending as a result of this close family tragedy, with one member the victim and the other, the perpetrator. Stella, at least, has dynamic potential as collateral damage.

cover_A-Streetcar-Named-Desire_images.duckduckgo.com

Penguin Modern Classics edition book cover

Still, none of the main characters reads as a monotone stereotype; they themselves get to play with those concepts as they size each other up. The tension permeating the play stems from perceptions of class differences, ethnic backgrounds, sexual attraction, and affectations brought into sharp relief by the visit of Blanche DuBois to her sister and brother-in-law’s small apartment during a typically oppressive New Orleans summer.

The result is a smoldering tragedy without a clear path as to how it might have been avoided. Remarkable paradox comes through Williams’ writing: Stella, Stanley, and Blanche all prove to be decent people even as their inflexible selfishness, by turns, renders them on many levels indecent–and ultimately inhumane–to one another.

Raw, obvious character flaws, especially Stanley’s, do contribute to the mess, however. His inherent roughness of manner, speech, action, and mere presence directly feed and elicit Blanche’s carefully constructed delicacies, charms, snobbery, and veneer of the victim. They could hardly be more different, and as foils, these opposites both attract and repulse.

Like the down-to-earth Stanley, the reader knows upon meeting her not to take Blanche at face value, but as we get to know her, we begin to empathize with, if not believe in, Blanche DuBois. When Stanley finally exposes her past sins, the whole truth of them is doubtful, they are inextricable from her suffering, and we see that both Stanley and Stella can be right about her sister in their opposing views.

Blanche is a menace being treated unfairly.

An emotional atmosphere of steamy New Orleans chaos reigns over the play. Ripples of racist overtones, sexism, raw sensuality, crime, vice, and class prejudice collide and reinforce one another to disrupt the characters’ moral compasses. Danger vibrates constantly just beneath the surface, and I kept expecting brawl, beating, or suicide around the next corner. Peripheral scenes foreshadow ultimate conflict as violence escalates, but it’s all very restrained, held in check for the bulk of the story, which makes each scene all the more intriguing.

The shock of the penultimate act of violence, committed between active scenes, can resolve into either the satisfaction of poetic justice or an indignation against grave injustice, a verdict that rings loudly through the end. The ensuing resolution is also unequivocally sad, and we even get a moral from the perfect, trembling lips of Blanche DuBois. Coming from her, the line “I’ve always depended on the kindness of strangers” is both ironic caution and sad testament to a frail psyche.

This is one of the few plays I’ve read besides Shakespeare that so strongly compels me to seek out a production to watch this very minute. In A Streetcar Named Desire, Tennessee Williams exposes seedy corners of mid-twentieth-century American society and equally dark corners of its minds and hearts. First, he is the realistic, impartial painter of human coarseness, failure, beauty and love. Then, in affecting lyrical form, he hints at judgment of all these through their close, unflinching examination. In his complex process, Williams has crafted a true literary and theatrical treasure.

Five out of five stars.


Learn about the 1951 film version at A Streetcar Named Desire.

An Outlander Tourist in Scotland, Part 4

Last updated March 17, 2017

My previous posts in this series collected and presented the vast majority, a total of 37, of the options for Outlander tourist attractions in Scotland: book- and film-related sites numbering 15 in Part 1, 11 in Part 2, and 11 in Part 3.

This post tells the story of my planning process for our own Outlander-themed Scotland trip, complete with changes in scope, backtracking, enlisting outside help, comparing and revising itineraries, and reflecting on the choices we made. Next time, I’ll provide a review of our Outlander tour experience and of the tour company we went with for our day tour.

Also in my final post in this travel guide series, I will list and discuss Outlander tour companies and tour options, including additional film locations not covered in my first 3 posts, compile a list of all the resources linked and discussed in the first 4 posts, and run down a list of websites and apps I used and loved but didn’t mention here. I’ll also provide some final thoughts on travel for Outlander, in Scotland, and generally. A sign-off of sorts with directory, closing credits, and bibliography.

Other Scotland trip posts down the road will add to the trail of breadcrumbs I’ve laid down since last October, to highlight specific sites visited, services engaged, adventures experienced, and images captured. Be glad you weren’t subjected to a slide show at my house; you have the privilege to take in these servings in digestible portions. In case you missed the first several, see the list at my introductory post “Scotland Ventured, Scotland Gained.”

March 2016

It was about this time last year when I began my months’ long planning process for a UK vacation with an Outlander focus. I don’t recommend spending as much time as I did—even if you have it; I simply have an obsessive, high-maintenance approach to project planning. I “just want it the way I want it.”

Still, as with many transcontinental excursions, for travelers from outside the UK going there for the first time, there are some things you should consider and do several months in advance of your departure. The most obvious include booking airfare, lodging, and, of course, your dream Outlander tour. In most cases, it will be wise to book the tour first of all.

Where I Started

My first phase involved researching England and Scotland for places and attractions I would most like seeing. In addition to doing online research, I purchased a set of travel guides and magazines at the bookstore instead of from online, where I previewed them and their reviews, so I could flip through the pages of the options, get a feel for each one’s layout, focus, ease of use, size and weight before buying. These included a combination of books and magazines:

  • the pocket guide DK Eyewitness Travel Top 10 London 2016, filled with best-of lists
  • the full guide books DK Eyewitness Travel Great Britain (2016) and Fodor’s Travel Essential Great Britain with the Best of England, Scotland, and Wales (2015)
  • Discover Britain magazine (Apr 2016)
  • London 2016 Guide from Britain magazine
  • Scottish Life magazine (Winter 2015) focusing on Orkney
  • Scotland Magazine (Mar 2016) featuring “Best of Argyll”

I had enjoyed the color illustrations, digestible organization, and other features of DK’s guide to Provence when I traveled for study abroad in college, and I was not disappointed in any of the DK products I bought for this trip. Fodor’s turned out to have a valuable alternative perspective along with stellar regional maps and recommended sites labeled by “Fodor’s Choice” in each region.

Curse of Abundance

In addition to taking notes on the overall highlights of each major city, I compiled lists of attractions from different regions of England and Scotland into groups. After a few weeks of attempting to narrow the list down to a reasonable set of regions and sights, I then used the suggested itineraries in the guide books to draft a few possible trip outlines. The shortest trip I could stand to plan under these constraints was 16 days, and that turned out to be too long for us due to the budget and timing of our trip.

Getting Unstuck

To solve this problem, I took a different tack: First I created a checklist of steps to consider taking to strategize our tourism.

  1. Hire a travel agent!
  2. No more than 1 of each of these types of attractions per day in regional, smaller towns and countryside. Countryside:
    • castle & historic home
    • museum & castle
    • home & museum
    • < 2 castles
    • 2 historic homes & 1 home’s grounds
    • < 2 larger museums

          In town:

    • shopping (1 street or 1 famous shop)
    • art gallery/antiques/architecture walk
    • bookshop
    • park
  1. Travel by train or car only; buses take too long (this would later turn out to be a false assumption). Again, for smaller towns and the countryside, unless otherwise advised.
  2. Choose 2-3 regions of England plus London, maximum.
  3. Choose 2-3 regions of Scotland plus Edinburgh (or Glasgow?), maximum.
  4. Plan a trip that lasts more than 14 days (a fortnight). Otherwise, you won’t even squeeze in 2 regions per country beyond the major city.
  5. Choose a theme of types of places to focus on, especially in smaller towns & countryside, one theme per region or town. Possible themes:
    • history – range of periods for greatest variety
    • literature – there are lots of literary tours and trails highlighted in guide books, and I took special interest in crafting some possible versions of literary tours in both England and Scotland, focusing naturally on Shakespeare, as well as Burns, Scott & Stevenson, among others.
    • sports/contemporary culture
    • views/vistas
    • nature walks
    • art/architecture
  1. Consider avoiding longer ( > 1 day or ½ day) scheduled tours, being locked into those.

From this process, I color coded my previously handwritten notes, highlighting preferences and categorizing attractions by type. Fodor’s and the top 10 guides were particularly helpful to this end in their category pages by type of attraction or experience. These included castles, palaces & historic homes, villages & towns, cities small & large, gardens by season, and things like parks, mountains, lakes, and walks.

