Even if Clare had meant it as something more than a token, she was clearly too young to know her own heart. He was older than her and wiser, which meant it was his responsibility. Clare would slap him for thinking it - I'm so glad he's at least aware that Clare would slap him for such a ridiculous thought!
I LOVE PLATER BORROWING THEIR SHIP TO FLY IN REINFORCEMENTS!
Building the airship had given him new muscles -- the building was kind of awhile ago, both in the narrative and in real time. Of course, Jack's probably continued to develop those muscles, what with flying the airship, clambering around on it battling pirates, not to mention all the sneaking-dodging-exploring since they landed in Australia -- but crediting his current musculature to a carpentry project finished months ago in England, a world away from where we now are in the story, feels kind of hard to swallow.
It's a little thing, but "the Upraised Hands collection of the Museum of Indigenous History" made me smile, both for the continuity of internal symbolism and for the reassurance it gives as to the outcome of all this.
"This does feel rather like jumping off a cliff, though. Sure you want me to be the one waiting to catch you?" -- given Ellis's ruminations at the start of the chapter, and his conclusion that he *should* "tell her it would be wrong," it is hilarious how every time he speaks to Clare he winds up telling her he loves her, apparently somewhat by accident.
She lifted his hand and pressed it together with hers over the base of his throat -- wasn't entirely sure whose hand and whose throat we were talking about here, considering in the previous sentence Clare's hand was on Ellis's shoulder, but it's Libris who needs the voice-amplification.
I love Purva storming in to raise hell, demand order, and blame Ellis in the midst of a major reordering of everyone's reality. She's a wonderful grounding presence.
Again, I wonder at your decision to tell a key part of the story -- the Koori march on Canberra -- in retrospect, through Ellis's writer-voice. It's much less of a disruption here than it was with Clare's reveal, but still feels like a weird pull-back-zoom-away when you transition into it. However I do love the incredible sense of quiet that hangs over the march, which I think is at least partly a function of Ellis's telling -- it's such a shocking contrast to the usual image of "a protest march" and I think that's really powerful.
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Date: 2012-05-15 03:02 pm (UTC)I LOVE PLATER BORROWING THEIR SHIP TO FLY IN REINFORCEMENTS!
Building the airship had given him new muscles -- the building was kind of awhile ago, both in the narrative and in real time. Of course, Jack's probably continued to develop those muscles, what with flying the airship, clambering around on it battling pirates, not to mention all the sneaking-dodging-exploring since they landed in Australia -- but crediting his current musculature to a carpentry project finished months ago in England, a world away from where we now are in the story, feels kind of hard to swallow.
It's a little thing, but "the Upraised Hands collection of the Museum of Indigenous History" made me smile, both for the continuity of internal symbolism and for the reassurance it gives as to the outcome of all this.
"This does feel rather like jumping off a cliff, though. Sure you want me to be the one waiting to catch you?" -- given Ellis's ruminations at the start of the chapter, and his conclusion that he *should* "tell her it would be wrong," it is hilarious how every time he speaks to Clare he winds up telling her he loves her, apparently somewhat by accident.
She lifted his hand and pressed it together with hers over the base of his throat -- wasn't entirely sure whose hand and whose throat we were talking about here, considering in the previous sentence Clare's hand was on Ellis's shoulder, but it's Libris who needs the voice-amplification.
I love Purva storming in to raise hell, demand order, and blame Ellis in the midst of a major reordering of everyone's reality. She's a wonderful grounding presence.
Again, I wonder at your decision to tell a key part of the story -- the Koori march on Canberra -- in retrospect, through Ellis's writer-voice. It's much less of a disruption here than it was with Clare's reveal, but still feels like a weird pull-back-zoom-away when you transition into it. However I do love the incredible sense of quiet that hangs over the march, which I think is at least partly a function of Ellis's telling -- it's such a shocking contrast to the usual image of "a protest march" and I think that's really powerful.
~ c.