To narrow further, I even created a Must-NOT-See list of things to avoid because either I did not care about them, they seemed overrated or tourist trappy, or they might even disgust, offend, or otherwise dampen our adventure.

The Must-Flee List

My must-not-see list included things easily captured in online pictures or video and grandeur for its own sake. Between college visits, study abroad, and post-college travel, I had already been to Paris, Normandy, the Loire Valley, Provence, the Riviera, Venice, Florence, Rome, Vienna, Salzburg, and Holland, as well as Utah, Colorado, New York City, Washington, D.C., Virginia Beach, western Massachusetts, upstate New York, and several parts of California. My husband had already been to Abu Dhabi, Dubai, Ankara, Istanbul, and Paris.

And together we’d been to Chicago, Wisconsin, Mount Rushmore, Devil’s Tower and the Badlands, the Great Plains, Denver and the Rockies, Northern California, Cape Cod and Martha’s Vineyard, North and South Carolina, Orlando and the Florida coast, and on a western Caribbean cruise for our honeymoon. With everything we’ve been blessed to see, we didn’t need to be dazzled by immensities.

Other no-nos included shopping meccas (not my thing); Wales which has lots of cool castles (plenty of those in Scotland) but not much else of obvious interest; places too far out of reach, such as the Outer Hebrides, Ireland, Northern Ireland, East Anglia, Cambridge, and the Orkney Islands (though I might make a beeline for Orkney next time for all its uniqueness); gardens best seen in other seasons; famous sites too far off our “circuit” unless personal meaning demands it; too many churches; and too many castles. In London, I discarded Buckingham Palace, Westminster Cathedral, and anything focused solely on the Royals. I just didn’t care.

Chopping Block

When all that was said and done, even with all that trimming and relinquishing, I finally realized and admitted to myself that we couldn’t do both England and Scotland in a feasible amount of time without feeling rushed and disappointed by what we would miss. Over the years, my vacation philosophy has evolved to a preference for more in-depth exploration of a smaller territory over the impulse to cover as much mileage as possible before throwing your exhausted carcass back on the plane or in the car home.

At that point, I asked my husband if he would object to visiting only Scotland this time around, and to my surprise, he agreed. I had been laboring under the assumption that he would very much prefer England due to his greater familiarity with it, his frequent exposure to English Premiere League football matches, his Manchester City fandom, and, frankly, his lesser interest in Scotland and Outlander compared to mine.

I was so relieved to gain this freedom of focus, to be able to plan a trip that wouldn’t be the typical whirlwind tour of a vast region that goes by in a blur and becomes more stressful than the everyday work situation your vacation is meant to offset.

Scotland it would be.

Scotland Guidebooks

To adjust to this change in plans, I purchased the DK Eyewitness Travel Top 10 Scotland pocket guide and a used 2011 edition of Peter Irvine’s Scotland the Best, touted as the guide preferred most by Scots. The top 10 guide provided the same format of best-of lists in various categories—some regional, some interest based—found in the London version.

I would have purchased a more current edition of Scotland the Best, but the best option would not be released until October, after our trip would have ended. I felt the older edition served its purpose and did not regret buying it. Without illustrations or photos, Irvine’s guide focuses on providing comprehensive best-of lists in a broad range of categories and subcategories.

Certain of Irvine’s preferences I found surprising compared to those in the other guides that seemed more in agreement with each other. As a later purchase following so much in-depth research, Scotland the Best turned out to be less useful than the collected wisdom from the other guides, but I was still glad to compare viewpoints and learn about some attractions beyond the beaten path.

Drilling Down

With these new tools, some of my more intensely focused additional considerations consisted of narrowing down options among types of attractions found in abundance, such as castles, to only the very best, those nearest along our natural circuit through the country, or those with special literary, historical interest, or film association. For instance, having traveled in Europe and to several major U.S. cities with rich arts scenes, I already knew which types of art I preferred and what kinds of activities my husband and I leaned towards.

I also felt the need to mix in a variety of activities requiring different levels of energy, foot travel distance, and other demands on the human body or mind, spread across several days with rests or natural lulls built in. Thus, an all-day Jacobite Steam Train ride after several days of hoofing it to cover our bases. Hubby slept a total of at least an hour on that West Highland line while the spectacular countryside meandered by, but he had the very legitimate excuse of having been the designated driver of the previous week, adapting to opposite sides of car and road, as well as single-track, stone-sided, and winding roads, for the first time. I was just the navigator.

Outlander Tours

As for factoring Outlander in with all of these guidelines, I had already begun screening the other guides for popular Scottish sightseeing and scanning Google maps to locate as many Outlander-related sites as possible. I had also oriented myself to some of the better, recommended Outlander tour companies, using Diana Gabaldon’s website as my starting point.

Newly applying the Scotland focus to the Outlander tour search, I then began narrowing down those options to find one that would be more than a half-day but less than 3 days in length so we wouldn’t overdo Outlander at the expense of classic Scotland and an overall varied set of experiences.

I settled on Inverness Tours early on, but as the timing and focus of our trip evolved and solidified, I lost my window of opportunity to book a day tour during the dates we had selected. My second choice became Slainte Scotland, but I hesitated, corresponding with the company to gather more information to clarify exactly which sites the tour would include.

Reaching Out

Although it might not seem like we needed it, I did end up hiring a great travel agent, Chima Travel in Akron, Ohio, which helped with reality checking, pre-packaged tour awareness, and eventually discounted airfare and hotel package booking. However, our agent was impressed by my prior homework, to be sure.

Excited to see the trip taking shape, as I mentioned in my overview in Part 1 of this series, I laid out our tentative list of sites and sights in the post Five-Phrase Friday (38): Scotland.

“Five Scottish regional destinations for a 2-week visit, clockwise order from the south-west: Most preferred sights are listed for each area, though we may will not make it to all of them.

  1. Glasgow and environs (4 nights Glasgow) – Glasgow Botanic Gardens, Kelvingrove Art Gallery and Park, City Chambers, Glasgow Cathedral/Necropolis, a play, boat ride on the river Clyde; Cumbernauld (Outlander studios drive-by), Falkirk Wheel, Stirling Castle, Doune Castle (Monty Python, Castle Leoch), Wallace Monument

  2. The Trossachs, Argyll, and Central Highlands – Loch Lomond (and maybe Loch Katrine) in Trossachs National Park; Loch Awe, Inveraray Castle; Glencoe

  3. The Great Glen, Highlands, and west coast (2 nights Fort William) – Fort William, Glenfinnan Monument (Jacobite Rebellion launch), Jacobite Steam Train to Mallaig, lochs and walks in the Great Glen; Eilean Donan Castle

  4. Inverness and environs (3 nights Inverness) – Inverness Visitors Centre, excursions to Foyers Falls, Loch Ness and Urquhart Castle (maybe a boat ride), Cawdor Castle (Macbeth), Culloden Moor (Jacobite Rebellion), Clava Cairns (standing stones with split rock), Cromarty, Black Isle, Moray Firth

  5. Edinburgh and environs (4-5 nights Edinburgh) – Edinburgh Castle, National Museum of Scotland, Palace of Holyroodhouse, Calton Hill, The Royal Mile main street, which includes Writers’ Museum, Greyfriars Kirk (“Bobby” the Westie), St. Giles’ Cathedral, Scott Monument, and more; Southern Uplands including Rosslyn Chapel and maybe Abbotsford House (Sir Walter Scott) and Melrose Abbey

The above sites are separate from several specific towns and rural locations where the Outlander TV series has been filmed. After some consideration, I’m inclined to skip a packaged Outlander tour in favor of making our own. I know enough about the books, TV series, and show creators that information won’t be lacking, and we need not be further restricted in our movements or schedule. ”

What I ended up doing is splitting the difference and combining self-guided Outlander tourism with a single day’s guided Outlander tour, taking the official tour early on and scooping up the remainder once we obtained our rental car on day 4.

Another part of reaching out came to me around this time. My friend and fellow Outlander fan called to tell me she and her husband would be going to Scotland in July with another couple for 10 days and that they had booked with Inverness Tours. She thought I’d be jealous, but I told her about my planned trip too, and we ended up sharing in each other’s excitement. She agreed to help with recommendations after her trip to inform mine, and she even looked at my itinerary to weigh in on its feasibility. I’ll share their circuit and some of her tips in my final post in this series.

Our Scotland Trip

Next is a look at our two-week trip overview and a comparison between the planned and actual itinerary of the first two days. While day 1 turned out quite different from its plan, day 2’s plan came to fruition, except for the Real Mary King’s Close, which was our last major Edinburgh attraction on the 19th. Note the bit about where we dined and what I ate.

Screenshot from 2017-03-08 22:56:18_p1d1-2

And the rest of our itinerary . . .

Sept 16

We flew in overnight on September 15, arriving September 16 late morning in Edinburgh, and used a taxi from the airport to our hotel, the Residence Inn south of Old Town. After sleeping very little on the plane, we snoozed in the restaurant of our hotel waiting for our room to open up, then slept the rest of the afternoon and had a late dinner at Vittoria, which serves up-scale Italian food.

We then used a combination of buses, trains, a tour van, and our unaccustomed feet to explore the hilly, cobbled Edinburgh and surrounding areas over the next three days.

Sept 17

Outlander Tour of 5 filming sites. A 9-hour tour with Slainte Scotland, led by Managing Director of Clyde Coast Tourism Ltd., proud Scot, and Outlander STARZ TV series extra, the lively, lovely, and knowledgeable pro tour guide Catriona Stevenson: Midhope Castle (Lallybroch), Blackness Castle (Fort William), Falkland (1940s Inverness), Doune Castle (Castle Leoch) including whisky tasting, Culross (Crainsmuir and Castle Leoch herb garden).

That evening at the Royal Lyceum Theatre, Edinburgh, we attended a vibrant performance by the Dundee Rep Theatre of the ceilidh-style historical and political play The Cheviot, the Stag, and the Black, Black Oil, which kept us awake even after an all-day tour and with jet lag setting in from the day before. Seeing this play early in the trip provided essential perspective on the past 200 years of Scottish-English relations and politics, which we could then reflect on as we traveled the country.

Sept 18, 19

Edinburgh city tourism, including book sites Palace at Holyroodhouse and walks through Old Town, setting for the printer’s shop and smuggling outfit of A. Malcom, Jamie’s alias in book 3, Voyager. The main focus on these days, though, was catching some of Edinburgh’s major attractions, including Edinburgh Castle, the Writers’ Museum, the Real Mary King’s Close, and Scott Monument on Princes Street—well worth it!

                        Planned                                                                Actual

Screenshot from 2017-03-08 22:59:36_p-1d3-4_18-19_re-done_WritersMuseum

We picked up our car on the evening of September 19, our last night in the capital before heading north to the Trossachs and Argyll early on Tuesday morning.

Sept 20

All-day personalized journey through Argyll & Bute’s vistas and sites of ancient Scots roots and a Gaelic kingdom’s medieval hillfort, with the delightful Àdhamh Ò Broin, Gaelic Language Consultant for the Outlander STARZ show. We hired him for a day of his time to share his love and knowledge of the endangered Dal Riata Gaelic dialect, the wonders of Argyll, the region of his upbringing, and insights into the everyday lives of Scots from the past and today.

We managed to fit in views of island mountains, croft ruins, standing stones, ancient hill fort, cairns, sheep, a few castles and ruins, lochs and hills, bagpipes, singing, cattle, jokes, supernatural stories, local color tales, coffee, lunch, two churches, and a night view over the Kyles of Bute. We even took a close look at a caterpillar (in Àdhamh’s hand on this blog’s recent header image) at the Kilmory Oib Township ruins.

Phew! What a day. By far superior to anything we could have done on our own. As a result, we skipped visiting Inveraray Castle and the Auchindrain Museum village, though we passed by both. The richness of our experiences made those omissions irrelevant.

                        Planned                                                                Actual

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Screenshot from 2017-03-08 23:00:50_p-2d5_20th_bottom

Sept 21, 28

Combined with unrelated but great attractions in the vicinity, we selected additional Edinburgh-area Outlander options among Glencorse Old Kirk (visited, film), Linlithgow Palace (visited, film), Hopetoun House (skipped, film), and Preston Mill and Phantassie Doocot (skipped, farther east, film). Upon returning to Seabank B&B at the end of day 2 in Argyll, the Trossachs, Stirlingshire, and Midlothian, we encountered our previous day’s guide Àdhamh Ò Broin at the Drover’s Inn, on the north end of Loch Lomond! Well, it is a small country, after all.

                        Planned                                                                Actual

Screenshot from 2017-03-08 23:01:31_p-2d6-7_21-22

Sept 22

Drove through Glen Coe—an absolute must for any first-time visit to Scotland—on our way northward up the Great Glen toward Inverness. Parts of Glen Coe were used for long shots during Outlander‘s credits.

Sept 22, 23

Made sure we passed Loch Ness (book) to and from other adventures, such as our Jacobite Steam Train ride from Fort William (book) to Mallaig on the western coast and back. The train passes and stops at Glenfinnan after crossing the Glenfinnan Viaduct, which was used in the filming of Harry Potter. The Glenfinnan Monument is the site where the standard for the Jacobite Rising of 1745 was raised by Bonnie Prince Charlie.

                        Planned                                                                Actual

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Screenshot from 2017-03-08 23:02:06_p-2-3_d9-10_24-25partial

Sept 25

Drove to Loch Rannoch area, Perthshire, sort of hunting for the site of Craigh na Dun‘s filming, surmising also about the location of the Mackenzie rent party’s rides on the way for Jamie to meet Horrocks through the forest near Aviemore, along the way to and from Rannoch Forest, Loch Rannoch, Rannoch Moor, and Kinloch Rannoch. It was actually somewhere on the nearby Dunalastair Estate where the Craigh na Dun set was created and filmed.

Sept 25, 26

Identified Inverness (book)-area Outlander filming and book sites to choose from, visiting the gorgeous Beauly Priory (book), mysterious Clava Cairns, and humbling Culloden Battlefield (book & film), as well as Cawdor Castle (the Macbeth castle), while skipping Loch Garve (book), Falls of Rogie, and Castle Leod (book) in Strathpeffer.

                        Planned                                                                Actual

Screenshot from 2017-03-08 23:02:16_p-3_d10-11_25-26

Sept 27, 28

Scouted and targeted Glasgow city centre and metro-area filming sites, including George Square, Glasgow Cathedral and Necropolis, Pollok Country Park, and the Outlander studios in nearby Cumbernauld. On our last day of sightseeing, we visited Linlithgow Palace, used to film the exteriors and corridors of Wentworth Prison in the last episodes of series 1, and finished the day at Hampden Park, home of the Scotland National Football Team, of the Celtic Rangers, and of the Scottish Football Museum. We ate a fabulous lunch at The Cotton House, in Longcroft, Bonnybridge, Stirlingshire (http://cotton-house.co.uk/).

                        Planned                                                                Actual

Screenshot from 2017-03-08 23:02:36_p-3_d12-14_27-29

Some days fulfilled the carefully assessed, vetted (by recent Scotland traveler friend), and revised plan, but most deviated quite a bit, and some plans were totally replaced. Overall, we managed to meet our priorities, fit in some spontaneity, and get sufficient rest to keep going.

End of the Tourist Season

One thing that really helped us was favorable weather for outdoor activity during the whole first half of the trip, including our day-long Outlander tour on the 17th. A mixture of sun and clouds with highs in the mid 50s to low 60s held strong through most of each day from September 16 to 23. From all I had heard, this was like winning the lottery. Actually, my research showed September to be generally drier than late summer, but we were lucky, too.

Before making final reservations at B&Bs, and for the Outlander and train tours, and before purchasing tickets for the play, I asked my husband whether he would prefer a train trip or a boat ride on Loch Ness. He chose the train. I originally preferred the boat cruise, but a train excursion turned out to be the wiser choice, as it rained the whole day of the 23rd and the train offered shelter and the occasion to nap, which hubby really needed at that point.

We had a rainy afternoon in Perthshire on the 24th while the west coast got hammered (we were lucky to miss the really bad stuff in Mallaig the day before), but we enjoyed a beautiful sun and clouds Culloden visit that morning. Then, the daylight hours of the last two days in the Highlands—25 and 26 in Inverness, Moray Firth coast, Beauly & the Black Isle—were uniformly gorgeous.

Once we got to Glasgow, our last leg of the trip, the rain mixed with the cloudy skies more often, but shelter was easy to come by and most of the 27th was conducive to picture taking at Glasgow Cathedral and around town. Finally, the 28th provided steady light rain throughout our visits to Linlithgow Palace (castle ruins), Outlander studios (front gate), Pollok Park (driving around), and Hampden Park (indoors).

The Verdict

My experience of this trip was so absolutely positive, I don’t hesitate to call it the best trip of my life, and my husband is nearly in agreement on that score. Thorough, careful planning surely played a key role in increasing the chances of such an outcome, but we must also give proper credit to the place, the sights, and the people.

What we might have done differently if we had a do-over

Top changes I would have made to smooth out the schedule, without looking at weather:

  1. Limit the 17th to only the 9-hour Outlander tour to reduce exhaustion for subsequent days. If possible, schedule our viewing of the play’s performance for the evening of the 16th instead.
  2. If possible, avoid scheduling exploration of Inverness-shire for Loch Ness Marathon weekend, for greater flexibility.
  3. Travel earlier in the tourist season to increase Jacobite Steam Train scheduling options.
  4. Book lodging at three major bases instead of four, to allow more time to explore and spend less time packing and unpacking, as well as adjusting to a new home base.
  5. Allocate sufficient time each evening to literally map out the next day’s specifics.
  6. Skip the interior of the Palace at Holyroodhouse, or reduce the time spent, in keeping with my lesser interest in pomp, circumstance, and royalty. Focus solely on its abbey ruins, and then climb Arthur’s Seat instead.
  7. Visit a local pub for a pint or a dram and strike up a conversation with a native.
  8. Walk less and see fewer sights during one of our packed days to make doing #5 and #7 more plausible.

Top changes I would have made if I were in better shape, without looking at weather:

  1. Add a whisky distillery tour in the Highlands or a whisky tasting experience in Edinburgh.
  2. Make the effort to climb up Arthur’s Seat near Holyroodhouse and take in the view of Edinburgh and environs.
  3. Climb all 237 steps to the top of Scott Monument, the tallest monument to a writer in the entire world.
  4. Visit Calton Hill for more views of the city from the opposite end nearest Edinburgh Castle.
  5. Do more hill walking among the lochs in the Trossachs, at Schiehallion near Rannoch, or around Loch Ness.
  6. Walk up and through the Necropolis path (also if I hadn’t been so fixated on capturing every last nook and cranny of the Cathedral) in Glasgow.

Top changes I would have made if we had had more time, without looking at weather:

  1. Spread out our Edinburgh sightseeing across 4 full days instead of 2.5 (18, 19, and only a bit of 17 and 16). Our last day in Edinburgh was a bit stressful as we tried to cram in all the best of the rest, including The Real Mary King’s Close (accomplished) and the Scottish Whisky Experience (skipped).
  2. Visit Gladstone’s Land and Georgian House for the Old Town-New Town classes comparison in Edinburgh.
  3. Make sure to enter a bookshop dedicated to selling books. This notion ended up on the chopping block, but I did purchase a National Trust Scotland book on Culloden, and Historic Environment Scotland books on Cairnpapple Hill near Edinburgh and on Linlithgow Palace.
  4. Go back to Culross to see West Kirk (the Black Kirk) and visit Hopetoun House (Sandringham) and/or spend more time at each stop of the Outlander tour, including Culross Palace and Falkland Palace.
  5. Go back to the National Museum of Scotland to take in more of its numerous galleries.
  6. See more waterfalls, try harder to see wildlife, and make a point of seeing sea wildlife, especially otters.
  7. Spend some leisure time enjoying the amenities and luxuries of Daviot Lodge, including the garden, the living rooms, and the huge bear-claw tub!
  8. Take a ferry to the Isle of Skye and explore it for at least a day, including the Fairy Pools and the Cuillin Mountains.
  9. Make a more concerted effort to find the Craigh na Dun set at Dunalastair Estate, Rannoch.
  10. See the Burrell Collection and/or Pollok House at Pollok Country Park, Glasgow.

Top changes I would have made to lighten the luggage load and save time, without re-considering weather:

  1. Pack fewer jeans and more leggings and light-weight, comfortable pants to reduce laundry needs and vacuum bag compressibility.
  2. Pack fewer toiletries and over-the-counter medical provisions, allowing occasions to purchase them as needed in Glasgow, Edinburgh, or Inverness areas.
  3. Pack no reading materials for leisure that were not directly related to the current trip; have audio books available instead.

What you can do

While careful, refined planning can have positive outcomes, as you have gathered by now, it’s no quick or easy process. I had to contact multiple service providers directly, exchanging emails with our tour guide at Glencorse Old Kirk and hosts at Daviot Lodge and Seabank B&B, arranging Alamo/Enterprise car hire (I was more successful at finding good rates than my travel agent was!), and booking the Jacobite Steam Train excursion, our viewing of the Lyceum Theatre play, and our Outlander tour directly from across the pond.

All of this was of course predicated on gaining intimate knowledge of distances and durations of travel between key towns and cities and spatial relationships among sites on our must-see list. I spent countless hours just perusing Google maps, creating personalized travel guides including a chart of distances between cities, and bookmarking and starring favorites toward making this a great trip.

Then, I familiarized myself with money-saving strategies such as purchasing Historic Environment Scotland’s Explorer Pass and National Trust Scotland’s membership to reduce costs at individual sites. In the end, it was cost effective to buy the Explorer Pass but not the NTS one in our particular case. I oriented myself to banking, traffic, and other infrastructural systems, often trying out apps for satnav/GPS, bus systems, and rail networks. I even had my husband program our Garmin Nuvi GPS with Scotland maps, which became indispensable when trying to save mobile data with phone satnav.

Glimpsing all the detail, reading, rehashing, clarification, and direct booking that went into my process should tell you one of a few things about your own planning. It may tell you either that:

  1. You had better get cracking and start planning well in advance if you insist on a DIY experience of some duration and are a first-time traveler to Scotland or the UK.
  2. This self-tailoring is not for you; your best bet is to trade flexibility for a pre-packaged set of experiences where the details are out of your hands and you can just relax and enjoy. Or,
  3. If you do like the idea of going it alone for whatever reasons and you’re confident you can take a much simpler approach than I did, perhaps in part because you don’t mind healthy doses of spontaneity, you can separate which factors are deal breakers and which ones you’re happy to leave to chance.

You may discover that you couldn’t care less about Scotland itself (or at least cared less than you thought you did) and are only interested in the Outlander attractions, or heaven forbid, vice versa. If so, more power to you, but if you can stomach the stress of it, I recommend splitting your focus between the two.

The good news is that Outlander‘s growing popularity continues to boost Scotland tourism (confirmed by both my own travel agent and Scottish news sources). As a result, more and more travel companies and touring services have added Outlander to their repertoire in one way or another or enhanced the offerings they already had.

Just remember for me in reading this post, the previous ones or the next, that . . .

(Disclaimer) It’s ultimately up to each of you as trip planners to verify details to make your stay go as smoothly as possible, details such as which sites are open to the public (not all are), how, and when, especially if you intend to take the DIY approach for all or part of your trip. I have and will continue to provide some resources to get you started, but information and access can change, and the location property owners and stewards have the final word, so be sure to do your own verifications.

In the next part of this travel guide series, we’ll focus on Outlander tour companies and tour options, along with film locations not covered in my first 3 posts, and bring together all the shared and unshared resources I used and liked. I’ll close with some thoughts on Outlander, Scotland, and general travel.

But wait! There’s more. In future posts, I’ll continue to highlight specific sites visited, services engaged, adventures experienced, and images captured during our trip. Keep coming back to my introductory post “Scotland Ventured, Scotland Gained.” to get the full scope of available bits from just after our trip last fall through the rest of this year.

I hope all this helps you get through Droughtlander, at the very least. Thanks for reading.

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Book Review: The Count of Monte Cristo

The Count of Monte Cristo

by Alexandre Dumas, père

Warning: This review and analysis include several spoilers. Read at your own risk.

Style and Substance

The writing in Alexandre Dumas’ historical French novel, relating a 19th-century tale of injustice and revenge, can be long winded. Readers might expect this when noting that an “unabridged” version ranges between 1100 and 1400 pages. With so much space consumed, we might suppose this writer who loved his craft was tempted into ostentation. Perhaps he was.

However, I wouldn’t call his style flowery; a tempted Dumas exhibits self-control. Understated and enticing, the author’s abundant wit, along with great storytelling and readable prose, justify the length of the text. Truly.

I finished this book club selection more than a month before our February meeting, quite the feat considering how often I don’t finish on time. Yes, I started before our last meeting about a single Agatha Christie short story, but never mind.

A suspenseful page-turner for most of its fecund pages, The Count of Monte Cristo kept me reading steadily to learn the fates of characters set aside for long, overlapping periods. My circumstances helped, but Dumas helped more.

Rooted in European history, the settings span a 25-year period of the early 1800s and explore diverse locations from sea and prison to Rome, Paris, and the French countryside. At the story’s fulcrum is the question of political loyalties and their implications. Early shifts in power between Royalists and Bonapartists animate the lever that decides the ground on which central characters begin their journeys.

The plot is intricate and well organized, and the story proves emotionally dynamic, replete with dramatic irony. Rhythmic flow springs from engaging dialogue, which, beside measured descriptive text, renders Monte Cristo a delightful, theatrical melodrama. Its film adaptations attest to this strength with their number.

count-monte-cristo-cast-into-the-sea

“Dantes Cast into the Sea” by French artist Dumont. George Routledge and Sons edition, 1888

Genre, or Who This Book Is For

My first, unspoiled reading never brought tears, drew audible gasps (maybe some silent ones), shocked me, or provoked any wild laughter. In that way, I see it as a steady, well-written, well-told yarn composed of entertaining threads. It is more dark, sweeping Romance in the Gothic tradition than affecting, relatable human drama. This fact tempered my enthusiasm somewhat, as I tend to prefer the latter.

Intrigue, mystery, crime, adventure–all in the particular context of early 1800s Continental politics and cultures–overshadow character complexity and intimacy despite dozens of highly emotional moments. Sadly, there are no kisses lip to lip, let alone sex scenes; sexual suggestiveness is rare and subtle.

Perhaps Victorian in those respects, the book offers some extreme violence, ample cold-blooded murder, and one instance where an unconscious maiden signifies rape. Several incidents are told as stories within the story, but such elements serve to emphasize the grisly tragedies and grotesque fascinations comprising the tale.

Specific Critiques and Praise

Among its flaws, The Count of Monte Cristo tends to telegraph plot points. Thus, prolonged suspense meets the anticlimax of predictable, but satisfying, outcomes. We could attribute this forecasting effect in part to the amount of space and time provided for the reader to guess results correctly, but it is noticeable.

[Second warning: If you’ve never read this book but think you might want to, leave this post now and go read it!]

Still, I felt great moral and literary satisfaction in anticipating the villains’ comeuppance. Then, the collateral damage is realistic and heart rending, dispelling any notion of a surgically precise wrath of God. Lingering questions about the fates of key characters also felt appropriate, particularly concerning Benedetto. As we leave him, we suspect he just might get away with his crimes.

The reader gains significant insight into more than half a dozen characters, sympathizing with their situations. By this method, Dumas succeeds in conveying the imperfect nature of vigilante justice (or any justice) as each major villain meets a punishment that may not match the severity or nature if his crime. The costs of vengeance are dear. Given the paths before these ends, the final choices and turns the antagonists make seem to befit their personalities, also well developed.

By contrast, I found the main character surprisingly underdeveloped for so long a work and despite, or perhaps because of, the different characters he embodies. Edmond Dantès’ journey is remarkable early on and leading into his manifold vengeance. The changes starting to take shape in the climax also work well, but the ending felt rushed. Dantès’ reflections seem insufficient, his remorse and renewed questing half hearted, and his love for his ward lukewarm and a bit convenient.

[Third and final warning: I really mean it this time – Turn back now or skip to the summary below, or suffer the consequences!]

One can imagine Dantès’ moral education continuing beyond the fifth volume of the story, along with the revival of his will to live and start again. I don’t personally need a neatly wrapped ending. Yet, if that emphasis on waiting and hoping was the author’s intent for Dantès as much as for other characters, I would have preferred hints of a more precarious future happiness for our primary hero, more of a sense that the next climb may be just as long and steep as the last.

For Love of Money

Other trouble comes in the author’s apparent emphasis on needing a seemingly limitless fortune to possess true, full freedom and happiness. This notion meets no significant challenge anywhere in the story, which I found strange, if not quite disappointing. Reinforcing this sentiment is the unmitigated misery associated with every example of poverty or even humble means. Dumas might look upon the poor as inherently noble creatures, morally superior, a Romantic vision, but he leaves no doubt that everyone from prince to pauper prefers, and even needs, substantial wealth. Such assumptions irritate.

The exceptions are the slaves the Count owns; Dumas portrays the happiness of Ali and Haydée to be as incandescent as their devotion is supreme. They hardly count, for they are completely dependent, without their own money, and thus without authentic agency. The author seems to doubt that even a single, independent Frenchman could be happy in this time and place without one of the following conditions: possessing great fortune or knowing the security of directly and loyally serving (or being a beneficiary of) a person of great fortune and benevolence, such as the Count of Monte Cristo.

Evidence accrues of the author’s money love. The vast majority of focus characters are members of high society and the wealthy elite, many of superior education, notable beauty, close royal connections, or distinguishing experience. Yet nowhere do riches serve as an obvious corrupting force, except in the most obvious, a priori cases of the antagonists.

The young people cradled in luxury from birth–Albert, Eugénie–adapt swiftly to financial uncertainty, if not to real or projected financial loss. Each is strong of mind, and each charges ahead with definitive plans. Their apparent lack of greed seems plausible, but how long will they last? On the contrary, how will the two most worthy, noble, and innocent characters (hint: not Albert or Eugénie) avoid their lives’ ruination upon acquiring an incalculable fortune?

Currency for the Count

During the rising action, as he operates like some other-worldly creature, at least the Count’s near immunity to the ill effects of being filthy rich seems reasonable. The immensity of the treasure he acquires coupled with the depth of the misery he has suffered accounts for it. There is no room for covetousness, for there is no need. His vision is fixed not on indulging his chosen life of opulence–for his jaded soul can hardly enjoy it–but on using it for convoluted, comprehensive payback.

It is in the name of this sophisticated vengeance for genuine wrongs against him that the Count wields his fortune, education, disguises, and cunning like a four-flanged mace of justice. It is only after his perceived atonement for such absolute revenge that the Count is finally ready to relinquish his wealth and the power and esteem it awarded him. As a result, he believes he needed the money only for the scores he had to settle, but without money going forward, his status and influence will fade.

The question is, Can he indeed adjust to this new reality? For an author whose characters so unilaterally and fervently depend upon prolific capitalism for their happiness, it would seem doubtful. It makes me curious to learn about the life of Alexandre Dumas (of which I currently know nothing), to seek a reason for this.

Revenge? What’s That?

Since the reader never has the chance to observe the changes in either the man who gives away his “first-rate” fortune or those who receive it–changes either in those who lose all they had or in those who squirrel away a buffer against such loss–the consequences of these shifts remain open ended. Despite the age difference between the Count and the younger people, all seem to be of a more flexible generation than their parents are regarding money, status, and survival.

What may be most telling is that none of the villains (1 of the 3 perhaps) truly suffers for very long the consequences of their greed and evil. Each escapes a traditional punishment the reader might think they deserve, whether doing so by their own free will or decidedly not. We never get to see them struggle for any notable duration without money, without status, without family.

They suffer in other ways, many established without the Count’s interference long before he catches up with them; most of it they have done to themselves. The prospect of loss terrifies them and they sustain heavy blows. However, no one reaches, before story’s end, the degree or longevity of deprivation and sorrow that Edmond Dantès has known at their hands.

An epilogue assuring the reader that the evildoers will all receive and experience what they deserve–whether in life or in death–might have been soothing. Without it, we can only guess, “wait and hope” that at least one of them does.

Mercédès

As to patriarchal double standards, I found the Count, if not Dumas, to be harsh in accusing and punishing Mercédès, Edmond’s betrothed before his imprisonment. She is also harsh in judging herself. The woman who becomes Countess de Morcerf, though marrying Edmond’s rival and persecutor, was technically as innocent as Valentine and Maximilien. Disgraced and poor in the end, she is convent bound as her son leaves for military service. The weight of having lost and again losing Edmond is her greatest regret, and rightly so, but it is through no fault of her own in either instance.

Her ignorance and naive perspective of wrongdoing matches Edmond’s as he begins his time in jail, and Mercédès does what she can to atone in the end. Yet the reader is left with the sense that her punishment is deserved, she has not done enough, and she was even a sort of prostitute under the circumstances–all of which is hyperbole. First, how could she have known? Second, what should she have done differently while kept in ignorance?

Mercédès nursed Edmond’s ailing father to his dying day, continued to appeal to the government for news of Edmond, and then made the best of loss and a loveless marriage, sought continuously to better herself, raised a worthy child, and finally relinquished all her ill-gotten gains.

Among all central characters, as Countess de Morcerf, Mercédès alone never seeks to harm anyone, only to save them. More than Haydée, who avenges her father, if not more than Valentine, who avenges no one directly, Mercédès is in fact among the most saintly of the story’s women. Also, because she is so very far superior to both Baroness Danglars and Madame de Villefort, the Countess de Morcerf receives more than unjust treatment.

The unwarranted nature and degree of Mercédès’ eventual suffering approach those of Edmond’s initial suffering. What is that one saying about those we love most? With nothing but vengeful hatred in Edmond’s heart as he enacts his plans, he has doomed his first love, Mercédès, from the start. Perhaps instead of “Frailty, thy name is woman” (Hamlet), the Shakespeare quotation Edmond should have studied and remembered is “The quality of mercy is not strain’d” (Merchant of Venice).

Summary Review

The Count of Monte Cristo is a robust, culturally observant work that explores the mysteries and ironies of destiny. Absorbing characters take shape at a good pace for the story’s length. There is clear, abundant evidence of the skill, the care–in short, the investment–applied by author Alexandre Dumas, père (senior). Although I would have preferred a more detailed look into the title character’s mind and the lessons he learns, the novel, like the Count himself, has earned its place among the classics. I doubt I’ll ever re-read the book entirely, but I imagine returning on occasion to dip into its turbulent, colorful, and ambitious pages.

My rating: 4.5 out of 5 stars.


Translation and Abridgement (No Spoilers)

À propos of length and language, I found no fully reliable, consistently clear, and high-quality English translation among the five versions I sampled while first reading and listening to the story. The Robin Buss translation published by Penguin Classics, though widely preferred and lauded, may be more complete than other unabridged editions, but I found the diction too contemporary, the phrasing overwrought, and the writing generally less elegant than in other editions.

Furthermore, while at times wrinkling my forehead in puzzlement at the Buss translation, I found the text of the Oxford World’s Classics 2008 edition–and even more so of the David Clarke Librivox recording and very similar Gutenberg Project epub ebook–to be more accurate, more logical and appropriate to story context, and more understandable in several instances.

I doubt this divergent assessment has anything to do with my having studied French for 8 years. It probably has more to do with my preferences for archaic diction, unusual syntax, and general clarity. A treasured French study background increased my enjoyment in part due to my understanding of the untranslated French expressions, such as “Pardieu!” (literally “By God” but meaning “Of course!” or “Indeed!”), but any astute reader can gather meaning from context.

Incidentally, David Clarke does a fabulous job with theatricality, French and Italian accents, male and female registers of voice, distinguishing main character voices, clear and consistent projection, and excellent articulation. Aside from occasional mispronunciations, Clarke may have stumbled once or twice in 117 chapters in the Librivox recording. Highly recommended. My having blended listening to recordings with reading ebooks and print copies is largely what allowed me to keep my momentum and finish this massive book quickly.

The Gutenberg file uses the 1888 illustrated (and non-illustrated) George Routledge and Sons edition. I thoroughly enjoyed the illustrations by various French artists of the period provided in the .html version of that file. The claim of Robin Buss’s work in the Penguin Classics translation is the supposed recovery of and return to nuances of the original text that had been lost in earlier editions, and I can see some of that happening as well.

The comparable heft of the Modern Library Classics edition suggests little to no abridgement, but I found it makes noticeable, unnecessary cuts, at least to descriptive text in the few parts I bothered to read.

At any rate, we must allow that some flaws resulting from translation could be due to the original author’s style and diction in French as well. I recommend reading an unabridged edition if you read the book at all. Furthermore, if you are fluent, I feel confident, without having read it myself, in advising you to read the original French instead of a translation into English or other languages. Bien sur! (Pardieu!)

This Hunted Story

Am I late, am I late, for a very important date?

If not, as long as I tell myself I run that risk, motivation survives, at least for something I already feel compelled in a deeper way to do—writing. So before it IS too late, it’s time to journal about my Jabberwock novel, a story of Through the Looking-Glass, and What Alice Found There from the Jabberwock perspective. Time to muse upon the fickle nature of the Muse. Time to log, on the Web, my thoughts about this story-making process, the state of this art. Time to blog about novel writing.

My hope in doing so is that it will help me get a handle, by November 1st at midnight, on my story outline so I can hit the ground running as NaNoWriMo 2016 kicks off. The goal of National Novel Writing Month is to “write with reckless abandon,” and as a planner (as opposed to a pantser), I’ll feel readier to do that if I have a sound story structure to populate with all that compelling characterization, magical description, and sparkling dialogue. * sigh *

Prompted by S of JS Mawdsley to write fanfic “so [S] wouldn’t be the only one” doing that for Camp NaNoWriMo this past July, I showed up at a write-in early in the month and started listing the fiction I’m a fan of. Not long into the exercise, Alice’s Adventures in Wonderland and Through the Looking-Glass popped up and led to my premise.

In a reversal, or extension (depending on your viewpoint), of the situation in Looking-Glass Land, I set up the Jabberwock as the story’s hero and the Red and White Nobles as the antagonists in their world of giant chessboard squares. Alice retains a position resembling her protagonist role in the original stories, entering the grand game of chess in book two in order to become queen by reaching the Eighth Square.

Simple, right?

So . . . I’ve been working on this intermittently since July and figured there’s plenty to write in November, too. Although I don’t exhibit the discipline JS Mawdsley do/es, which leads to such awe-inspiring story-writing productivity, it’s been a victory for me to remain interested in my story even after each, sometimes long, hiatus.

I’m intrigued enough by the concept, along with the outlining, mind mapping and analyzing I’ve done of it so far, and the handful of scenes I’ve written in full, that I feel confident I won’t lose interest any time soon, let alone halfway through NaNoWriMo.

The magic has come from seeing themes, symbols, and character relationships periodically connect in unexpected ways, from discovering that the ideas that bubble up work with the overall concept instead of against it. It gives me hope that the unity of the story can be preserved, assuming I can build it into a cohesive whole in the first place. This is the year, baby!

Still, it is by no means simple. The plot has been quite the code to crack. For me, that’s typical, but this one poses the extra challenges to work within the original story structure, use pre-existing characters, and figure out how the heck to weave in the new story.

If I have bitten off more than I can chew, by gum, at least I’m still chewing on it and my jaw hasn’t yet broken or frozen.

I confess to adding the pressure of creating something brilliant and eminently publishable out of a timeless classic that’s been thoroughly studied, adapted, spoofed, and spun off in every direction for over a hundred years. Otherwise, why spend all this time on it? But I’m fighting that tendency, too. I’m making a point of not reading the spin-off books and of not watching any more versions of the movie than I have already seen. I’m trying to let love lead. Love of Lewis Carroll’s work.

In addition, S made the point that because Looking-Glass is the less well-known of the pair of Alice stories, it will be wise to borrow characters from Adventures for this re-telling, to add reader interest. I’ll try not to make that issue a major priority; it, too, presumes publication.

The saving grace may be that, if a tangible end result ever does come, and whether or not it’s any good, at least it will have been one hell of a writing experiment that prepared me for success on simpler projects. Oh, if only I knew how to go simple. To do the work, day after day, without imploding under the weight of expectation.

Although I may not blog liberally about the intricacies of the Jabberwock story puzzle, I’ll try to use both blogging and private journaling to keep up my momentum through the exciting upcoming month of story stress, construction, and socializing.

A couple of days ago, I chose a title that took entirely too much time to think of: Hunted Song of Looking-Glass Land. Song is my main character, the teenage Jabberwock heroine who, in partnership with the younger human Alice, fights the good fight against the establishment. This much I know.

Hunted Song is my first fantasy story, first fan fiction (sort of, if we don’t count the one about Shakespeare’s mistress), and possibly first happy ending compared to my two most recent stories, which I actually finished drafting. There’s so much to look forward to, and the fact that I started this story well before November reassures me of my stamina to see it through to whatever moment declares itself the end.

Perhaps it’s fitting that this is my topic in the year of the 150th anniversary of the first book’s publication. These splashes of newness and flashes of specialness are keeping my eye on the prize, to follow through to create a good story that I can call mine.

What’s your story?

Join me and half a million other people worldwide this year in the storytelling adventure called NaNoWriMo. No experience necessary. No Plot? No Problem. No judgment. Just start writing. Ready. Set. Novel!. Also, check out the NaNoWriMo Blog.


For more about how my current story’s journey started, check out this summer’s post Packing for Camp.

jabberwocky

Featured image: Illustration of the Jabberwocky by John Tenniel, original artist for both Alice books.

 

Five-Phrase Friday (38): Scotland

So here’s the state of the art on my painstaking vacation planning. Gee, I thought vacation was supposed to be fun. . . . Huh.

Despite (or because of) all the great things to see, despite my fondness for Shakespeare and English literature, and despite a long process of selecting favorite English regions, cities, and sights, England, let alone London, has not made the cut.

Scotland is now our sole target country for this first dedicated family trip of some length.

I feel kind of foolish because I’m not Scottish and neither is my husband. It feels illegitimate somehow, like we’re imposters or something. Since we aren’t going to an extremely different climate and culture as would be the case on an African safari or in other seemingly more exotic locales like the Tropics or Tokyo or Tasmania, I feel compelled to be very selective about the part of Europe we explore together. It feels as if we should have some personal connection, relatives, work purpose, or people we know there.

He’s Slovenian (Italian-ate) and Latvian; I’m Irish, English, German, and Dutch. I travelled France, Italy, Switzerland, Austria, and the Netherlands (where some known cousins live) almost 20 years ago during college, and he’s been to the United Arab Emirates, Turkey, and France on business. I speak French; he speaks (a little) German, understands some French.

So why Scotland?

It’s really all down to Outlander and my obsession therewith. Through the journey of the story, Scotland has become personal. Scottish Gaelic is even becoming my third language. Visiting does seem full of purpose. I feel as though I do know the people, at least more than I did before my deep and abiding interest in the book and TV series set there.

No apologies, no excuses, no misgivings, no sheepishness, but maybe some sheep, and maybe for dinner . . . mmm, haggis (?!). Research, plan, prepare, go, enjoy, and remember. And be grateful for the chance. And remember, the best laid schemes . . .

Five Scottish regional destinations for a 2-week visit, clockwise order from the south-west: Most preferred sights are listed for each area, though we may will not make it to all of them.

  1. Glasgow and environs (4 nights Glasgow) – Glasgow Botanic Gardens, Kelvingrove Art Gallery and Park, City Chambers, Glasgow Cathedral/Necropolis, a play, boat ride on the river Clyde; Cumbernauld (Outlander studios drive-by), Falkirk Wheel, Stirling Castle, Doune Castle (Monty Python, Castle Leoch), Wallace Monument
  2. The Trossachs, Argyll, and Central Highlands – Loch Lomond (and maybe Loch Katrine) in Trossachs National Park; Loch Awe, Inveraray Castle; Glencoe
  3. The Great Glen, Highlands, and west coast (2 nights Fort William) – Fort William, Glenfinnan Monument (Jacobite Rebellion launch), Jacobite Steam Train to Mallaig, lochs and walks in the Great Glen; Eilean Donan Castle
  4. Inverness and environs (3 nights Inverness) – Inverness Visitors Centre, excursions to Foyers Falls, Loch Ness and Urquhart Castle (maybe a boat ride), Cawdor Castle (Macbeth), Culloden Moor (Jacobite Rebellion), Clava Cairns (standing stones with split rock), Cromarty, Black Isle, Moray Firth
  5. Edinburgh and environs (4-5 nights Edinburgh) – Edinburgh Castle, National Museum of Scotland, Palace of Holyroodhouse, Calton Hill, The Royal Mile main street, which includes Writers’ Museum, Greyfriars Kirk (“Bobby” the Westie), St. Giles’ Cathedral, Scott Monument, and more; Southern Uplands including Rosslyn Chapel and maybe Abbotsford House (Sir Walter Scott) and Melrose Abbey
Glen_Coe_West_Highland_Way_ScotlandNow

Glencoe & the West Highland Way. Image by ScotlandNow, The Daily Record online

The above sites are separate from several specific towns and rural locations where the Outlander TV series has been filmed. After some consideration, I’m inclined to skip a packaged Outlander tour in favor of making our own. I know enough about the books, TV series, and show creators that information won’t be lacking, and we need not be further restricted in our movements or schedule.

EileanDonanCastle_scenic_ScotlandNow

Eilean Donan Castle, W. Highlands. Image by ScotlandNow, The Daily Record online

Outlander-related locations, many of which we can catch en route to others, include (my preferences in bold):

  1. Culross, Fife, between Edinburgh and Stirling (Crainsmuir, the Black Kirk)
  2. Falkland, Fife, with the Covenanter Hotel (Mrs. Baird’s B&B, 1940s Inverness)
  3. Pollok Country Park, Glasgow (Castle Leoch grounds, Paris woods duel)
  4. George Square, Glasgow (Frank’s wedding proposal to Claire)
  5. Highland Folk Museum, Newtonmore, Highlands (wool waulking, rent collection)
  6. Loch Rannoch/Rannoch Moor near Glencoe (backdrop for Craig Na Dun)
  7. Tulloch Ghru, Highlands, near Cairngorms National Park (opening credits and hilly woods between Craigh Na Dun and Leoch)

Those near Edinburgh are:

  1. Blackness Castle, on Firth of Forth (Randall’s Fort William, of Jamie’s flogging)
  2. Linlithgow Palace, West Lothian (Wentworth Prison exterior, corridors, eps 115-116)
  3. Hopetoun House, West Lothian (Sandringham’s stately home in ep109)
  4. Glencorse Old Kirk, Glencorse House grounds, Pentland Hills, Midlothian (Jamie and Claire’s wedding, ep107)
  5. Midhope Castle/House, a private residence, Abercorn, Hopetoun estate, South Queensferry (Lallybroch)

I’d also like to visit the Southwest/Borders region closest to England–including Caerlaverock Castle and Caerlaverock Wildfowl and Wetlands Centre, Dumfries, and Robert Burns sights–as well as the Isle of Skye, but there won’t be time. At some point, we’ll need to sample the peaty whiskey (whisky) among the many distilleries.

CaerlaerockCastle_Dumfriesshire_Scotland_VisitScotlandpic

Caerlaverock Castle, Borders/Southwest. Image by ScotlandNow, The Daily Record

Life is large and detailed, as is the world. I relish details, the worlds within worlds on this planet. I like to get lost in them, as must be obvious by now from my blog. For two weeks, we’ll get lost, and be found driving on the wrong side of a single-track road along a beautiful loch in the Highlands of Scotland. Details.

Five-Phrase Friday (37): No “Callow” Craft

After a two-week hiatus from Friday phrases, I’ve decided to round off the series at 40. It’s time to move on to new ventures with my blog.

I’m using this post to set up my next in-depth review of Outlander STARZ season two, which will zoom in on British actor Simon Callow’s masterful development and portrayal of the Duke of Sandringham, especially in episode 202. (See Simon Callow’s performance credits here.) I first forecast this closer look–it’s coming, I swear!–in my review of episodes 201 and 202.

The quality of Simon Callow’s work greatly dwarfs (nod to his joke in ep204) his place in the credits list and the amount of time his performances air. Along with his writers, he deserves more attention.

Observing the nuances re-shaping the character from the book Dragonfly in Amber to its TV show adaptation via season two (and from the novel Outlander to season one, for that matter), I’ve chosen five phrases among the many I feel define the Duke of Sandringham as played by Callow. I’ll discuss their meaning and that engrossing ep202 final scene in the full review.

1. Untouchable serpentine “gentleman” (wily with impunity)

2. Hypocritical, dissembling opportunist (he accuses Claire of this motive)

3. Stab-and-twist provocateur (Voo-doo practitioner?)

4. Charming, witty, self-serving chameleon (i.e., the Devil incarnate)

5. Malevolent jester mastermind (like the “fool” Feste in Shakespeare’s Twelfth Night, sans truthfulness . . . and benevolence)

Outlander_S2_Sandringham_a_bit_harsh_ep202

Simon Callow with Caitriona Balfe (Claire Fraser). Ep202, “Not in Scotland Anymore,” Gif clip credit: Outlander STARZ, Sony Pictures Television.

Far from being pure insults, these descriptors praise Callow’s crafting of a juicy, layered (onion) villain to rival Tobias Menzies’ Black Jack Randall. And if the show stays true to the book for the Sandringham character arc–and I do hope it does–there is more pungent peeling to come.

“If that’s an apology, and I do hope it is, I accept with all good grace.”

Yes. Yes, Your Grace, it will be quite the apology. You’ll see I have become an unapologetic Callow-Sandringham apologist.

Stay tuned.

Happy Memorial Day Weekend, America. Episode 208 airs tomorrow at 9pm on STARZ.

Book Review: Fodor’s Travel Essential Great Britain

I decided to skip my five phrases for this Friday the 13th, not out of superstition but just because I have a lot on my plate at the moment. Late last night, I finished reading a travel guide I’ve reviewed for this post, and I’m still working on my Outlander STARZ Season 2 reviews. Beyond that, the flower pots and beds, spring cleaning, my novel, the book club book, and my home office clean-up project all continue to beckon. We who work from home must remember to travel outside the house and outside those beloved books, so in that spirit, after this, I’m off to the garden center.


Book Review

Fodor’s Travel Essential Great Britain: With the Best of England, Scotland & Wales (2015)

BookCover_FodorsEssentialGreatBritainReview in Brief

Inspired largely by my Outlander obsession and by my English teaching and literature background, I’ve determined to take my first trip to the UK with my husband soon.

Snagged by me two months ago at the book store, this comprehensive Great Britain travel guide for England, Scotland, and Wales contains a helpful mixture of features and a layout of short text segments throughout for quick reference and easy reading. Numerous listings for sights, lodging, dining, shopping, and night life include starred “Fodor’s Choice” recommendations for their opinions of the most worthwhile experiences, as well as labels such as “Family” to point out good options for children.

A key at the front indicates the clear symbols used to label different types of establishments, map elements, and important associated notes. With its few and minor shortcomings in content, structure, and format, I can recommend this guide to most travellers.

Countries’ Coverage

One thing that threw me at first was the lack of an opening section page for Scotland; the Wales section precedes the “Edinburgh” chapter and the rest of the Scottish focus areas. However, the England section also lacks an “England” label page, starting right at London–why waste precious manuscript real estate?

The order of presentation is England, Wales, Scotland, and they make up about 58, seven-tenths, and 35 percent of the book, respectively. In the Great Britain introductory section, there is a proportional list of top attractions, including 6 for England, 1 for Wales, and 3 for Scotland. My family’s decision to skip Wales for this upcoming trip reflects this distribution. (Castles are the main Welsh draw, and you can see lots of those in England and especially in Scotland.)

The Writing

A group of 10 British writers all have written clearly and in entertaining ways without distracting from the content. The text also demonstrates good editing. Special terminology, i.e., Briticisms, are usually pointed out in helpful ways, though sometimes acronyms and other words appear without identification on first instances, such as for “V.A.T” (Value Added Tax). That term is explained several pages later, but it appears in neither the index nor a glossary, an absent element that could be helpful. I detected only a few typographical errors in this large book and none that impeded understanding.

Arrangement of Parts

The opening chapter is an extensive orientation to Great Britain overall. Chapters are then divided by region or major metropolitan area. An overview spread beginning each chapter presents a highlight picture or two, “Top Reasons to Go” blurbs that highlight a mixture of sights and types of experiences, a zoomed-out map of the area with main segments labeled and described, and a smaller map of the entire nation with the featured section highlighted in orange. A navigational “Getting Oriented” column of text lines the far right-hand side.

Inspiring Highlights

Introductions to each chapter follow the overview spread and precede specific listings with varied descriptive text that does a laudable job of making the reader want to see absolutely everything at first. There are also regional and city-center maps interspersed among listings; sidebars and feature pages on topics such as “In Search of Jane Austen,” “Close Up: Clans and Tartans,” and “The Beatles and Liverpool”; as well as photographs and shorter sidebar blurbs about open-air markets, local legends, and more. Special sections about travel tips, specific cultural elements, and highlights of sights not to miss populate the front and back matter.

Other Features

A thick, somewhat heavy paperback book, it might be more practical during travel as a spiral-bound guide. I found the font size and sans-serif type easy to read, but I would have liked a bonus map or two with more detail. In addition, regional maps do not show overlap where regions connect, and some maps fail to show distinctive topography highlighted in the text, such as Loch Awe (in western Scottish Argyll) on the region’s main introductory map. However, there is a tear-out map of London included inside the back flap, and there are oodles of website references, along with a sights-focused index and table of contents.

The Literary Approach

After a brief flip through the book, I started to comb the chapters with the express purpose of identifying literary sights in England and Scotland. I was able to make a preliminary list of places to target in our travels, which means, in England:

  1. Bronte sisters country in Yorkshire
  2. Romantic poet Wordsworth’s homes in the Lake District
  3. Jane Austen country in Hampshire (Bath, Chawton, Winchester, Lyme Regis)
  4. numerous places in London such as Virginia Woolf’s Bloomsbury
  5. Oxford University (Lewis Carroll, W.H. Auden, Percy Shelley, Oscar Wilde, etc.)
  6. Stratford-upon-Avon and Southwark (London) for Shakespeare
  7. Canterbury for Chaucer and Dickens
  8. Cornwall for Woolf, Tennyson, du Maurier, Doyle, Christie, and Arthurian legend

Prominent Scottish writers and stories with sights to match include Sir Walter Scott (Ivanhoe, historical though unofficial tourism ambassador for Scotland), poet Robert Burns (in Dumfries), and as many Outlander filming locations and book references as possible.

While still in the England portion of the guide, my approach quickly morphed into aiming for arts, nature, and literature sights, as reflected in my blog focus. I’ll be more interested in parks, landscapes, seascapes, other bodies of water, country estates, and the countryside than in most urban attractions.

Obviously, that doesn’t leave much time for, well, anything else, to say nothing of my husband’s interests that lean more toward soccer, pubs, castles, technology, and industry. Although I have a decent handle on art and theater attractions, I barely scratched the surface concerning music-related sights.

If only I could somehow take my own trip for travel writing or scholarly research. Hmm…. It became apparent quite early in this process that visiting Ireland would have to be a separate trip as well. For that matter, the same could be said of London.

Conclusions

Although I began reading Fodor’s Travel Essential Great Britain: With the Best of England, Scotland & Wales in the hopes of identifying key places I’d like to visit, reaching the end of the book has only made choosing more difficult, which is both good and bad for the guide, and definitely excellent for the UK. There is just so very much to see and do!

While brimming with sound advice, tips, and orienting elements, it seems this text alone will not be the deciding factor in our ultimate itinerary. I am inclined, for example, to compare other guides and consult a travel agency for help.

I will also have to see how useful the guide is in practice and on location before finalizing my rating for it.

Good Luck and Happy Travels!